By Ellen M. Ross
Image portrayals of the soreness Jesus Christ pervade overdue medieval English paintings, literature, drama, and theology. those pictures were interpreted as symptoms of a brand new emphasis at the humanity of Jesus. To others they point out a fascination with a terrifying God of vengeance and a morbid obsession with dying. within the Grief of God, even though, Ellen Ross deals a distinct knowing of the aim of this imagery and its aspiring to the folk of the time.
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Additional resources for The Grief of God: Images of the Suffering Jesus in Late Medieval England
She associates her suffering of contrition with her growth in her relationship as a daughter of God: "Whan bow stodyst to plese me, pan art pu a very dowtyr" (31). Kempe maintains that at the initial stage of reformation, the most efficacious remedy for the distortions of the human's sinful relationship to God is symbolized by the obedience of a child to a parent. 36 The Grief of God For both Julian of Norwich and Margery Kempe, contrition signals the reonentation of the human toward God. At this first stage, suffering arises from the awareness of the sinner's "unkindness" toward Jesus, whereas repentance reveals the God of mercy.
It is small wonder that in the face of Lollard dissent on the nature of the Eucharist, religious leaders like Mirk would emphasize the literal presence of Jesus Christ in the euchanstic bread and wine. Yet while these stories are a part of the genre of miracle tales that somatize the medieval doctrine of the Eucharist, they also number among the more broadly construed myriad of stories that intensify the physicality of Christ as a way of manifesting divine presence. This physicality is demonstrated most graphically through verbal and pictoral representations of Jesus' bleeding flesh and is directed toward evoking a response of deepened faith on the part of observers.
With Christ's intercession, she recovered from the affliction. She increasingly devoted her life to God and eventually (after the birth of fourteen children) convinced her husband to take a vow of chastity with her. In her lively book, she narrates the journey of her spiritual growth and describes the adventures and adversities of her pilgrimages throughout England, as well as Jerusalem, Rome, Norway, Venice, and Germany, among other places. Her loud crying, her devotional weeping, and her frank narrative method of teaching gained her many loyal friends but also many enemies (her traveling companions stole her sheets on one occasion and set off from a foreign town without her on another).