Seminar 3, Week of 01 February
(pp. 31-35)
Christina chooses to go to Flamstead, and the escape plan is hatched.
Upon her arrival there, Christina takes solace in the “thirty-seventh psalm” (it’s
Psalm 38 in modern English Bibles). Have a look at Psalm 38 (if you don’t have a
Bible, simply type “Psalm 38” into Google), especially verses 9-12; why might
she have chosen this passage?
(pp. 35-38)
Reactions to the escape
In this section the author contrasts the negative reactions of Christina’s parents
and Boehtred to the positive reactions of the holy men Roger and Sueno. What
purpose does this contrast serve?
This section ends with two visions that present the divine reaction to the escape.
The first is of the servant who helped her to escape (foretelling his death), the
other of the Virgin Mary (who urges Christina to “stand firm”). How do the
visions, placed here one after the other, relate to one another? Together, what is
their significance?
(p. 38)
The Devil returns; Christina sends him away by singing psalms
Again, just when things are looking up for Christina, the devil makes another
dramatic appearance, this time in the form of toads that seem to appear out of thin
air. Christina sends them running by singing psalms (like Psalm 38 mentioned
above). Does the author here reinforce the idea that singing psalms is a desirable
devotional practice for elite women?
(pp. 38-43)
Christina and Roger “one in heart and soul”
Christina’s arrival at Markyate is foreshadowed by Leofric and Acio as
mysterious virgin voices join them in singing the psalms. Roger has a change of
heart and offers Christina his protection. One condition he makes, however, is that
he will not see her face to face. Note the author’s description of the first glimpse
Roger and Christina have of each other “at divine will”; their spirits are burning
and sending off sparks into their hearts ... all of this from a quick glance ...
doesn’t this remind us of a passionate love story? (Imagine the film version with
J-Lo as Christina and Anthony Hopkins as Roger) How does the author invert the
trope of the passionate love story for his own purposes?
For the next four years, according to the author, Christina lives in a cell barely
large enough to fit her, under extreme ascetic conditions. These bring ailments
and discomforts. However, through Roger’s instruction and example, she turns
this suffering to her credit. Not even real fire can turn Roger away from his
prayers – what does this tell us about a holy man?
Christina has a vision where the “fairest of the children of men” (Christ) gives her
a golden cross as a pledge. But it is Roger who actually interprets the vision,
which foretells Christina’s release for her marriage vow.
Beohtred , after experiencing a vision of the Virgin Mary, comes to Markyate to
release Christina from her vow. [One problem here ... hasn’t Christina been hiding
in Roger’s wall for the last four years so that nobody will know where she is?
How does Beohtred know where to find her?] Note the author’s depiction of the
scene where Beohtred releases Christina; what does this tell us about the legal
status of marriage at this time?
(pp. 43-45)
Planning for the future
Christina experiences a vision which confirms that she will take over the priory
after Roger dies. What does this vision, especially the emphasis on her beauty, tell
us about the devotion to the Virgin Mary at this time?
Roger too makes plans for the future, finding Christina a protector in the person
of Thurstan, Archbishop of York. What is the significance of the story of
Godescalc and his wife losing their horse and finding another one?