scholarly journals Falling from horses: medical controversy in early eighteenth-century England

2020 ◽  
Vol 64 (4) ◽  
pp. 478-493
Author(s):  
Stephen Pender

AbstractOn Tuesday, 12 April 1726, Robert Worger fell from his horse at Barnham Down, Kent, hitting his head on the ground ‘with strong Force’. Unconscious, he was taken to Bridge, a nearby village, and laid out at the home of Sarah Knot, ‘Nurse and Landlady to the Patient’, bled several times, given ‘volatile mixture’ (ammonia, salt, opium) and treated with purgatives and clysters. He vomited as many as five times over the course of his illness and delivered ‘half a score [of] very foul, stinking, loose Stools’. Worger died, ‘without … Agony’, at 5 am, Thursday, 21 April 1726, after living for 8 days in the care of Knot, his wife, two surgeons, an assistant, an apothecary and two physicians, Christopher Packe and John Gray. An autopsy was performed – the next night, by the light of a single candle – and, although there was little extravasation and no severe fractures or depressions in the skull, slight abnormalities were found: the cerebellum ‘Turgid with Blood’, two small fissures appeared on the os frontis. Worger’s illness and death spurred months of rebarbative public controversy: in order to exonerate themselves, both physicians published pamphlets and letters, secured affidavits, importuned surgeons and Worger’s relatives for support, vied for authority and mastery over the circumstances of the case and argued about propriety, professionalism and conduct. This paper explores Worger’s case – controversy about diagnosis and prognosis, concern with ‘knowledge and deportment’, with the status of medical offices and medical jurisprudence and with relationships between physicians, patients, surgeons – as an instance of learned medical controversy in early eighteenth-century England.

Author(s):  
Will Smiley

This chapter explores the relationship between war and captivity in the seventeenth- and early eighteenth-century Ottoman Empire, emphasizing the scale of cross-border enslavement and the customary and Islamic legal rules governing who could be enslaved, and when. The chapter approaches these rules by examining the the extent of Ottoman sovereignty, illustrating differences between the status of Ottoman Muslims, Ottoman non-Muslims, tributary states, non-Ottoman Muslims, Christian states with peace treaties or commercial treaties (Capitulations), and enemy states. Using the 1735–39 Russo–Ottoman War as a case study, it explores how Ottoman forces used raids and open warfare to enslave both military and civilian enemies. The chapter then more briefly reviews these same questions for the Ottomans’ Russian rivals, and for European states. This chapter, along with Chapter 2, lays out the status quo before the sweeping eighteenth-century changes charted in the rest of the book.


Author(s):  
Claudia von Collani

The rites controversies in China and India were part of a larger debate on the status of rites and customs in an already global world and within global Catholicism. To understand the deeper meanings of Chinese and Indian concepts and rites and assess their compatibility with Christianity, the Jesuits proposed a method based on dialogue with the local literati. First tolerated, the method of accommodation was finally forbidden by the Catholic Church in the early eighteenth century out of fear of religious syncretism, which led to the stigmatization of other cultures’ rites as “pagan” and “superstitious.” Therefore, Christianity remained a foreign and marginal religion in the East until the reform of the liturgy in the twentieth century, when the Indian ritual practices were accepted. After the decree “Ad Gentes” by Vatican II, the Catholic Church endeavored to bridge the gap between cultures and religions, partly created during the rites controversy.


Author(s):  
Daniel R. Melamed

If there is a fundamental musical subject of Johann Sebastian Bach’s Mass in B Minor, a compositional problem the work explores, it is the tension between two styles cultivated in church music of Bach’s time. One style was modern and drew on up-to-date music such as the instrumental concerto and the opera aria. The other was old-fashioned and fundamentally vocal, borrowing and adapting the style of Giovanni Pierluigi da Palestrina, his sixteenth-century contemporaries, and his seventeenth-century imitators. The movements that make up Bach’s Mass can be read as exploring the entire spectrum of possibilities offered by these two styles (the modern and the antique), ranging from movements purely in one or the other to a dazzling variety of ways of combining the two. The work illustrates a fundamental opposition in early-eighteenth-century sacred music that Bach confronts and explores in the Mass.


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