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somewhat ironically, more like the male in order that sex and conception can occur. This state of
arousal, wherein the cold female was inflamed with passion, was often described in Petrarchan
terms as “icy fire.” 57
As has already been stated, Galen’s system of humors led to an association of orgasm
with death through the expulsion of life. It is with this understanding that another of the common
conceptions of sex, and therefore common reference within the madrigal repertory, must be
explained. As stated above, Galen’s understanding of sexual intercourse stemmed from the idea
that upon conception, both the male and female expelled life (commonly called spirito in Italian)
which was the foundation of the new life within the mother’s womb. 58 Life was defined as the
presence of spirit; therefore, in death (it was believed) people exhaled their spirit with their dying
breath. Therefore, within this conceit, the word “spirit” has both physical and spiritual
connotations, as both the life-forming bodily fluid emitted during sex and the spiritual
connection implied by that union. Because of both the physical and spiritual connotations of
spirit, it was thought to pass between lovers in many different ways. As Macy notes, “In poetry,
it passes between lovers through the eyes, the kiss, and, if the embrace is tight enough, directly
from heart to heart. It takes up residence in the beloved's heart, raising the lover's question: if my
spirit leaves me to reside in you, am I dead or do I live in you?” 59 Therefore any of these actions,
kissing, gazing, embracing, and dying, can be used in poetry to metaphorically imply sex.
Furthermore, other bodily fluids such as tears or “emissions of spirit” such as breathing or
sighing can metaphorically represent physical orgasm.
57 Ibid.
58 Ibid.
59 Ibid, 2.
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