A Cultural History Of The Emotions In The Medieval Age

Our period opens at the end of the Roman Empire when intellectual currents are indebted to the Greek philosophical inheritance of Plato and Aristotle, as well as to a Romanized Stoicism. Into this mix entered the new, and from 313CE imperially sanctioned, religion of Christianity. In art, literature, music, and drama, we find an increasing emphasis on the arousal of individual emotions and their acceptance as a means towards devotion. In religion, we see a move from the ascetic regulation of emotions to the affective piety of the later medieval period that valued the believer's identification with the Passion of Christ and the sorrow of Mary. In science and medicine, the nature and causes of emotions, their role in constituting the human person, and their impact on the same became a subject of academic inquiry. Emotions also played an increasingly important public role, evidenced in populace-wide events such as conversion and the strategies of rulership. Between 350 and 1300, emotions were transformed from something to be transcended into a location for meditation upon what it means to be human.

What do we know of the emotional life of the Middle Ages? Though a long-neglected subject, a multitude of sources – spiritual and secular literature, iconography, chronicles, as well as theological and medical works – provide clues to the central role emotions played in medieval society. In this work, historians Damien Boquet and Piroska Nagy delve into a rich variety of texts and images to reveal the many and nuanced experiences of emotion during the Middle Ages – from the demonstrative shame of a saint to a nobleman's fear of embarrassment, from the enthusiasm of a crusading band to the fear of a town threatened by the approach of war or plague. Boquet and Nagy show how these outbursts of joy and pain, while universal expressions, must be understood within the specific context of medieval society. During the Middle Ages, a Christian model of affectivity was formed in the ‘laboratory’ of the monasteries, one which gradually seeped into wider society, interacting with the sensibilities of courtly culture and other forms of expression. Bouqet and Nagy bring a thousand years of history to life, demonstrating how the study of emotions in medieval society can also allow us to understand better our own social outlooks and customs.

The period 1300-1600 CE was one of intense and far-reaching emotional realignments in European culture. New desires and developments in politics, religion, philosophy, the arts and literature fundamentally changed emotional attitudes to history, creating the sense of a rupture from the immediate past. In this volatile context, cultural products of all kinds offered competing objects of love, hate, hope and fear. Art, music, dance and song provided new models of family affection, interpersonal intimacy, relationship with God, and gender and national identities. The public and private spaces of courts, cities and houses shaped the practices and rituals in which emotional lives were expressed and understood. Scientific and medical discoveries changed emotional relations to the cosmos, the natural world and the body. Both continuing traditions and new sources of cultural authority made emotions central to the concept of human nature, and involved them in every aspect of existence.

During the period of the Baroque and Enlightenment the word “emotion”, denoting passions and feelings, came into usage, albeit in an irregular fashion. “Emotion” ultimately emerged as a term in its own right, and evolved in English from meaning physical agitation to describe mental feeling. However, the older terminology of “passions” and “affections” continued as the dominant discourse structuring thinking about feeling and its wider religious, political, social, economic, and moral imperatives. The emotional cultures described in these essays enable some comparative discussion about the history of emotions, and particularly the causes and consequences of emotional change in the larger cultural contexts of the Baroque and Enlightenment. Emotions research has enabled a rethinking of dominant narratives of the period-of histories of revolution, state-building, the rise of the public sphere, religious and scientific transformation, and more. As a new and dynamic field, the essays here are just the beginning of a much bigger history of emotions.

'A Cultural history of the Emotions' explores how emotions have changed over the course of human history, as well as how emotions have themselves created and changed history. Emotions underpin our everyday lives and shape our mental, physical and social well-being.

What do we know of the emotional life of the Middle Ages? Though a long-neglected subject, a multitude of sources – spiritual and secular literature, iconography, chronicles, as well as theological and medical works – provide clues to the central role emotions played in medieval society. In this work, historians Damien Boquet and Piroska Nagy delve into a rich variety of texts and images to reveal the many and nuanced experiences of emotion during the Middle Ages – from the demonstrative shame of a saint to a nobleman's fear of embarrassment, from the enthusiasm of a crusading band to the fear of a town threatened by the approach of war or plague. Boquet and Nagy show how these outbursts of joy and pain, while universal expressions, must be understood within the specific context of medieval society. During the Middle Ages, a Christian model of affectivity was formed in the ‘laboratory’ of the monasteries, one which gradually seeped into wider society, interacting with the sensibilities of courtly culture and other forms of expression. Bouqet and Nagy bring a thousand years of history to life, demonstrating how the study of emotions in medieval society can also allow us to understand better our own social outlooks and customs.