Abstract

In the seventeenth century, the word `spirit' stood euphemistically for semen and erections. Shakespeare knew this, as did the more explicitly theological poets, Donne and Herbert. These euphemistic meanings were exploited by the latter when writing religious poetry. Moving beyond the sexual language typical of much Christian mysticism, Donne also drew on renaissance ideas of metempsychosis which allowed him to view sperm as something physically connected with the spirit of a man, and potentially associated with the Holy Spirit itself. The reproductive potential of sperm was further associated with the creative power of the poet, and poetry became for Donne and Shakespeare a substitute for sexual reproduction. The ambiguous, playful and erotic spirit of poetry is considered as in terms of the equally ambiguous, playful and erotic spirit of theological language.