By Susanne Rupp, Tobias Doering
Groups have usually formed themselves round cultural areas set aside and declared sacred. For this goal, church buildings, clergymen or students at least writers usually perform giving sacred figures an area habitation and, occasionally, voice or identify. yet no matter what websites, rites, pictures or narratives have hence been developed, in addition they elevate a few advanced questions: how can the sacred be provided and but guarded, claimed but hid, staged in public and even as stored particular? Such questions are pursued the following in various English texts traditionally hired to take place and deal with models of the sacred. yet given that their performances inhabit social house, this usually capabilities as a theatrical enviornment that's extensively utilized to level modes of dissent, distinction, sacrifice and sacrilege. during this manner, all facets of social lifestyles – the kin, the state, the belief of kingship, gender identities, courtly beliefs, love making or smoking – could turn into sacralized and buttress claims for energy by way of recourse to a repertoire of spiritual symbolic varieties. via severe readings of valuable texts and authors – comparable to Sir Gawain, Foxe, Sidney, Shakespeare, Donne, or Vaughan – in addition to much less canonical examples – the Croxton play, Buchanan, Lanyer, Wroth, or the tobacco pamphlets – the twelve contributions all have interaction with the the most important query how, and to what finish, performances of the sacred have an effect on, or impression, cultural transformation.
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Extra info for Performances of the Sacred in Late Medieval and Early Modern England
Example text
Whereas only the second of the occasions listed actually involves the sacrament of confession, the other three all evoke the issue of confession through aspects such as their ritualised nature, the soul-searching they depict, or the contrition expressed and the satisfaction provided within them. For all its overt secularity the poem betrays a considerable preoccupation with at least one religious issue, the sacrament of penance. Gawain’s second confession, the one where he actually partakes of the sacrament, is the subject of a long-standing critical debate.
What is repeated here is not simply the ceremony of consecration—since it is a previously-consecrated host they have already obtained—but rather the ‘prehistory’ of Christ’s torment which the host encloses and conceals. This is a ‘new Passion’ in that it not only regards the host as the body of Christ, but rather re-subjects that body to the torments it experienced previously. Four Jews, for example, wound the host’s extremities with their daggers (repeating the injury of the nails) and then Jonathas, their chief, strikes at its “mydle part”.
14 An Irish knight (variously named Cloyne, Clone, or Clown) who claimed previously to have shared Wyclif’s conclusion that the sacrament of the altar was material bread, was in church and experienced a miracle upon the elevation of the host: […] on the breaking of the bread the knight looked again, and saw with his own eyes, in the hands of the celebrant friar, true flesh, raw and bloody, divided into three parts. […] Looking at the third part, which was to be dipped into the cup, likewise first saw it white as it had been before, but then saw in the middle of that piece the name of Jesus written in letters of flesh, raw and bloody, which was wonderful to behold.