In “The Phoenix and Turtle,” a female phoenix physically conjoins with her male lover, a turtledove, resulting in a hybrid creature that defies the laws of physics; this prompts an outcry by personified Property, “appalled” at the impossible synthesis, after which the phoenix-turtle perishes in a “mutual flame.” Critics have focused significant attention on the possible identities of these birds, with most agreeing that the phoenix refers at least obliquely to Queen Elizabeth, while the identity of the turtledove may represent personalities ranging from the Earl of Essex to Sir John Salusbury, patron of the volume in which “Phoenix” first appeared. In this chapter, I want to start with the obvious: This poem stages a gender transition, one where a mortal male effectively becomes queen. Building on Colby Gordon’s observation that transitioning, in the minds of transphobes, “amounts to a hubristic assault on creation itself,” I argue that this poem stages a form of trans creation or queer natality that places the experience of transitioning in euphoric contrast to irrational laws that govern the social and natural worlds. The double-sexed phoenix-turtle, a product of nature, demonstrates by its very existence that sex may be forged through will or techne, thereby necessitating a revision in natural law itself. I explore how this conception of trans creation may productively reanimate older arguments over “the king’s (or queen’s) two bodies” as it applies to this poem, and I consider the possibilities of applying this framework to the sitting queen/“king” herself.