Showing 461 - 470 of 475 annotations tagged with the keyword "Art of Medicine"
Condemned to death, Socrates, strong, calm and at peace, discusses the immortality of the soul. Surrounded by Crito, his grieving friends and students, he is teaching, philosophizing, and in fact, thanking the God of Health, Asclepius, for the hemlock brew which will insure a peaceful death. His last words are "a cock for Asclepius!"
The wife of Socrates can be seen grieving alone outside the chamber, dismissed for her weakness. Plato (not present when Socrates died) is depicted as an old man seated at the end of the bed. The pompous "medical celebrity"--as Tolstoy might describe him, were he one of Ivan Ilyich's five consults (The Death of Ivan Ilyich, see this database)--is pontificating on his rounds about the pharmacological details of the medication.
Frank Gresham is the squire of Greshambury Manor in the fictional county of East Basetshire. His wife is the aristocratic Lady Arabella, daughter of Earl de Courcy. Because Lady Arabella's and her husband's tastes are more expensive than their means, Gresham goes heavily into debt and has to sell part of his property to the uncouth, but extremely wealthy, Sir Roger Scatcherd.
Thus, it is determined by Lady Arabella that their son, Frank Gresham Jr., must marry an heiress to restore the family fortunes. Doctor Thomas Thorne is the senior Gresham's close friend and advisor. Doctor Thorne is a bachelor who has raised his niece Mary as if she were his own daughter. In reality, she is the illegitimate daughter of Sir Roger's sister and the Doctor's brother. (Sir Roger had killed Henry Thorne in a fit of passion over his sister's shame; the Doctor sent Scatcherd's sister to America; and Scatcherd served time in prison before going from rags to riches in the railroad contracting business.)
The novel tells the story of the apparently hopeless romance between Mary Thorne and Frank Gresham; and Gresham's mother's attempts to have him marry into a wealthy family. Ultimately, both Sir Roger and his reprobate son, Sir Louis, die of complications of alcoholism. It then turns out that Mary Thorne is sole heir (as the "eldest child" of his sister) to Sir Roger's fabulous fortune. Eventually, Frank and Mary marry and establish their home at Boxall Hill, which is actually built on the land that Gresham had sold to Scatcherd.
In this poem a patient speaks to "Dr. Green," commenting on how much she likes him compared to her earlier doctor, "Dr. Gold," who wore a long face and would never smile. "Dr. Gold has track shoes on" but to Dr. Green she says: "You never seem / to be in a hurry even // though you're so busy . . . . " The patient would like "a little rest / before the next treatment, at least till / I'm stronger."
In the companion poem, "Dr. Gold & Dr. Green, II" (also found in One Word), the physician responds to his patient, Eleanor, who presumably wrote the first poem. He realizes that he himself is actually Dr. Green and Dr. Gold. Even though he tries to spend time with his patients, he now realizes that sometimes he must have appeared hurried and distant: "You tried / to say that each of us has two sides. / I wish I understood this before you died."
The book is a collection of 17 short stories, all of which center on physicians. "His First Operation" is about a student’s first view of surgery. He promptly faints. "A False Start" is about a doctor trying to establish a practice. He only succeeds by giving up the opportunity to treat the richest man in town, as he is the patient of another doctor. He and the doctor he thus honors become partners.
"The Doctors of Hoyland" deals with the issue of female doctors. Dr. Ripley has an established practice in Hoyland and when a famous doctor moves into the neighborhood he is secure enough to go visit him and offer him welcome. "He" turns out to be a woman, Dr. Smith.
Dr. Ripley is outraged; he thinks female doctors are a biological impossibility. Any woman who becomes a doctor must be unwomanly, otherwise how could she stand the sight of blood or inflict necessary pain? The woman doctor is courteous, but shows him the flaws in his thinking. The two are only reconciled when she is forced to treat his broken leg. He discovers how graceful, womanly, and skilled she is and asks for her hand, but she turns him down.
Summary:Sometimes communication is best served when it doesn't communicate baldly and precisely. In this 12 line poem "a daughter comes in late / and you don't say exactly what you feel . . . ." You tell a patient "the x-ray showed / little change, knowing they won't ask / if the lesion's a little smaller or larger."
This collection arranges Chekhov's letters into three periods, each introduced by a short biographical essay: 1885-1890, the years during which Chekhov established himself as a writer; 1890-1897, which begins with his trip to Sakhalin Island and includes the years he spent living at Melikhovo; and 1897-1904, the final years during which his health declined, he rose to prominence as a playwright, and he married Olga Knipper.
In her general introduction, Lillian Hellman writes, "Chekhov was a pleasant man, witty and wise and tolerant and kind, with nothing wishywashy in his kindness, nor self-righteous in his tolerance, and his wit was not ill-humored. He would have seen right through you, of course, as he did through everybody, but being seen through doesn't hurt too much if it's done with affection." This image of Chekhov radiates from the letters collected in this volume.
Most of the letters are written to family members and a few close friends and associates, especially Alexei Suvorin, the editor of "New Times," a leading St. Petersburg newspaper; Maxim Gorki, the famous writer; and, later, the actress, Olga Knipper. The topics include family matters and business affairs; comments on his own writing and that of others; and his travels, especially the adventurous trip across Siberia to the penal colonies on Sakhalin Island in 1890.
Summary:In Montaigne's final essay he expounds upon the results of his long search for self knowledge via life experience. He uses disease, health, medicine and doctors as prime arenas for demonstration of what he has learned from living. On physicians: to be a "right" physician, one must have experienced every illness, accident or mishap one seeks to treat. On going to stool: to have a right bowel movement, one must have peace, quiet, punctuality and privacy to avoid unruliness of the belly. On treatment: "I hate remedies that are more troublesome than the disease itself." On the most preferable ailments: here the essayist writes of the advantages of stone: that is, the agony always ends, the disease does not portend death or worse, the sufferer spends more time feeling well than hurting, and it has political advantages for allowing a show of stoicism. And there is more.
Originally a three-part series in the New Yorker, this is an account of McPhee's six months of observing rural family doctors in Maine. It is both an engaging portrait of a kind of family practice increasingly rare in America, and implicitly an argument that those involved in professional medicine consider the tradeoffs in choosing between urban, high-tech, specialization and rural family practice where they know whole families in the context of community over time.
The narrative, based on interviews with physicians, some patients, and observations of clinical encounters, follows the daily routines and decision-making of several rural practitioners who consciously chose against the more lucrative, prestigious option of urban private practice, specialization, or academic medicine.
Bud (Marlon Brando), a lieutenant in battle during World War II, is shot in the spine by enemy fire. A former college football star, he is now paraplegic. When the film opens, Bud has been in a veteran's rehabilitation unit for a year, flat on his back, bitter and depressed, with no will to help himself or to allow his former fiancee, Ellen (Teresa Wright) to resume their relationship. Ellen persists, enlisting the help of Dr. Brock (Everett Sloane), the rehab unit physician, who arranges for her to visit Bud.
Brock, a no-nonsense-tell-it-like-it-is doctor, hopes that the visit will finally motivate Bud to participate more actively in his own rehabilitation. He moves Bud into a ward with others like himself, where Norm (Jack Webb) and the other paraplegic veterans ("The Men") have developed a sardonic camaraderie; they don't allow Bud to wallow in self-pity.
Ellen convinces Bud that she still loves him and with her support and that of his fellow paraplegic vets, he progresses and does well. With some trepidation, and against the advice of Ellen's parents, Bud agrees to marry Ellen. The wedding and coming-home don't go smoothly--Bud loses his balance while trying to stand through the ceremony, and Ellen, stricken by the realization of what she has committed to, regrets the marriage. Bud runs off, returning to the hospital. In the end, Bud is forced to leave the sheltering cocoon of the hospital and decides to give his marriage another try; Ellen has reconfirmed her love for him and welcomes him back.
Summary:This remarkable poem notes the contrast between the mechanical, technologically manipulated heart today (without faith or spirit) and the mysterious, spirit-creating heart of Riverius. In the days of Riverius, the heart created spirit which "descended like dew" into the body and "ascended like steam" into the head--"how souls and bodies blended!" But now all mystery and spirit are gone. Cadaver-cutting scientists made an ox of the heart which pumps "the blood in dispirited circles" (note the wonderful use of "dispirited").