It is senseless writing a review of a book like this—one meant to be used in daily practice—if one talks only about its conceptual layout. The Complete Repertory has been around for almost ten years— having been conceived in by homeopath Roger Van Zandvoort. Since then, several computer versions have been released. Several years ago, the Mind section was published in book form. And now we have the full hard copy book form.
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His work is used by nearly all important homeopathic programs worldwide. D: The first question is, how can one define the Repertory for both beginners and experienced practitioners? A repertory is a kind of reversed Materia Medica: the Materia Medica lists remedies and their symptoms, while the Repertory lists symptoms rubrics and their associated remedies.
So rubrics are essentially symptom categories followed by remedies for consideration. D: How does the Repertory complement the Materia Medica in clinical practice? This condensed index language forms the rubrics which make up our Repertories. And once you become familiar with the language and structural make-up of the rubrics, you can begin to use them to their greatest strengths.
D: How does the Repertory help to sort out proving information? Sometimes information may not be as obvious in a proving—perhaps because certain specific symptoms are found in very different places in the proving.
In the Repertory, small bits of proving information that might have been overlooked are accounted for, and as a consequence lesser-used remedies gain greater visibility. This is an advance resulting from the way information in newer Repertories has been collated and organized.
With a balanced analysis of that information, all remedies have the opportunity to make a relatively equal statement. R: In our Materia Medicas, what we see is a huge variety of words to express one and the same thing. So cross-references are an important advantage of repertories.
The cross-references direct you to the language of closely related ideas. With cross-references, the practitioner can be directed to Mind, euphoria; stupefaction; cheerful as if intoxicated, etc. D: What is one of your more important bits of advice about repertorization? Another example would be to cross a mental complaint with a physical complaint, identifying remedies common to both those rubrics.
D: How is this important to our clinical practice? R: You can repertorize in this manner to match as closely as possible the complaint of your patient. It also allows lesser-used remedies to stand out, as they could be overlooked with standard repertorization, and one avoids over-emphasis of remedies found in smaller, incomplete sub-rubrics.
Of course there are an endless numbers of symptoms for which one can find rubrics to be crossed to begin a process of elimination. D: Can you give an example of this in practice? Then in practice a client comes in with a. By staying with more general modality and physical rubrics in the repertorization—a la Boenninghausen—one can more easily associate a particular modality with a broader range of physical, mental or emotional symptoms and associated remedies.
In the example above, one is able to discern the a. D: What is a common misperception about Repertories? R: One common misunderstanding about Repertories is the grading of symptoms: 1, 2, 3 or 4. The intensity of a particular symptom is often translated as a higher grade, say 3 or 4, when in fact the quality of intensity should be conveyed through language rather than grading. In other words, very intense nausea can be grade 1 or 2, based on 1 or 2 individuals in a proving having experienced it, while the intensity may be described as deathly, violent, etc.
We should reserve the higher grades for symptoms confirmed through clinical experience. The lower grades are reserved for symptoms experienced in the proving, but which are still waiting for clinical confirmation. D: What do you feel is the ideal for an accurate Repertory? R: The ideal is a proving followed by clinical experience and confirmation, accurately reflected in the grading. Clinical experience will ultimately decide and confirm—or not—these proving symptoms.
D: Is there an advantage to using computerized Repertories? R: Our modern, digital Repertories are much more refined than the manual repertories used in the past.
Even with the same material, we have the advantage of more experience, optimized grading, and references for the information have greatly expanded. So digitalization has brought much more clarity to the information. D: What do you think about family analysis in repertorization? R: In my opinion, family analysis is also based on starting with a wider perspective, a more generalized starting point.
Boenninghausen—a botanist—Farrington, Knerr and likely many others drew insights from family relationships. Incidentally, Boenninghausen has a particularly creative approach to repertorization, which opens us to a much broader range of remedies. D: Can you speak a moment about future possibilities within the Repertory? I hope for a more balanced approach, not limited to Kent or even Boenninghausen, but based on what the patient is telling us, based on what the symptomatology is telling us to do.
In other words, instead of analyses weighted too heavily in the direction of mental and emotional symptoms, or conversely, in the direction of the physicals, each of these realms can complement each other, and can work as a sort of check and balance for the other, a balanced totality of symptoms.
D: Thank you again, Roger, for the generous sharing of your time and expertise.
The Complete Repertory edited by Roger Van Zandvoort
After working on the Repertorium Universale structure for quite some years and seeing that most people do not understand it, or for various reasons do not want to work with it, it was time to go back to the more Kentian version: Complete Repertory. Previously some of these e. Anger, vexation agg. You can now open Extremities; Pain and go directly to feet, or hands, etc.
Complete Repertory 2018, Repertory by Roger Zandvoort
Roger van Zandvoort