By Jeremy J. Citrome (auth.)
Jeremy Citrome employs the language of up to date psychoanalysis to give an explanation for how surgical metaphors grew to become a tremendous device of ecclesiastical strength within the wake of the Fourth Lateran Council of 1215. Pastoral, theological, leisure, and scientific writings are one of the texts mentioned during this wide-ranging study.
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Jeremy Citrome employs the language of up to date psychoanalysis to give an explanation for how surgical metaphors turned a huge device of ecclesiastical strength within the wake of the Fourth Lateran Council of 1215. Pastoral, theological, leisure, and clinical writings are one of the texts mentioned during this wide-ranging learn.
Extra info for The Surgeon in Medieval English Literature
Hence, in the beginning of the poem's second part we are told that God is a "gropande God" (1. 591), who, like a skilled confessor, can easily see the "venym and vylanye and the vycios £Ylthe" that is the cause of the Sodomites' downfall. In medieval medical terminology, the words "venym" and "£Ylthe" are used to describe two opposite poles on the scale of humoral corruption: the liquid humoral emissions from a wound, or "quitor," could be somewhat corrupt like venym, greatly corrupt like £Ylthe, or fall somewhere in between.
Because closest to Creation, Noah's ancestors were "the stalworthest that ever stod on fete" (1. 255). History is therefore the descent into ill health, a progress halted only with the Incarnation, when "ther was seknesse a! sounde" (1. 1078). Yet, unlike Augustine, the poet develops his medical metaphor against a framework of temporal progression, a historiographical application made possible by the evolution of professional medicine into discernibly separate fields of practice. In Cleanness, the episodes of the Flood and Sodom that precede the Incarnation are moments of crisis in spiritual health requiring surgical intervention.
55 In this fashion, the poet extends the representation of spiritual corruption as a physical ailment beyond the previous scene of Old Testament punishment, to the merciful New Testament present. Yet the poet carries over not only the medical metaphor of the disease, but of the cure as well. With brilliant economy, he opposes not only "rote" with "rose reflayr," but he also opposes "rose reflayr" with the corrosives depicted in the previous scene. Roses, like the chemicals listed in the Dead Sea, feature prominently in the medieval antidotary.