Published online by Cambridge University Press: 22 September 2009
By making unusually explicit the shared cultural assumption that the capacity for godly sorrow is tensed as feminine in early modern England, Lanyer figures women as possessing a greater ability to experience the reciprocity of empathic, selfless, love for Christ than men. If Lanyer had seen any of John Donne's Holy Sonnets in manuscript, she would have had good reason for making such a gendered claim. For Donne, the compassio that Lanyer depicts as “feminine” in nature is psychically violent, even traumatizing. In this respect, the same cultural discourse that provided Lanyer with a way of representing women as having unmediated access to the sad delight of incarnationist theology, inspired in Donne a psycho-spiritual crisis. Like Lanyer's depiction of men in Salve Deus, the speakers of Donne's Holy Sonnets are not naturally inclined to the life of faith, especially when it comes to opening themselves to the terrifying intimacy of God within the soul. On the contrary, most of the poems depict the devotional life as a counter-intuitive struggle. And whereas Lanyer takes the theological and devotional amorphousness of Jacobean England as an occasion for synthesizing pre-Tridentine iconography with Lutheran ecclesiology, Donne experiences the multiplicity of coexisting devotional practices and theological systems in early seventeenth-century England as a significant religious problem.
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