ABSTRACT
Donne’s religious poetry, essentially the creation of the years heralding his ordination (1615), does not involve-as many cr itics have shown-any abrupt break with his secular poetry or a real stylistic discontinuity, but rather a refocusing.1 Religious language and the language of love are now redirected to religious subjects, redeployed to the service of religious experience (see Parfitt 1989:89).
