By Jennifer Waldron (auth.)
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Additional info for Reformations of the Body: Idolatry, Sacrifice, and Early Modern Theater
Sample text
As Euan Cameron has recently demonstrated in fine detail, reformers turned existing (Catholic) debates about popular “superstitions” toward a dismissal of the entire Catholic Church: The Christian humanism of the European Renaissance built itself on an explicit critique of the allegedly “superstitious” quality of everyday Christianity as practiced by the uneducated. 9 Alongside this turn toward interpreting Catholic “superstitions” as actively idolatrous, many Protestants also tended to stress the positive significance of holy living in the world: each side of the opposition took on an increased and diametrically opposed theological intensity.
This focus on divine justice as it could be seen in the “theater” of the world leads into the sacrificial themes and visceral aesthetics of revenge tragedy. 3). 25) for his 20 R efor m ations of the Body son’s death while drawing at the same time on the visual and verbal vocabulary of Christian atonement. Hieronimo’s rites of revenge offer an important synthesis of post-Reformation debates about the role of human agency in relation to God. In the terms of Protestant anthropology, the act of revenge, like the sacrifice of the Mass, is an outrageous appropriation of divine power.
Supernatural and natural functions are perfectly harmonized in this paradisal feast. Yet a look back at Corpus Christi theater suggests how the overtly iconoclastic and anti-Catholic positions of one such as Milton extended and reshaped certain trends in late medieval culture. ”76 The iconoclastic bodies of the Protestant Reformation served this same function of “defetishizing” the Host, even as reformers reconceived of their position as one of open hostility toward the “idolatry” of transubstantiation.