The healing dialogues of doctor Bullein.

The healing dialogues of doctor Bullein. William Bullein's Dialogue against the Fever Pestilence pestilence/pes��ti��lence/ (pes��ti-lins) a virulent contagious epidemic or infectious epidemic disease.pestilen��tial pes��ti��lencen.1. (1564)is widely recognized as one of the most successful literary experimentsof its period. This chapter sets the book in the context ofBullein's work as a Protestant writer, physician, and socialreformer. It identifies dialogue as a major Tudor genre, giving voice toa range of otherwise voiceless social classes and competing ideologicalpositions at a time of fierce controversy over politics and religion.And it proposes that Bullein meant his medical dialogues to beinstrumental in healing the body of the English commonwealth from theills brought on by social and religious corruption. ********** A Dialogue ... against the Fever Pestilence (1564) by the physicianWilliam Bullein is substantially different from any other dialoguewritten in the sixteenth century. There are more interlocutors, thescene shifts more often and more widely, and the variety of narrativeforms towards which the text gestures is vastly greater than in anyother conversation piece that has come down to us. And its tone--a deftfusion of wit, terror, and pious lyricism lyr��i��cism?n.1. a. The character or quality of subjectivity and sensuality of expression, especially in the arts.b. The quality or state of being melodious; melodiousness.2. , punningly advertised on thetitle page as making the text 'bothe pleasaunte andpietifull'--is as subtly varied as its form. It is, in fact, aone-off experiment: one of the many eccentric yet brilliant experimentsin literary prose during the mid-Tudor period that never did and perhapsnever could spawn any close imitations. (1) These vigorous mutantsoccupy a crucial place in the history of English prose fiction, andperhaps of drama too; yet they have never been granted this place,precisely because of their unclassifiable Adj. 1. unclassifiable - not possible to classifyunidentifiable - impossible to identify oddity. I should like here tobegin to consider the question of why Bullein's dialogue takes theform it does, and where it stands in relation to Tudor literature as awhole. (2) Bullein's assumption of the role of experimenter was a gradualone. His first book, a medical treatise called The Government of Health(1558), announces its debt to one of the major innovators of the earlysixteenth century, the scholar, politician, and amateur physician SirThomas Elyot Sir Thomas Elyot (c. 1490 – March 26, 1546), was an English diplomat and scholar.Thomas was the fruit of Sir Richard Elyot's first marriage with Alice De la Mare, but neither the date nor place of his birth is accurately known. . (3) Bullein's title fuses the name of Elyot'sThe Castle of Health (1537), the first substantial medical textbookwritten in English, with those of his political treatises The Book Namedthe Governor (1531) and The Image of Governance (1541); so it seems todeclare Bullein's ambition to intervene in national politics aswell as in healthcare. And the dialogue form of Bullein's bookrecalls that of Elyot's boldest political works, twodialogue-satires of 1533 entitled Pasquil the Plain and Of the Knowledgethat Maketh a Wise Man, both of which set their debates in the contextof a historical tyranny that bears a close resemblance to the reign ofElyot's volatile master, Henry VIII. One might expect, then, thatBullein's dialogue too would have some political content,especially given his opposition to the pro-Catholic policies of his ownmonarch, Mary Tudor Mary Tudor:see Mary I, Queen of England; Mary of England. , which he made very public when he resigned from hisposition as a parish priest Parish priest may refer to A Parish Priest, a parish's assigned pastor A biography of Fr. Michael J. McGivney by Douglas Brinkley and Julie M. Fenster soon after the Queen's accession. Yet Bullein's treatise, which consists of a light-heartedexchange about medicine between a fun-loving patient called John and asober physician called Humphrey, seems to have little or no politicaldimension. Admittedly, the dedication includes an extended analogybetween poor government and poor health (sig. A3r), which might beconstrued as a sly dig at the Marian administration. And at thebeginning of the dialogue, the patient John is described as a spiritualfollower of the Roman emperor Heliogabalus (sig. B1r), an epicurean witha scandalous sex life--a link that implies that John's personalmisconduct may have its roots in the misconduct of his social superiors.The allusion might have summoned up in the minds of Bullein's firstreaders the extended attack on Heliogabalus in Thomas Elyot's TheImage of Governance, a fictionalized biography of the Roman emperorAlexander See also: Emperor Alexius (disambiguation)Emperor Alexander might refer to: Alexander (emperor) (c. 870–913), was Byzantine emperor (912–913). Severus, whose exemplary conduct contrasted so starkly withthat of King Henry. (4) But apart from these two sallies into satire,the political implications of Bullein's title were not borne out inits pages, and his anti-Catholic readers had to wait until thepublication of his second treatise, Bullein's Bulwark, some yearsafter Mary's death, in order to hear his views expressed at large. The dialogue form of The Government of Health is thoroughlyconventional and can be summed up in the words of another writer Bulleinadmired, the physician and geographer William Cuningham. In the prefaceto his treatise The Cosmographical Glass (1559) Cuningham explains: That the preceptes myghte seme the more facile and plaine, I havereduced it into the forme forme(form) pl. formes ? [Fr.] form.forme fruste? (froost) pl. formes frustes ? an atypical, especially a mild or incomplete, form, as of a disease. of a Dialoge [...] In which Spondaeus(reprasenting the Scholer) maketh doubtes, asketh Questions, objecteth,yea, and some tyme, digresseth not from the fonde imaginations of thegrosse witted wit��ted?adj.Having wit or intellectual comprehension. Often used in combination: keen-witted; dull-witted.wit . Unto which, Philonicus (suppliyng the office of ateacher) answereth to all th'objections, and giveth praeceptes.(sig. A6r-v) The sometimes obtuse ob��tuseadj.1. Lacking quickness of perception or intellect.2. Not sharp or acute; blunt. questioner and the patient instructor arestock characters in Tudor scholarly dialogues, and Bullein continued toexploit them in his second book and in the medical sections of ADialogue ... against the Fever Pestilence. (5) But there are momentseven in this first text when John succeeds in acquiring a character morecomplex than that of the admiring pupil; and in Bullein's laterworks the relationship of questioner to instructor is repeatedly broughtinto question. This is in large part because of his insistence that thepoor and the ignorant have a great deal to teach the learned, and that,conversely, the privileges of the ruling elite--learning and riches--maybe vastly more damaging when abused than misdirected ignorance. The bulkof Bullein's questioners range themselves alongside the poor, notthe wealthy--even the prosperous citizen Civis in Fever Pestilenceacknowledges his humble class origins in Northumberland--and theysteadily accumulate confidence and eloquence as his own confidence as awriter develops in successive texts. Bullein's interest in the poor man's Poor man's is a common slang term used to compare one thing with another. It is not necessarily a derogatory term. It is usually used in a sentence as "X is a poor man's Y", with "X" being the person or thing one is referring to, and "Y" being the superior but similar person or perspective wasshared by another author he admired, the physician and wit Dr AndrewBorde. Borde's work includes travelogues, medical manuals, tractson diet and domestic healthcare, and jestbooks, such as Merry Tales ofthe Mad Men of Gotham (c. 1540) and the hugely influentialScoggin's Jests (c. 1540). (6) For Borde, as a devout follower ofHippocrates, mirth or humour played a vital role in preserving hispatients' health and lengthening their lives; and the equalavailability of humour to rich and poor meant that this branch oftherapy could be as safely entrusted to ploughmen, craftsmen, andservants as to physicians. William Bullein shares Borde's highopinion of the therapeutic value of mirth. In The Government of HealthHumphrey transforms his celebration of the three doctors Diet, Quiet,and Merryman into a disquisition dis��qui��si��tion?n.A formal discourse on a subject, often in writing.[Latin disqus on class, associating cheerfulnessspecifically with the lower orders: the miserable ragged beggar called Irus, was more happier in hispovertie with quietnes and mirth, than was the gluttonous glut��ton��ous?adj.1. Given to or marked by gluttony.2. Indulging in something, such as an activity, to excess; voracious. See Synonyms at voracious. beast, andmonstrous man king Sardanapalus, with all his golden glorie, court ofruffians, and curtizans which came to a shamefull ende [...] What ismirth honestly used? [...] A great lordship to a poore man, andpreserver of nature. (sig. 37r-v) In conformity with this celebration of the therapeutic value ofcheerful poverty, The Government of Health compares the physician to a'botcher' or clothes-mender, whose labours 'do help torepaire thinges that fall into ruine or decay' (sig. A7r), thusboth aligning him with the humblest of craftsmen and identifying thatcraftsman with the process of repairing or reforming the decayed Englishstate. In his next publication, Bulleins Bulwark of Defence against allSickness, Soreness, and Wounds that do Daily Assault Mankind (1562),Bullein extends his operations as a reforming botcher from the bodies ofhis patients to that of the commonwealth. And one of the chiefinstruments he deploys in his political repairs is the poor man'sproperty: humour. At first glance, Bullein's second book, a collection of fourdialogues on Simples, Surgery, Compounds, and the Use of Medicines,looks as drily scientific a question-and-answer session asCuningham's Cosmographical Glass. But its serio-comic titleaccurately reflects its tone, and perhaps too the character of itsauthor. Bullein's 'pleasaunt Pen, his mery Minde, andWit', writes Thomas Newton Dr. Thomas Newton (1704 - 1782) was an English cleric, biblical scholar and author. He served as the Bishop of Bristol from 1761 to 1782. Newton was born in Lichfield, Staffordshire and educated at Cambridge where he became a fellow of Trinity College. in verses prefixed to the 1579 edition,'Did most men please, yea all of Judgment sound' (sig. a4v);(7) and Bullein stresses the 'mery Minde' of the goodphysician in his book by naming one of the doctors in the BulwarkHilarius or mirthful mirth��ful?adj.1. Full of gladness and gaiety.2. Characterized by or expressing gladness and gaiety: a warm, tender, and mirthful movie. . The text Hilarius occupies is filled not only withjokes and puns but with bold political comment, whose tone often recallsthe radical political pamphlets published by the likes of WilliamTurner For other people called William Turner, see William Turner (disambiguation).William Turner (c. 1508 – 7 July, 1568) was a British ornithologist and botanist. , William Baldwin, and Robert Crowley Robert Crowley may refer to: Robert Crowley (printer) (c. 1517 – 1588), English Protestant printer, editor, chronicler, social critic, poet, polemicist, and clergyman Robert Crowley (CIA) (died 2000), Assistant Deputy Director of Clandestine Operations of the CIA in the heady reforming daysof Edward VI Edward VI,1537–53, king of England (1547–53), son of Henry VIII and Jane Seymour. Edward succeeded his father to the throne at the age of nine. Henry had made arrangements for a council of regents, but the council immediately appointed Edward's uncle, . (8) The first dialogue in particular, 'The Booke ofSimples', freely mingles medical advice on the virtues of herbs andfoodstuffs foodstuffsnpl → comestibles mplfoodstuffsnpl → denr��es fpl alimentairesfoodstuffsfood npl → with a frank discussion of the state of the commonwealth. Andas it unfolds, the herb garden through which the two speakers wanderbecomes a miniature model of the nation, whose plants offer analogiesand possible cures for social as well as corporeal Possessing a physical nature; having an objective, tangible existence; being capable of perception by touch and sight.Under Common Law, corporeal hereditaments are physical objects encompassed in land, including the land itself and any tangible object on it, that can be ills, so long as theyare properly used by a learned herbalist herb��al��istn.1. One who grows, collects, or specializes in the use of herbs, especially medicinal herbs.2. See herb doctor. such as Hilarius or Bullein. The trigger for Bullein's transition from humble botcher topoliticalcommentator seems to have been his suffering at the hands of hisbrother-in-law,William Hilton For the British Labour Co-op politician (fl. 1960s), see William Hilton (UK politician)William Hilton (June 3, 1786 - December 30, 1839), English painter, was born in Lincoln, son of a portrait-painter. . Hilton was a member of the Durham gentry,who accused Bullein of poisoning Hilton's brother Thomas,Bullein's patient and patron to whom he dedicated The Government ofHealth. When the jury found Bullein not guilty of murder, Hiltonpromptly had him arrested for debt, and the physician wrote the bulk ofthe Bulwark while languishing lan��guish?intr.v. lan��guished, lan��guish��ing, lan��guish��es1. To be or become weak or feeble; lose strength or vigor.2. in a London jail as a result ofHilton's vendetta vendetta(vĕndĕt`ə)[Ital.,=vengeance], feud between members of two kinship groups to avenge a wrong done to a relative. Although the term originated in Corsica, the custom has also been practiced in other parts of Italy, in other against him. It is hardly surprising, then, ifBullein's persecutor comes to stand in his book for all that iswrong with England. In the preface to the reader Bullein tells us thathe will not write much about Hilton's behaviour, 'least Ishould seeme to wryte, a Story or Tragedy, or els a description of hysfolly, in the place of Phisicke' (sig. a3r). Yet the ensuing textis filled with references to the state of affairs that permits men likeHilton to flourish, and recommendations for putting those affairs torights, as well as with specific allusions to Bullein's oppressor OPPRESSOR. One who having public authority uses it unlawfully to tyrannize over another; as, if he keep him in prison until he shall do something which he is not lawfully bound to do. 2. To charge a magistrate with being an oppressor, is therefore actionable. .The physician uses his dialogue, then, as a means of voicing hissufferings, which failed to win a sympathetic hearing in the law courtsthat condemned him to a debtor's prison A debtors' prison is a prison for those who are unable to pay a debt. Prior to the mid 19th century debtors' prisons were a common way to deal with unpaid debt. United Kingdom . 'Blame me not, goodReader,' he writes, 'although I put hym [i.e. Hilton] in myBooke, which would have put me from thys Lyfe' (sig. a3r). And invoicing his own complaints, he chooses too to speak out on behalf of theother members of the commonwealth who have been rendered voiceless bycorruption, in particular the poor. The dialogue form had already been identified as a medium forgiving a voice to the voiceless by Thomas Smith Thomas Smith may refer to:U.S. congressmen: Thomas Smith (Pennsylvania congressman) (died 1846) Thomas Smith (Indiana congressman) (1799–1876) Thomas Alexander Smith (1850–1932), educator and congressman from Maryland , who introduced adiversity of speakers from different classes into his celebratedDiscourse of the Common Weal of this Realm of England (1549), in theinterests of getting their practical expertise on the social andeconomic problems he deals with. 'I would not only have lerned men[...] hearin,' writes Smith, 'but also merchaunt men,husbandmen, and artificers ARTIFICERS. Persons whose employment or business consists chiefly of bodily labor. Those who are masters of their arts. Cunn. Dict. h.t. Vide Art. (which in their callinge are taken most wise)freely suffered yea and provoked to tell their advises in thismattier.' (9) The Bulwark does not attempt to match Smith'sDiscourse in the social range of its voices, but as it unfolds, thesituation and experiences of the common people emerge as the principaltouchstone for the condition of a state, just as they did in theinterlude Respublica which was performed before Mary Tudor nine yearsearlier. The political aspect of the Bulwark first emerges in a disquisitionon the health-giving properties of honey (sigs A3r ff.). Hilarius'sdisquisition leads to the inevitable account of the bees'commonwealth--which derives from Pliny, but may here have been inspiredby Elyot's Governor (10)--where monarchs live in harmony with theirsubjects and with nature, as we learn in some charming verses addressedto the sun (sig. A4v). A little later, an account of the medicalfunctions of wine speaks of the dangers it poses when too freely quaffedby kings, since drunkenness makes monarchs 'forget the law, andpervert or change the Judgemente of poore mennes Chyldren' (sig.B5r). Soon afterwards, the herb thyme becomes the pretext for ameditation on the need to use time wisely (sig. C5v). The humblest herbsand foodstuffs, then, become in Hilarius's hands incentives forsocial comment. Soon afterwards, he strays from an account of the usesof the common rush into an encomium en��co��mi��um?n. pl. en��co��mi��ums or en��co��mi��a1. Warm, glowing praise.2. A formal expression of praise; a tribute. on a wealthy Suffolk knight calledSir Thomas Rush, which culminates in a fervent wish that all men couldshare in the good knight's fortune. 'I would all Rushes inthis Realme,' exclaims the physician, 'were as riche in value:it would make a flourishing common wealth, and mutch n. 1. The close linen or muslin cap of an old woman. plenty, no Beggers,but riches, and a golden Worlde' (sig.D2v). At this point hisfriend Marcellus intervenes, stung into protest as Hilarius'sdialogue threatens to transform itself into a second Utopia (1516). LikeElyot, he sees egalitarianism as the key to chaos: through sutch aboundaunce, all were cast away, and every man wouldbe a mayster. Every one would disdayne service, and so at length, allshould be tourned into slavery, and the harmony of the Common Wealth,should be chaunged into horrour, whereas no order is. (11) (sig. D2v) If there is to be any radicalism in this text, it firmlydissociates itself from the egalitarianism described in the most famousof early Tudor dialogues. But having established the disputants as anti-utopian, the dialoguenow launches into a series of blistering attacks on corruption among theTudor ruling classes: from the children of the rich who have been'viciously, idly, unlearnedly, yea or rather beastly beast��ly?adj. beast��li��er, beast��li��est1. Of or resembling a beast; bestial.2. Very disagreeable; unpleasant.adv. Chiefly BritishTo an extreme degree; very. broughtup', and who may be cured only by ministration of the herb hemp hemp,common name for a tall annual herb (Cannabis sativa) of the family Cannabinaceae, native to Asia but now widespread because of its formerly large-scale cultivation for the bast fiber (also called hemp) and for the drugs it yields. ,also known as gallowgrass or neckweed (sig. E2v); to a complaint aboutthe disdain of the modern nobility for beans--that is, for ordinary,wholesome things and people--in contrast to the ancient Romanaristocracy, who 'tooke theyr [family] names onely of poreBeanes' and retained these humble titles in acknowledgement oftheir modest origins (sig. E4v). A celebration of the well-stocked parksof Suffolk transforms itself into an attack on grasping landlords whoexploit their wealth 'to the hurte of many perhaps, and profyte ofnone, but to theimselves onely' (sig. I2v). This is followed somepages later by an attack on the self-indulgence of the rich, who needthe 'rich wood, called Guaicum' to reduce the distention dis��ten��tionor dis��ten��sionn.The act of distending or the state of being distended.distention,n a state of dilation. oftheir 'great fatte grose bellyes [...] puffed up with eating,drynking, sleapyng and sytting in the house al the day withoutlabour' (sig. K3r). The use of guaicum is rendered necessary by anenslavement en��slave?tr.v. en��slaved, en��slav��ing, en��slavesTo make into or as if into a slave.en��slavement n. to the 'prince of evil', gold (sig. K4r), whoseservice is specially sought by lawyers, divines, and physicians. And thetheme of enslavement to gold is taken up in Hilarius's account ofthe medicinal properties Many plants have traditional medical uses. Ethnobotanists and pharmacognacists catalog and study these plants and uses. This is a list of some of the more common medicinal properties that are ascribed to plants. of various metals, which closes with the piousprayer that 'God graunt wee use Golde as a servaunt, but not as aMayster, for then wee are bonde Slaves' (sig. M5r). By this stage,Bullein's commitment to social as well as medical reformation hasestablished itself beyond all doubt; and the dialogue form has emergedas a major tool in the achievement of the doctor's politicalobjectives. Peppered through the passages of social comment are allusions toexemplary local gentlemen, whose fair and moderate exercise of theirwealth puts the self-serving majority of the ruling classes to shame.One of these is Sir Thomas Rush, who gives the common rush a good name.Another is Sir Richard Alie, who made himself 'a profitableinstrument to our common Wealth' by his fortifying of Berwick (sig.G2r). Best of all is 'Sir John Delaval Knight', who owns somesalt-pans yet 'powdreth no man by the salt of extorcion [...] butliberally spendeth his Salt, Wheat, and his Mault, like aGentleman' (sig. M5r-v). As a result, Delaval writes his ownepitaph epitaph,strictly, an inscription on a tomb; by extension, a statement, usually in verse, commemorating the dead. The earliest such inscriptions are those found on Egyptian sarcophagi. , as Hilarius tells us: 'I neede not put his name inremembraunce in my booke, for it shall lyve by immortall good fame, whenmy booke shal be rotten.' Such knights inject life and health intothe body of the nation, and are rewarded by living on in the collectivememory of its inhabitants :This article is about the video game. For Inhabitants of housing, see Residency Inhabitants is an independently developed commercial puzzle game created by S+F Software. DetailsThe game is based loosely on the concepts from SameGame. , irrespective of irrespective ofprep.Without consideration of; regardless of.irrespective ofpreposition despitethe part they play inBullein's tract. Bad gentlemen, by contrast, bulk as large in Bullein's book asthe diseases they resemble. Bullein's enemy William Hilton, forinstance, has left an indelible mark on Bullein's pages like thetrace of a virulent illness on the skin of its victim. 'Blame menot my deare frend Marcellus,' Hilarius cries, thogh this man be remembred in my booke heare of health, andpreserving of lyfe, seyng I was somtyme in his booke of a falseindightment, conspiring my death. This man hath letted me, in so muchthat I cannot run to the marke, that I did set before myne eyen,therefore I must make a shorter course, finishing with fewer things,trusting not unprofitable for the common welth. (sig. O1v) It is Hilton who is responsible for the hiatuses in Bullein'svolume, such as the absence of a full anatomy of man at the end of thesecond dialogue, or the omissions and inaccuracies Thomas Newton notesin his prefatory pref��a��to��ry?adj.Of, relating to, or constituting a preface; introductory. See Synonyms at preliminary.[From Latin praef verses. Hilarius's most extended attack on Hiltonoccurs in a panegyric panegyricEulogistic oration or laudatory discourse. The panegyric originally was a speech delivered at an ancient Greek general assembly (panegyris), such as the Olympic and Panathenaic festivals. on milk, the foodstuff without which no human lifecan subsist sub��sist?v. sub��sist��ed, sub��sist��ing, sub��sistsv.intr.1. a. To exist; be.b. To remain or continue in existence.2. . Bullein's enemy, it is implied, constitutes theobverse of this life-giving substance, draining goodness from thecommonwealth by his repeated assaults on the life and work of its humbleguardian Bullein. Since the physician worked long and hard to save thelife of Hilton's brother Thomas, Hilton becomes the embodiment ofmonstrous ingratitude IngratitudeAnastasie and Delphineungrateful daughters do not attend father’s funeral. [Fr. Lit.: Père Goriot]Glencoe, Massacre . And in the process he comes to stand for theworst form of corruption that has taken root in the ranks of the Tudorruling classes. For Hilarius, as for Bullein, ingratitude is the most heinous ofvices, being the sin of Christ's betrayer, Judas Iscariot Judas Iscariot(ĭskâr`ēət), Jesus' betrayer, possibly from the village of Kerioth, the only Judaean disciple among the Twelve, and, according to the Gospel of St. John, their treasurer. . Heincorporates a lengthy attack on it into his 'Booke of the Use ofSicke Men, and Medicines' at the end of the Bulwark (sigs3E2v-3E4r), which consists in large part of a retelling re��tell��ing?n.A new account or an adaptation of a story: a retelling of a Roman myth.of the story ofTheseus and his abandonment of Ariadne, who helped him to defeat theminotaur. (12) In Hilton, Hilarius/Bullein says in the 'Book ofSimples', we see how ingratitude 'doth degeneratmankynde' (O2r); for 'lyke as gentlenes with vertues maketh avery gentle man: although somtime obscurely borne: so doth doth?v. ArchaicA third person singular present tense of do1. ingratitude,blemish blem��ishn.A small circumscribed alteration of the skin considered to be unesthetic but insignificant.blemish, and defyle them, which can bryng nothing els for themselves,but Pedegrees, lynes, cotes, and standerdes'. Bullein is nodisdainer of social mobility; like other radical Protestants of Tudortimes, he sees noble status as a reward for noble conduct, and he speakselsewhere with approval of the children of 'obscure, skant yomen,and very abjectes' who end up in possession of 'rych housesand lands, where somtyme their parents would gladly have served in thekitchen' (sig. 3B3v). Indeed, men like Hilton demonstrate the needfor such radical shifts in family fortunes; how else, Bullein implies,may 'defilement' be purged from the ranks of the rulingclasses? Hilarius's attack on Hilton ends by insinuating in��sin��u��at��ing?adj.1. Provoking gradual doubt or suspicion; suggestive: insinuating remarks.2. Artfully contrived to gain favor or confidence; ingratiating. that heshall find himself without issue, unremembered, and weeded out of thegarden of gentility: 'Faythles and fruitles he is' (sig. O2r);and the Bulwark proceeds to enact this blotting out of Hilton'slineage by refusing to let his name sully any more of its pages.Instead, the first of its dialogues closes in lyrical mood with acelebration of God's miraculous creation, as manifested in thefruitful and faith-inducing herb garden where Hilarius and Marcellushave been walking (sigs O6r-P1v). The physician's small,well-tended plot of earth, and the valuable text that springs from it,embodies what the commonwealth might be if learning not litigation An action brought in court to enforce a particular right. The act or process of bringing a lawsuit in and of itself; a judicial contest; any dispute.When a person begins a civil lawsuit, the person enters into a process called litigation. ruledthe land. And the forgotten Hilton represents what must be uprooted fromits soil if it is to become such. In the 'Booke of Simples' that opens the Bulwark, then,dialogue comes to represent the fruitful cooperation that preserves anation, in contrast to the various forms of treacherous self-seekingthat tear it apart. In the 'Dialogue between Soarenes andChirurgi' that follows, Bullein's instructive conversationsare identified with a specific theatrical genre, comedy, as opposed tothe tragedy that men like Hilton are working to bring about. Sorenessopens the dialogue by announcing his desire to create 'a pleasauntComodye' through godly god��ly?adj. god��li��er, god��li��est1. Having great reverence for God; pious.2. Divine.god talk, in contrast to the 'fearfulTragidye' experienced by those who neglect God's word (sig.2A2r). Soon afterwards, in a list of the learned writer-physiciansBullein admires, which includes the Protestant polemicist po��lem��i��cist? also po��lem��istn.A person skilled or involved in polemics.polemicist, polemista skilled debater in speech or writing. — polemical, adj. Turner, thecosmographer cos��mog��ra��phy?n. pl. cos��mog��ra��phies1. The study of the visible universe that includes geography and astronomy.2. Cuningham, the poet Thomas Phaer Thomas Phaer (also spelled Phaire, Faer, Phayre, Phayer) (c.1510 – 12 August 1560) was an English lawyer, paediatrician, and author. He is best known as the author of The Boke of Chyldren , the mathematician RobertRecord, and the politician Elyot (sig. 2A4r-v), Andrew Borde ismentioned, a writer who saw 'three hellish Tragedies' atRome--No Order, Gnashing of Teeth, and Dwelling in Wretchedness (sig.2A4r)--and who reported them in one of his tracts, despite harbouringCatholic sympathies himself. (13) This portrait of Borde as thepossessor of an awkward dual identity--both a writer on physic phys��icn.A medicine or drug, especially a cathartic.physic1. the art of medicine and therapeutics.2. a medicine, especially a cathartic. See also purging ball. 'toprofit the common wealth withal' and 'a bird of this nest orCage, called Rome'; both composer of comic narratives andparticipant in the tragic fate of all papists; both physician anddisease--imports a new complexity into Bullein's work, which isdeveloped in the last and most dramatic dialogue in the Bulwark, whichcomes close in tone to the Dialogue ... against the Fever Pestilence. 'The Booke of the use of sicke men, and medicines' stagesa difficult balancing act between theatrical genres, as the patientSickness expresses his fears concerning the potentially tragic death hemight suffer, and the physician Health seeks to reassure him that deathrepresents a comic termination to mortal torments. Sickness is prey towhat Health calls 'perturbations of the mynde' (sig. 3D5v),which first manifest themselves when a stray phrase from the CatholicOffice for the Dead, Qui Lazarum, triggers a lengthy digression from himon physical and mental misery, especially 'inward agonie' or'affliction of the spirites' (sig. 3A6r-v). After ending histirade, Sickness apologizes for straying from the subject of medicine,explaining that he may have heard the phrase Qui Lazarum in 'alamentable la��men��ta��ble?adj.Inspiring or deserving of lament or regret; deplorable or pitiable. See Synonyms at pathetic.lamen��ta��bly adv. tragedye', which is what set off these tragic thoughts.Health responds by urging him to take things less seriously, drawing ananalogy that was later made famous by Shakespeare: Use this world lyke a Stage, play thy part theron in thy vocation[...] And for as much as mankind, hath laboure, travel, heaviness,sorrowe, and disquietnes al his life [...] is it not better then, for aman to eate and drink, and his soule to bee merye in his laboure, andthis is the gifte of God sayth the wyse man. (sig. 3B1r-v) Sickness concurs, and the dialogue returns for a while to comicmode. But later the patient launches into a second tragic disquisition,this time on the hard lot of the poor, among whom he counts himself. Thedisquisition consists of an astonishingly a��ston��ish?tr.v. as��ton��ished, as��ton��ish��ing, as��ton��ish��esTo fill with sudden wonder or amazement. See Synonyms at surprise. vivid portrait of anorth-country labourer, 'the barbarous uplandish Jenking with tornehose, and clouted bootes, foule shurt, and thredbare bonet, long lockes,and crumpled crum��ple?v. crum��pled, crum��pling, crum��plesv.tr.1. To crush together or press into wrinkles; rumple.2. To cause to collapse.v.intr.1. handes, and gryned, scurvy scurvy,deficiency disorder resulting from a lack of vitamin C (ascorbic acid) in the diet. Scurvy does not occur in most animals because they can synthesize their own vitamin C, but humans, other primates, guinea pigs, and a few other species lack an enzyme countenaunce' (sig. 2B2v),who is a 'child, and feeder of the commonwealth', yet who isalso one of the impoverished classes who 'lacke providence, toforsee and prepare medecine, fitte for their defence, of whom God takeththe onely cure and charge' (sigs 2B2v-3B3r). Once again, Healthobjects to the tragic overtones of this sentimentalized portrait. Thepoor are not as helpless as all that, he argues; they have traditionalmedicines of their own, and their intelligence and industry should beclear from the fortunes of their children. 'I pray you,' hegoes on, Be not mitours set upon the headdes of plowemennes sonnes? And donot the children oftentimes, of obscure, skant yomen, and very abjectes,possesse both rych houses and lands [...]? Exclame not neither bewaylethese poore ones estates: for they can see daye at a little hole, andlive as merye, the olde proverbe sayth, as whyte Bee in Hyve. (sig.3B3v) Health does not advocate complacency about the condition ofindigence in��di��gence?n.Poverty; neediness.Noun 1. indigence - a state of extreme poverty or destitution; "their indigence appalled him"; "a general state of need exists among the homeless" : the rich must help the poor when they need it; but he refusesto allow Sickness to envelop en��vel��op?tr.v. en��vel��oped, en��vel��op��ing, en��vel��ops1. To enclose or encase completely with or as if with a covering: "Accompanying the darkness, a stillness envelops the city"his 'barbarous uplandish Jenking'in the melancholy cloud of fatalism fa��tal��ism?n.1. The doctrine that all events are predetermined by fate and are therefore unalterable.2. Acceptance of the belief that all events are predetermined and inevitable. . Nevertheless, melancholy keeps returning to the dialogue withunnerving un��nerve?tr.v. un��nerved, un��nerv��ing, un��nerves1. To deprive of fortitude, strength, or firmness of purpose.2. To make nervous or upset. persistence. After a period of relative cheerfulness, Sicknesssuddenly tells Health that he no longer takes pleasure in the Muses orliterary arts that once brought him comfort: 'For their delyghtesto me be rather lothsome, and vexe my Minde' (sig. 3D5r). Healthdiagnoses his condition as a form of mental illness, and proceeds tolist the 'perturbations of the mynde' to which humanity issubject--fear, anger, sorrow, love, jealousy, ingratitude, and therest--with illustrative anecdotes to show their effects. Even'soddain joy', it emerges, can kill you: 'some doe dyewith extreme laughing' (sig. 3E3v); so that humankind seems to beconstantly teetering on an emotional see-saw between happiness andmisery, delight and loathsomeness, sickness and health. This dualism dualism,any philosophical system that seeks to explain all phenomena in terms of two distinct and irreducible principles. It is opposed to monism and pluralism. In Plato's philosophy there is an ultimate dualism of being and becoming, of ideas and matter. ,Health concludes, is built into the structure of time itself:'After the day,' he tells Sickness, 'followeth the nyght,and after lyfe, approacheth moste fearful death' (sig. 3E6r). It isthe physician's task to stress the comic aspect of things, sincehappiness and moderate laughter promote well-being; but 'the Imageof deathe is to all Fleshe so fearefull', as Sickness puts it (sig.3B5v), that it casts its long shadow across the entire 'Stage'of the world, plunging even the most cheerful personalities, actions,and anecdotes into gloom at a moment's notice. Bullein's last and most complex work, A Dialogue ... againstthe Fever Pestilence, adopts once again the mixed tone of the'Booke of ... medicines', exploiting the dialogue form as ameans of giving shape to the rapid shifts in mood and theme thatcharacterize the final section of Bullein's Bulwark. Thesebeautifully orchestrated shifts here make dialogue the perfect mediumfor ranging freely across class boundaries while deliveringpronouncements of remarkable boldness on the actual and potentialcondition of the English nation. Tragic and comic narratives interchangewith one another throughout the text, teasing the reader with thepotentially 'pleasant' or 'pitiful' outcomespromised in its title page. And in it the unstable dual identity of thepatient Sickness, who veers between cheerfulness and acute depression,confident faith and overwhelming doubt, extends to nearly every memberof its extensive cast, with the result that the reader is kept ingenuine suspense as to the ultimate fate of nearly all of them, in spiteof the lip-service Bullein pays to the Calvinist doctrine ofpredestination predestination,in theology, doctrine that asserts that God predestines from eternity the salvation of certain souls. So-called double predestination, as in Calvinism, is the added assertion that God also foreordains certain souls to damnation. . In this dialogue Bullein himself is as insecure in his moralauthority as any of his fictional characters This is a list of fictional characters. It has been expanded into the following lists: List of fictional actors List of fictional aliens List of fictional amateur detectives List of fictional Amazons List of fictional anarchists List of fictional androids , despite his status aswriter and physician. The witty servant Roger speaks eloquently at onepoint on the limitations of writing; (14) and as for the medicalprofession, Bullein's diatribes in his other texts against corruptphysicians seem here to have extended themselves to a distrust anddisapproval of the whole profession, corrupt or otherwise. The onephysician in the text--who in previous dialogues was the advocate oflife and faith--has a name that links him with hemp or thehangman's rope Noun 1. hangman's rope - a rope that is used by a hangman to execute persons who have been condemned to death by hanginghangman's halter, hempen necktie, halter, hemp , 'Capistranus', and so brands him as theinstrument of faithlessness FaithlessnessSee also Adultery, Cuckoldry.Angelicabetrays Orlando by eloping with young soldier. [Ital. Lit.: Orlando Furioso]Camillafalls to temptations of husband’s friend. [Span. Lit. and death. In the second edition of FeverPestilence this name gets changed to that of a real-life foreignpractitioner, Dr Burcot (inverted invertedreverse in position, direction or order.inverted L blocka pattern of local filtration anesthesia commonly used in laparotomy in the ox. to 'Tocrub' in the text),whom Bullein represents as being as little interested in the health ofhis patients as in that of the nation they inhabit. (15) The mark of thecitizen Civis's salvation at the moment of his death is the factthat he does not send for Capistranus/Burcot but for a Protestanttheologian, who prepares him for the life to come instead of strugglingto retain him in this world, as the atheist doctor would have done. AndBullein's own claim to moral authority rests in an epistle epistle(ĭpĭs`əl), in the Bible, a letter of the New Testament. The Pauline Epistles (ascribed to St. Paul) are Romans, First and Second Corinthians, Galatians, Ephesians, Philippians, Colossians, First and Second Thessalonians, First and he addsat the end of the book (pp. 136-38), where he refuses point-blank toprescribe medication for his plague-smitten friend Francis Barlow Please choose between: Francis Barlow (artist) (1626?–1704), the British painter, etcher, and illustrator Francis C. Barlow (1834–1896), the US lawyer, politician, and general ,urging him instead to focus all his energies on spiritual self-healing.Fever Pestilence as a whole, then, has a tricksy, dual function: itmasquerades as a conventional medical treatise--the work is filled withgenuine medical prescriptions against the pestilence--but it finallydismisses the current obsession of English subjects with medicine as oneof many symptoms of the nation's sickness, that is, its loss ofspiritual direction, under the influence of corrupt, selfseekingstrangers. The dialogue's pose as a medical recipe book is a blind,designed to seduce its terror-stricken readers into a consideration oftheir spiritual rather than their physical welfare. And Bullein'stext has a still more ambitious design besides this one: to reform andrestore to health the nation of which its readers are citizens. Itrepresents, then, the fulfilment of the promise implicit in Adj. 1. implicit in - in the nature of something though not readily apparent; "shortcomings inherent in our approach"; "an underlying meaning"underlying, inherent the title ofBullein's first dialogue, to fuse the notions of good governmentand good health in an inviolable unity. And it sets about achieving thisunity by populating itself with one of the most believably complexcollections of English characters since Chaucer. The foreign physician Burcot is, in fact, the most one-dimensionalfigure in the text, by virtue, perhaps, of his foreignness as much as ofhis exclusive preoccupation with the physical health of his patients.His English apothecary apothecary/apoth��e��cary/ (ah-poth��e-kar?e) pharmacist. a��poth��e��car��yn. pl. a��poth��e��car��ies Abbr. ap.1. Crispin, by contrast, has two sides to hisnature: despite his unscrupulous professional practices, he finds hisconscience troubled at the deathbed of Antonius because of the dyingman's impenitence im��pen��i��tent?adj.Not penitent; unrepentant.im��peni��tence n.im��pen , and hurries home to set his affairs in order (p.27). (16) Antonius, too, despite being Italian and an atheist, hashumanity in his make-up: he asks Burcot to list the remedies forpestilence for the sake of others, since he himself is too far gone toprofit by them (p. 39). The citizen Civis possesses an equallyconvincing split personality. He begins the dialogue as a seeminglyexemplary figure, dispensing alms to his indigent indigent1) n. a person so poor and needy that he/she cannot provide the necessities of life (food, clothing, decent shelter) for himself/herself. 2) n. one without sufficient income to afford a lawyer for defense in a criminal case. countrymen andswearing to stay put in the city despite the plague; but as thenarrative unfolds he emerges as an extortionate landlord (his countryestates have been depopulated de��pop��u��late?tr.v. de��pop��u��lat��ed, de��pop��u��lat��ing, de��pop��u��latesTo reduce sharply the population of, as by disease, war, or forcible relocation. by reason of the high rents he charges, p.112), a thoughtless employer (he fails to reward the faithful service ofhis man Roger, p. 122), and a naive consumer of other men's lies(he believes every word uttered by the mendacious men��da��cious?adj.1. Lying; untruthful: a mendacious child.2. False; untrue: a mendacious statement.See Synonyms at dishonest. traveller Mendax, p.111). His servant Roger is as morally ambiguous as his master. He isboth a witty clown, whose merry tales hold the seeds of Protestantwisdom, and a potential rogue or criminal, as his name suggests (Mendaxcalls him 'vile Roge' when they quarrel, p. 112), who desertshis employer in his hour of need and plans to take up a life of crimeafter Civis's death (pp. 122-23). And Mendax is both a congenitalCatholic liar and the man who paints the picture of an idealized i��de��al��ize?v. i��de��al��ized, i��de��al��iz��ing, i��de��al��iz��esv.tr.1. To regard as ideal.2. To make or envision as ideal.v.intr.1. Antipodean an��tip��o��des?pl.n.1. Any two places or regions that are on diametrically opposite sides of the earth.2. (used with a sing. or pl. verb) Something that is the exact opposite or contrary of another; an antipode. island, Traeg Natrib, which Protestant Great Britain Great Britain,officially United Kingdom of Great Britain and Northern Ireland, constitutional monarchy (2005 est. pop. 60,441,000), 94,226 sq mi (244,044 sq km), on the British Isles, off W Europe. The country is often referred to simply as Britain. would dowell to emulate (pp. 105-11). Each of these characters shares the dualnature of Fever Pestilence itself, which is half tragic, half comic,full of lively wit and humour, yet presided over by the broodingpresence of death, who makes a terrifying ter��ri��fy?tr.v. ter��ri��fied, ter��ri��fy��ing, ter��ri��fies1. To fill with terror; make deeply afraid. See Synonyms at frighten.2. To menace or threaten; intimidate. personal appearance in thedrama's final act. And both characters and dialogue paint aportrait of the dualistic du��al��ism?n.1. The condition of being double; duality.2. Philosophy The view that the world consists of or is explicable as two fundamental entities, such as mind and matter.3. land that spawned them, which might easily behome--like Traeg Natrib--to the 'best reformed Citie of thiswoorlde' (p. 105), but is instead overrun with the forms ofcorruption that bring on pestilence as a token of God's anger. The power of Bullein's last book springs in part from itsclose connection with the age of Edward VI, when it really seemed tomany radical Protestants that writing could precipitate reformation, andin part from its resignation to the fact that the Edwardian age is past,and that Protestant polemics po��lem��ics?n. (used with a sing. or pl. verb)1. The art or practice of argumentation or controversy.2. The practice of theological controversy to refute errors of doctrine. proved finally impotent to stave off theMarian reaction. On the one hand, this is a medical tract that disclaimsthe power of medicine: nobody is cured by any wholesome recipe itoffers. On the other, the therapeutic power of satire is something itstill seems convinced of, despite all the evidence against it. Where the'Dialogue between Soarenes and Chirurgi' listed physicians asits author's inspiration, Fever Pestilence identifies itself with acanon of reforming poetry first drawn up by writers like John Bale For the American baseball player use John Bale (baseball)John Bale (21 November, 1495–November, 1563) was an English churchman, historian and controversialist, and Bishop of Ossory.He was born at Cove, near Dunwich in Suffolk. andRobert Crowley in the 1540s and 1550s, which laid the ground forreformation through ferocious satirical assaults on corruption in Churchand State. (17) Towards the beginning of the text a garden is describedthat is as full of carvings of these eminent writers as it is of herbs(pp. 14-18). Homer, Ennius, Hesiod, and Lucan sit there asrepresentatives of ancient poetry; but their British counterparts arefar more lavishly depicted. Skelton is described in detail, as areGower, Chaucer, Lydgate, Alexander Barclay Dr Alexander Barclay (c. 1476 – June 10, 1552), English/Scottish poet, was born about 1476. His place of birth is matter of dispute, but William Bulleyn, who was a native of Ely, and probably knew him when he was in the monastery there, asserts that he was born "beyonde the , and Sir David Lyndsay Sir David Lyndsay of the Mount, (also spelled: Lindsay) (c. 1490 – c. 1555) was a Scottish officer of arms and poet of the 16th century, whose works reflect the spirit of the Renaissance. of theMount (in the first edition, at least; he drops out of the second). (18)And each of these poets recites a specimen of his reforming verses.Granted, the man in whose garden these carvings stand, the plague victimAntonius, learns nothing from them; he dies impervious to the morallessons they transmit, perhaps because his Mediterranean origins debar de��bar?tr.v. de��barred, de��bar��ring, de��bars1. To exclude or shut out; bar.2. To forbid, hinder, or prevent. him from full access to the literary and religious traditions they drawon. But Bullein implies that his English Protestant readers may respondmore readily than Antonius to the texts of their forebears. Certainly,the apothecary Crispin interprets the texts carved on the statues withease and accuracy (p. 15), to such effect that they help (one presumes)to effect his conversion. And later, Civis too proves an adept reader ofEnglish works of art, offering confident commentaries on his servantRoger's fables, and explaining to his wife the meanings of thecomplex emblematic wall hangings they find in a country inn. Bullein himself is undoubtedly a masterly reader of his Englishprecursors in the fields of poetry, prose, and drama, as is evident fromhis inventive imitations of their work. His debt to Thomas More, forinstance, is obvious throughout his dialogue, not just in theextravagant fantasies of the traveller Mendax. Like More, he moveseffortlessly between extravagant fantasies and trenchant observations onthe material conditions of life in contemporary England; severalsections of his dialogue replicate the shift between fiction and realitythat More established as his trademark in the shift between the firstand second books of Utopia. Bullein's admiration of the jestbookwriter Andrew Borde, too, may be inferred from the jestbook anecdotestold by Roger. The fraudulent lawyers Avarus and Ambidexter and theservant Roger, especially in the interpolated interpolated/in��ter��po��lat��ed/ (in-ter��po-la?ted) inserted between other elements or parts. passage in the 1573edition, where Roger contemplates a criminal career, invoke the popularrogue literature of the 1550s and 1560s. (19) English drama Drama was introduced to England from Europe by the Romans, and auditoriums were constructed across the country for this purpose. By the medieval period, the mummers' plays had developed, a form of early street theatre associated with the Morris dance, concentrating on themes such , too, isrecalled in the allegorical identities of Avarus and Ambidexter, thelatter of whom shares his name with the Vice in Thomas Preston'stragicomedy tragicomedyLiterary genre consisting of dramas that combine elements of tragedy and comedy. Plautus coined the Latin word tragicocomoedia to denote a play in which gods and mortals, masters and slaves reverse the roles traditionally assigned to them. Cambyses (1558-70), and whose companions Rapax, Capax, andTenax resemble the Vice's subordinates Huff, Snuff, and Ruff. Anddrama may also have given the dialogue its overall shape. Like otherTudor works of prose fiction, the text may easily be divided into thefive parts or acts of a Terentian comedy (Act i: the citizen'sencounter with the northern beggar Mendicus; Act II: events in andaround the house of the dying Antonius; Act III: the citizen'sflight into the country, with the tales told Tales Told is British singer/songwriter Ian Broudie's debut release, staging a return to his roots with traditional instruments - real drums, acoustic guitars and fiddles with no studio trickery. on the way; Act iv: whathappened in the inn where the citizen meets Mendax; Act v: thecitizen's death). (20) The thumbnail sketches of characters'appearances (especially Ambidexter and Mendax) mimic the work ofLangland and Chaucer; the attacks on Bishop Bonner recall the satiricalassaults on him in the 1550s; (21) and so on. The dialogue seemsdeliberately to draw together the corpus of English literature and dramathat precedes it, as if to invoke the mustered powers of the best poetsin support of the reformed commonwealth whose establishment it seeks toadvance. Yet, despite its generic eclecticism eclecticism, in arteclecticism(ĭklĕk`tĭsĭz'əm), art style in which features are borrowed from various styles. , this is an extraordinarilywell-constructed text. Whether or not one accepts the division into fiveacts, the overall organization of the dialogue remains deeplysatisfying. The beggar we meet at the beginning is counterbalanced bythe traveller Mendax whom we meet towards the end. Both these travellersserve as harbingers of death: that of Antonius in the first part, thatof Civis in the last. The usurer's bad end, accompanied by anatheist physician, contrasts with the 'blessed ende' of Civis,who is attended by a Calvinist theologian (p. 135). And theusurer's status as foreign, both to England and to the concept ofheaven, contrasts with Civis's sense of belonging, both to Englandand to the 'eternall glorie' of which he dies a sanctified sanc��ti��fy?tr.v. sanc��ti��fied, sanc��ti��fy��ing, sanc��ti��fies1. To set apart for sacred use; consecrate.2. To make holy; purify.3. 'Citezen' (p. 135). The usurer's death scene isinterrupted by the account of the sculpted sculpt?v. sculpt��ed, sculpt��ing, sculptsv.tr.1. To sculpture (an object).2. To shape, mold, or fashion especially with artistry or precision: poets in the garden (pp.14-18), and this is balanced at the other end of the book byCivis's interpretations of emblematic paintings at an inn (pp.80-94). And between these two sets of balanced scenes occurs the flightof Civis and his wife from London, its progress hastened by the merrytales of their servant Roger (pp. 56-79). It is hard to imagine a neaterway of arranging a narrative with so many disparate elements. Roger's stories form the centrepiece of the dialogue, raisingthe spirits of its readers along with those of his employers, andreassuring us that we may finally share in the comic narrative ofCivis's life and death, rather than in the tragic tale of Antonius.In addition, they provide a kind of potted history of English comicprose in the first half of the sixteenth century. The first ofRoger's stories tells of a grandfather of his who took part in abattle during the Wars of the Roses; and his experience (he hid in anoak tree to avoid being heroically killed) demonstrates that there areaspects of history 'which are not written in the Chronicles',and to which we can only gain access through tales passed down inpopular tradition. This merry tale or history provides a context for thehistories that follow: they offer alternatives to the 'officialversion' of contemporary culture, blunt appraisals of the forms ofselfishness and deceit that dominate Roger's nation. And in thenext story we are reminded of the antiquity of this form of popularwisdom conveyed through narrative. It is an Aesopic animal fable familiar to every Tudor schoolchild:the tale of the mouse who gnawed through a lion's bonds ingratitude for past favours, and whose moral is that the poor may assistthe powerful in ways that cannot be foreseen. The third story, too, isan animal fable, more complex than the first and with a more topicalapplication. It deals with the revenge of the chickens on the ducks foran act of treachery, and the citizen applies it specifically to'ingratefull people and flatterers' among the contemporaryrich and the clergy (p. 67), taking up Bullein's favourite theme ofingratitude as the chief symptom of England's current depravity.The fourth story is more topical still, with the result that it was leftout of the second and third editions. In it a shepherd boy called Renob(Bonner in reverse) achieves his ambition of becoming pope through thehelp of a devilish dev��il��ish?adj.1. Of, resembling, or characteristic of a devil, as:a. Malicious; evil.b. Mischievous, teasing, or annoying.2. Excessive; extreme: devilish heat. friar, only to repudiate TO REPUDIATE. To repudiate a right is to express in a sufficient manner, a determination not to accept it, when it is offered. 2. He who repudiates a right cannot by that act transfer it to another. the friar once he has scaledthe papal throne. This anti-Catholic romp opens the floodgates to aseries of satirical anecdotes that have a curious affinity with the workof the Protestant polemicist-poet William Baldwin. Baldwin'sinventive post-Aesopian novel Beware the Cat (1553; first published1570) charts the clandestine adventures of papists in Edwardian Englandthrough the tale of the amateur scientist Gregory Streamer, who learnsto speak the language of the cats--for which read Catholics. At onepoint Roger cites Streamer's favourite proverb 'beware thecat' (p. 61), in the course of praising the eloquence of his petparrot, as Skelton did in his satire Speak Parrot, (22) and he endorsesStreamer's view that animals as well as human beings havelanguages. And his familiarity with the connection between cats andCatholics induces him to transform the Aesopian fable with which hebegan into a form of religious polemic, where Catholic con-womensubstitute cats for babies--'a pleasaunt practise ofpapistrie', as Civis explains, 'to bring the people to newewonders' (p. 73), and thus presumably pre��sum��a��ble?adj.That can be presumed or taken for granted; reasonable as a supposition: presumable causes of the disaster. reconvert re��con��vert?intr. & tr.v. re��con��vert��ed, re��con��vert��ing, re��con��vertsTo undergo or cause to undergo conversion to a previous state or condition. them to the oldreligion they have begun to abandon. By this stage, in fact, the popularanecdote has become a vehicle for incisive social comment in theinterests of reformation. The illiterate Roger has emerged as the truecountryman of the proto-Protestant satirists who stocked Antonius'sgarden: as imaginative in the range of narrative forms he deploys, asprobing in his analysis of the hidden activities of the enemies ofreform, and as fearless in applying his narratives to the immediatecircumstances of his auditors as any Chaucer, Skelton, or Lyndsay. Roger's master Civis then takes this process of fusing what isimagined with what is real a step or two further, by telling a series ofstories about the monstrous births that have occurred throughouthistory, all of which have proved preludes to momentous events orrevolutions. 'Still after theim,' he says, 'doe comegreate battailes, Pestilence, yearthquake, hunger, and marveilouschanges in commonwealthes' (p. 77). Roger's anti-Catholictales lead seamlessly into an analysis of the religious and socialcorruption of the present day, which Civis develops in his commentary onthe emblematic paintings they find in the inn at which they arrive soonafter; and this analysis in turn provides an explanation for theoutbreak of pestilence, to which Bullein's text is a directresponse. Abruptly, fiction fuses with history, digression becomesdiagnosis, and the Tudor readers find their reading matter combiningitself with their profoundest fears and paranoias, as the monstrousevents of their own time take centre stage in Bullein's text. Thesesuccessive shifts in tone are brilliantly handled and culminate in themost drastic shift of all, where a personified Death intervenes in thefinal act, staking his claim to the reader as well as to the charactersin Fever Pestilence, and summoning both to repentance. The last part ofthis last act brings fictional characters and Bullein's Tudorreaders together in a collective rite of contrition con��tri��tion?n.Sincere remorse for wrongdoing; repentance. See Synonyms at penitence.Noun 1. contrition - sorrow for sin arising from fear of damnationcontriteness, attrition orchestrated by thefictional pastor Theologus. If the barriers of class have been brokendown in the course of this printed drama, it ends by dissolving inaddition the barriers between physician and patient, writer and reader,imagination and reality in a rhetorical gesture as radical as anythingin the great drama of Shakespeare's generation. But despite the arrival of the Apocalyptic figure of Death in itslast section, the dialogue's trajectory is calculated to bring hopeto its Protestant recipients. By carrying them away from theconversation between an atheist physician and his patient at the startof the book towards the devout exchange between a theologian and hisparishioner at the finish, the text enacts the movement Bullein longs tosee reproduced in his country: a finally comic movement from corruptionto reformation, from self-obsession to unity, from class conflict tocooperation between all citizens, high and low. The dialogue closes on anote of harmony, as the theologian addresses God in place of the deadCivis, and goes on to describe Civis's death in wittily musicalterms: 'nowe dooe fleshe and bloudde forsake him [...] Now is theOrgaines yeldyng up the heavenly sounde, his soul commeth nowe untothee, good Lorde; receive it to thy mercie' (p. 135). For all theproblems that beset Bullein's Britain, his final dialogue proclaimsthat it is still capable of achieving apotheosis apotheosis(əpŏth'ēō`sĭs), the act of raising a person who has died to the rank of a god. Historically, it was most important during the later Roman Empire. , and that dialogueslike his own may be instrumental in bringing this about. As we have seen, Bullein takes care to place his dialogue in aliterary and national history that reads Protestantism as an ancient andpopular movement whose ancestry stretches back to ancient Greece andRome and whose exponents occupy the most prominent places inEngland's cultural heritage, yet it never loses touch with thegrass roots of the English people. Fever Pestilence, then, is a worthyprecursor to Protestant epic romances such as the Faerie Queene and thePilgrim's Progress. Its influence on Nashe is well known; (23) andit is hard to imagine that it did not make an equally weighty impact onthe dramatists of Nashe's generation. But Bullein's book isalso a masterpiece in its own right, and should inspire us to take amuch closer look than we yet have at the Tudor traditions of dialogue,witty physic, and experimental prose narrative that brought it intobeing. This essay was first given as a paper at the RSA conference inCambridge on 8 April 2005. My thanks to Jenny Richards and Cathy Shrankfor inviting me to take part in the panel on Tudor dialogue at which itwas given, and for the very helpful comments they have made on it thenand since. Thanks too to Cathy Shrank for giving me access to herimportant work in progress, a forthcoming monograph on Tudor dialoguesthat will redraw To redisplay an image on screen whether text or graphics. The concept is that the first time elements are displayed, they are "drawn," and if something is changed, they are "redrawn." Applications often have a Refresh command that redraws the screen. the map of sixteenth-century literature. R. W. MASLEN University of Glasgow The University of Glasgow (Scottish Gaelic: Oilthigh Ghlaschu, Latin: Universitas Glasguensis) was founded in 1451, in Glasgow, Scotland. (1) For the experimental nature of sixteenth-century prose fictionin England see my Elizabethan Fictions: Espionage, Counter-Espionage andthe Duplicity DUPLICITY, pleading. Duplicity of pleading consists in multiplicity of distinct matter to one and the same thing, whereunto several answers are required. Duplicity may occur in one and the same pleading. of Fiction in Early Elizabethan Prose Narratives (Oxford:Clarendon Press, 1997), introduction. Other 'one-off 'fictions of the period are William Baldwin's satirical fable Bewarethe Cat (1553), the anonymous epistolary e��pis��to��lar��y?adj.1. Of or associated with letters or the writing of letters.2. Being in the form of a letter: epistolary exchanges.3. 'novel' A LittleTreatise Called the Image of Idleness (1556), George Pettie'sOvidian story-collection A Petite Palace of Pettie his Pleasure (1576),and John Grange's Erasmian fantasy The Golden Aphroditis (1577). Ihave discussed these in '"The Cat Got your Tongue":Pseudo-Translation, Conversion and Control in William Baldwin'sBeware the Cat', Translation and Literature, 8.1 (1999), 3-27;'William Baldwin and the Politics of Pseudo-Philosophy in TudorProse Fiction', Studies in Philology phi��lol��o��gy?n.1. Literary study or classical scholarship.2. See historical linguistics.[Middle English philologie, from Latin philologia, love of learning , 97.1 (2000), 29-60;Elizabethan Fictions, chap. 4; and 'John Grange', inSixteenth-Century British Nondramatic Writers, second series, ed. byDavid A. Richardson, Dictionary of Literary Biography The Dictionary of Literary Biography (abbreviated DLB) is a monumental 338-volume encyclopedia published by Thomson-Gale. It is available both in print and online. The biographical material covered extends beyond novelists to include screenwriters, poets, and playwrights. , 136 (Detroit andLondon: Gale Research, 1994), pp. 155-58. (2) There have been few detailed discussions of Bullein'sDialogue. See William C. Boring, 'William Bullein's Dialogueagainst the Fever Pestilence', Nassau Review, 2.5 (1974), 33-42; A.H. Bullen, Elizabethans (London: Chapman and Hall Chapman and Hall was a British publishing house, founded in the first half of the 19th century by Edward Chapman and William Hall. Upon Hall's death in 1847, Chapman's cousin Frederic Chapman became partner in the company, of which he became sole manager upon the retirement of , 1925), pp. 155-81;Margaret Healy, Fictions of Disease in Early Modern England: Bodies,Plagues, and Politics (New York New York, state, United StatesNew York,Middle Atlantic state of the United States. It is bordered by Vermont, Massachusetts, Connecticut, and the Atlantic Ocean (E), New Jersey and Pennsylvania (S), Lakes Erie and Ontario and the Canadian province of : Palgrave, 2001); Margaret Healy,'Defoe's Journal and the English Plague WritingTradition', Literature and Medicine, 22.1 (2003), 25-44; ElizabethMcCutcheon, 'William Bullein's Dialogue against the FeverPestilence: A Sixteenth-Century Anatomy', in Miscellanea Moreana:Essays for Germain Marc'hadour, ed. by Clare Murphy, Henri Gibaud,and Mario Di Cesare (Binghamton, NY: Medieval and Renaissance Texts andStudies, 1989); Elizabeth McCutcheon, 'William Bullein', inSixteenth-Century British Nondramatic Writers, third series, ed. byDavid A. Richardson, Dictionary of Literary Biography, 167 (Detroit:Gale Research, 1996), pp. 8-12; Catherine Cole Mambretti, 'WilliamBullein and the "Lively Fashions" in Tudor MedicalLiterature', Clio Medica medica (māˑ·dē·k , 9.4 (1974), 285-97;William S. Mitchell,'William Bullein, Elizabethan Physician and Author', MedicalHistory, 3.3 (1959), 188-200; J. Proust, 'Le Dialogue de W. Bullein... propos de la peste (1564): Formulation d'une therapeutique pourl'ame en peril', in Le Dialogue au temps de la Renaissance,ed. by M. T. JonesDavies (Paris: J. Touzot, 1984), pp. 59-73; and PaulSlack, 'Mirrors of Health and Treasures of Poor Men: The Uses ofthe Vernacular Medical Literature of Tudor England', in Health,Medicine and Mortality in the Sixteenth Century, ed. by Charles Webster(Cambridge: Cambridge University Press Cambridge University Press (known colloquially as CUP) is a publisher given a Royal Charter by Henry VIII in 1534, and one of the two privileged presses (the other being Oxford University Press). , 1979), pp. 237-73. (3) For a neat summary of Elyot's achievements see AlistairFox, 'Thomas Elyot', in Sixteenth-Century British NondramaticWriters, second series, pp. 94-106. (4) See Elyot, The Image of Governance (1541), chap. 3. (5) For English dialogue practices in Tudor times see Kenneth JayWilson, Incomplete Fictions: The Formation of English RenaissanceDialogue (Washington, DC: Catholic University of America Press The Catholic University of America Press is a university press that is part of the Catholic University of America. External linksCatholic University of America Press , 1985).This will be superseded by Cathy Shrank's forthcoming monograph. (6) See R. W. Maslen, 'The Afterlife of Andrew Borde',Studies in Philology, 100.4 (2003), 463-92. (7) All references to the Bulwark of Defence are taken from the1579 edition. (8) The standard account of literature in the reign of Edward VI isJohn N. King, English Reformation Literature: The Tudor Origins of theProtestant Tradition (Princeton, NJ: Princeton University Press, 1982).See also Thomas Betteridge, Literature and Politics in the EnglishReformation (Manchester: Manchester University Press, 2004). (9) Thomas Smith, A Discourse of the Common Weal of this Realm ofEngland, ed. by Elizabeth Lamond (Cambridge: Cambridge University Press,1893), p. 11. (10) See Pliny, Historia naturalis, 9.4-22; and Thomas Elyot, TheBook Named The Governor, ed. by S. E. Lehmberg (London: Dent, 1962), pp.7-8. (11) Compare Elyot, The Governor, ed. Lehmberg, p. 2. (12) See also the attack on ingratitude in the dedication of ADialogue ... against the Fever Pestilence, ed. by Mark W. Bullen and A.H. Bullen (London: Early English Text Society/N. Trubner, 1888), p. 1. (13) The reference is to Andrew Borde's Breviary bre��vi��ar��y?n. pl. bre��vi��ar��ies EcclesiasticalA book containing the hymns, offices, and prayers for the canonical hours. of Health(1547), 'Extravagantes' (i.e. appendix), fols 6r-7r. (14) A Dialogue ... against the Fever Pestilence, ed. Bullen andBullen, pp. 60-62. All further references are to this edition (hereafterabbreviated to Fever Pestilence) and are given parenthetically par��en��thet��i��cal?adj. also par��en��thet��ic1. Set off within or as if within parentheses; qualifying or explanatory: a parenthetical remark.2. Using or containing parentheses. in thetext. (15) For the change of name see Fever Pestilence, p. vi. (16) Crispin's Englishness is stressed at p. 10, where he isdescribed by Civis as 'a neighboures childe'. (17) For the tradition of anti-Catholic satire in which Bulleinwrites see John N. King, Spenser's Poetry and the ReformationTradition (Princeton, NJ: Princeton University Press, 1990), chap. 1. (18) For the omission of Sir David Lyndsay from later editions seeFever Pestilence, ed. Bullen and Bullen, p. 18, note 3. Lyndsay'sachievements as a satirist are examined by Janet Hadley Williams in theintroduction to her edition of his Selected Poems (Glasgow: Associationfor Scottish Literary Studies, 2001). (19) These were A Manifest Detection of Dice-Play (1552), adialogue like Bullein's; The Fraternity of Vagabonds (1561) by JohnAwdeley; and A Caveat for Common Cursitors (1566) by Thomas Harman,whose success may have induced Bullein to add the passage at pp. 122-23concerning criminal practices in London. (20) The five-act structure of Sidney's Old Arcadia is wellknown. For the five-act structure of Lyly's two Euphues books seeMaslen, Elizabethan Fictions, pp. 264-65. (21) See, for example, the scabrous scab��rous?adj.1. Having or covered with scales or small projections and rough to the touch. See Synonyms at rough.2. Difficult to handle; knotty: a scabrous situation.3. attack on 'blowebollebocherly.... Bonner' in the translator's preface toGardiner's De vera obedientia, 1553 edition (Short-Title Catalogue,11585-7), sig. A3r. (22) See p. 61: 'our Parate will saie, Parate is a minion min��ion?n.1. An obsequious follower or dependent; a sycophant.2. A subordinate official.3. One who is highly esteemed or favored; a darling. , andbeware the Catte'. Both phrases may derive from Skelton, whoseparrot says 'Ware the cat' and 'I am a minion'; seeThe Complete Poems of John Skelton, ed. by Philip Henderson, 3rd edn(London: Dent, 1959), pp. 291, 288. (23) See Nashe, Have With You to Saffron-Walden (1596), sig. D1v:'Memorandum, I frame my whole Booke in the nature of a Dialogue,much like Bullen and his Doctor Tocrub'.