Body Symbolism in the Book of Margery Kempe

Abstract

In her recent book Fragmentation and Redemption: Essays on Gender and the Human Body in Medieval Religion, Caroline Walker Bynum once again delineates with consummate skill the profoundly and peculiarly bodily character of Christian medieval piety. The cult of relics with its veneration of the dismembered limbs of saintly people, the belief in the curative powers of bodily effluvia, the austere self-disciplinary practices of certain male and female ascetes — observances such as these are cited by Bynum as illustrating the medieval notion of the human body as a locus of sacrality. The concurrent theological development of the doctrine of transubstantiation, the conviction that behind the external accidents of bread and wine lay the actual flesh and blood of Christ, also laid emphasis upon the corporeal and led to an increasing sense of the eucharist as ‘symbolic cannibalism’ in which communicants ‘ate God’. Christian art and iconography of the period reflected a similarly literalist approach to the humanity of Christ, often drawing attention to his genitalia for example, or depicting the Passion scenes with a force of graphic detail quite repugnant to modem minds.According to Bynum each of these three strands, theology, piety and art, brought out the religious significance of the body in an unprecedented manner during the Middle Ages as a means of access to the divine, but whilst physicality was a theme which ran throughout all medieval spirituality, it was taken up with particular enthusiasm and intensity in women’s lives and writing. Women, it would appear, were unable to avoid being inculcated with contemporary androcentric articulations of their association with the body, weakness, lust and irrationality.