The life of the English hermit

The anonymous monk who wrote Christina of Markyate's biography in Latin during the 12th century seems to be a recondite example of literature and gender in some way. Nevertheless, it is a fascinating one that hasn't gotten the respect it merits from literary historians. The life history is a major account for those studying cultural and spiritual history, but this essay makes the case that it is also vitally important for literary studies. The paper displays her as a woman of will power that is remarkable and depicting her voice as a counselor and a prophet and indirectly as a literary contributor in the form of a writer. Her life is the type of a narrative that is personal, and that is to some extent the outcome of a collaborative composition. Therefore this paper does not bring forth the common agenda of feminism, but it reflects the critical diverse cultural and historical interests of scholarship that has put the gender issue at the center of the textual discourse and has arrived at diverged solutions.

According to historical documentations, Christina became a founder of a community that by the turning of 1145 dependent on the St. Albans had become a center of Nuns. She became a popular public figure and appeared in the abbot's chronicles, the Gesta Abbatum. Christina received a grant of support given by Henry II, and she also provided a pair of sandals and three miters as a gift to the pope. It has also been believed that the twelve century splendid St Albans. Psalter which is presently at Hildesheim was specifically meant for her. This incorporates the text of Chanson d'Alexis the French legend that left his wife on the night that their wedding was supposed to take place and went on a pilgrimage .He returned to Rome later where he lived in his father’s house as a beggar unrecognized for seventeen years and got recognized after he died. It has been pointed out severally this story is relevantly curious to the life of Christina and may have been considered a symbolic memento of the personal story of the owner. Several other characteristics of the Psalter, for example, the drawing of the appearance of Christ to the disciples while going to Emmaus (Peregrine) may also be directly related to her encounters. In a brief explanation, the life describes her birth to an Anglo-Saxon family of noble origin in Huntingdon. After visiting the St. Albans Monastery with her parents Beatrix and Austin, she made a secret virginity vow. She was a young woman of massive beauty and Flambard Ralph the bishop of Durham who was her aunt's lover, made an attempt to seduce her in Austin's house, his friend. After he was rejected, he got angry and encouraged Buried a young nobleman to ask for her hand in marriage in the epitome of cruel tricks, punishments, and threats. The case was taken to Robert Bloet the bishop of Lincoln who initially supported that Buried should not marry her but after he was bribed he changed his verdict. After being imprisoned for one year, the girl escaped and went to live with Alfven who was an anchoress. The girl stayed for two years secretly with the Anchoress but spent the following four years with Roger who initially a monk at St. Albans. During that time the York's archbishop was of annulled her marriage. After Roger had died, she left Markyate and returned soon afterward after the death of Robert Bloet. She was invited by Thurstan to head a nunnery, but she chose to stay at Markyate. There she became the advisor and friend of Abbot Geoffrey and made her profession of the monastery at St. Albans. The narrative is broken off before Geoffrey died (Upchurch 14-20).

This account is vividly described that it has been regarded as a document of social history and a biography. However, it is necessary to take some caution (Chaudhuri 32). Most of the details of history can be corroborated mostly the ones that are concerned with the St. Alban Abbey, But always this may not be the case (Chaudhuri 32).It is not only thought that Christians might have been submitted to romance, but the dominant literary pattern in the background of the genre of the life of the saint appears practical: For instance there is a birth portent; a life of trials and persecutions which imitate Jesus; the kinds of tribulations that virgin martyrs went through for example St. Cecilia and a miracle. Individual scenes are heightened just as hagiography presenting something to us which is not quite fiction but not entirely history. This is a sharp opposition more felt readers of the twentieth century than those of medieval times. Such romance heightening is probably hardly to seriously affect the major picture lines and the developing story off to destroy it. The image incorporates some several and fascinating glimpses of ordinary life (Hangings in a guestroom and tapestries).A wall feasting scene which Christina happens to be the cupbearer that the author who was a monk writes on wax or of social attitudes and behavior the way which the friend Of Buhred Urged him to go back into the bedroom of Christina and reproached him for his uselessness and for being a spineless person. The social dishonor and the shame felt by the parents and their consciousness for class (her poor life will tarnish the reputation of the noble family).The text is significant for the light shade on the English spirituality of the twelve century. It stands for impressive and early of a laywoman whose intenseness of inspired her practical piety that had gained the western Christendom dominance. Other themes that are important are the link newer and older piety: the hailing of virginity and friendship that is spiritual. The book gives a remarkable picture to a tradition that is eremitic ally flourishing. A quality that is new to the eremitical life is from the late eleventh century: Other than the warfare against the fundamental mental conflicts and the evil spirits of which were heard in the original literature, the refreshing breezes, and mild springs the communion with God that was unhindered (Chaudhuri 34).

On analyzing the texts, the emotional undertones make the scenes appear dramatic. For instance, when Christina is taken before Fredebertus, this scene allows the intellectual changes to occur in the waves of massive emotions. Characteristically details and gestures are used to emphasize the moment's intensity. A strong visual quality is seen in other scenes. This is to a greater extent found in the visions but is not restricted to them by any means. These techniques work together in sequences and large scenes .And these are woven together in with a genuine sense of rhythmic narratives. The providential plan of God is worked out in Christina's life and sometimes is alluded to, but is not always emphasized to lead to a predestination that is mechanical. Rather it remains a pattern that is hidden that underlies the unexpected adventures flux which the heroine endures. There are sudden changes of pace, turns of spiritual and emotional experience: a moment of triumph or joy is followed swiftly by sorrow, the devil's onslaught or his agents are answered by a sign or voice from heaven which brings on consolation. Christina becomes a clear image of massive spiritual authority. The earlier part will mostly be preferred by modern readers who appear to be more romantic and a character who knows despair and anxiety as well as hope. Readers of medieval times would prefer the parts excellent qualities and to its prophecies and visions. The emotional piety of Christina is focused to Christ's humanity and that of the Virgin Mary with homeliness simplicity that was to be a trait of the later devotional English writing. Other significant themes link newer and older piety: the praise of spiritual friendship and virginity. The book gives a remarkable image of flourishing electrical tradition. The cells of hermits fill the landscape of the St. Albans A revered man of massive spiritual authority, Roger own other hermits, and recluses in his direction. Christina with similar prophetic abilities becomes a similar figure of power.

The recluses introduced a social function so significant in the England twelfth century. They were renouncing the traditional bonds of family, kindred and marriage and as outsiders and entirely separated from the independent official ecclesiastical institution, but considered as counselors by their communities, prophet, and sources of divine power (Jones 230).

The devil plays a very active role. Temptations are frightening and real. In the temptations of Christina, a wicked cleric appears to her and has been pursuing her in the form of a wild enormous, furry and ugly bear. But she hides in a place in the wilderness given to her by the heavens queen. The revelations of the narrative are a woman who finds her growing up as a girl growing in the England of the twelfth century. According to the life, she is faced with two patterns that are competing and sets of demand, a binary opposition that is simplified but one that has some truth that is social. Those that belong to the secular world as seen through the parent's pressure and to become a mistress of the house and get married, and those that are religious, with the proponents urging her to keep her marriage and virginity with Christ. The clerical author in his eyes sees the persuasion to marry as temptation. Her description of Christ is recorded with approbation as a suitor that is wealthier than his rival Burhed. A picture is undoubtedly given to us of family strains and bonds. Christina is a favorite daughter that is promising and attractive whose virginity's vow puts her in a violent family conflict. There is a constant chorus of criticism throughout coming from detractors both of her advisers and friends who are spiritual. The Augustinian pattern of the story is very powerful and clear. But the writing quality is such that other messages are still allowed to be heard though they are condemned. The first part that is highly characterized by this conflict, Christina's parents emerge as figures that are quite high.

What the authors wish is not for us to sympathize with Autti. But he registers his emotions: after the Judgment of the Bishop of Lincoln he loses all hope and expresses his injured pride and distress by telling his daughter that she had even been made mistress over him. His displeasure grows daily only to be relieved by his friend’s suggestions that they should appeal to the greed of the Bishop. The astonishments of the author are expressed by the shamelessness of the man and say that it was characteristic to pursue anything to the end by the family, anything whether bad or good provided it had begun. Beatrix and Autti are figures that appear heightened but from the point of view that is more secular their obstinacy and pride are comprehensible: they have their daughter as a great asset and not to be used for selfish purposes (Levine 67).

They looked forward to their grandchildren to inherit her good qualities, and they are badly disappointed. Their fury will never be known when Autti drives her naked out of the house due to anger and Beatrix say that she may not need about the person to corrupt her daughter given that it could be done. This is due to hyperbole that is hagiographical, but an exciting and a vivid story is made out of it. The suitor and husband of Christina, Buhred appears to be a figure that is so interesting. He is used simply as a pawn sometimes, or yields to his friends scorn to the bribes and the fury of her parents. When he accepts to release his wife for the first time, he gets praised for his religious and wise sentiments. But in the scene before the bishop, he appears much less noble when he boasts of his success and insults her. In one of her visions, she sees an eerie moment when he tries to follow her and seize her with eyes that appear staring and horribly groaning. His strikes his head on the pavement with repeated blows to display his anger. His last appearance is penitent and subdued: as the outcomes of horrific vision where the Virgin Mary reproach him harshly for his persecution. He offers to release his wife from the hermit Roger cells. Christina's character dominates the book. Even when hagiography allowance to idealize and urge has been made, she must appear a remarkable figure. She is both intelligent and beautiful (Fanous 48).

Her moral integrity is praised by the author. Her grace and beauty which made her appear more lovable than all the other females. Her prudence and intelligence in her acts which would have seen her become very successful in the secular world. The unquestionable vigor of her wisdom and personality show that she shared the determination of the family entirely whether the cause was wrong or right .It sometimes sounds rather like the heroic fault. But the view of the clerical author is clear: Perseverance done in well is considered a virtue but the one done in wickedness is evil. It may not be only humans who feel the urge of her determination: She stormed God in prayer because she was anxious for her friend Abbot Geoffrey, and until she was satisfied in her mind concerning the salvation of her friend she would not cease. She is given the opportunity to show moments of certainty and fear (Dins have 40).

When a plot is in progress by Autti and his friends, she becomes fearful of everything and suspicious as it is women's habit but begins to plots of means for forestalling them. She gets despondent sometimes or afraid in a way that behaves like a man. It is evident that she was an emotionally intense person, the same way that the strength of attachment to her spiritual friends is. There is a suggestion by an impressive scene of a time of sexual temptation and her resistance to the wretched passion; this showed how she resisted the strong sexual desire. She becomes the object of gossip and hostile rumors .She is called a dreamer by some people yet another call her a worldly-wise business Parson, and others call her a seducer of souls, and still other say that she would love the abbot with the love of the world. The author suggests that the two malice be the devil's inspirations. They form part of the inherent tribulations in Christ's imitation, therefore confirming the sanctity she has. More secular judgments might be seen by some modern readers who may have at least some germ of truth, the presentation to her positive qualities of a downside (Cartlidge 80).

Christina was a woman who apparently knew her mind and was focused on making her way. She has her friends and helpers in the midst of her enemies. At times protectors with supernatural powers like the Virgin Mary and Christ who protected her since childhood or the strange phantoms that were seen by the old Jewish woman in white, accompany her. Two different figures are favorite among the human protectors and friends, Geoffrey the Abbot and Roger the Hermit. They become the story's center of two love affairs in the spiritual life. Roger is a father figure to her, he trains and instructs her, and she becomes a spiritual child that is favorite to him. His asceticism that is compromised appears in his tone. From their first sight of each other, their love was kindled, Gods spirit had lighted it, and it burnt in each of them. The sparks of the fire were cast into their hearts that mutual glances' grace, and thus they were made one in souls and heart in charity and chastity in Christ. They did not find it strange nor were they afraid to stay under one roof. They affection of holiness grew daily like a massive fire that kept on springing from two joined brands. The fear of persecution and scandal means that her availability must be maintained as a secret there is a vivid description of the hardships that she endured in the small hidden cell.

Geoffrey the Abbot is an entirely different person. He forms Maine and is of noble lineage and a prelate at the establishment of the Anglo-Normans. According to the in-depth details that the author presents his full picture is seen. He was a powerful character as evidently seen, the kind that Christina would understand and recognize. He has an introduction that is far from complimentary: a particularly powerful and noble person whose beginning used to be Abbot but later with the support of noble relatives, he turned to be haughtier than expected and then it was right. He began to follow his decisions and dismissed that of the monks. A man who was obstinate and high-handed as he had Great Spirit. The relationship between him and Christina gets off to an even difficult start that Rogers'. Her first visionary message to him has rejected angrily. However, a pure and wonderful love develops. It is a kind of love that involves mutuality that is genuine. He fought with her in matters of the world. She more earnestly in her prayers commended him to God. She becomes a spiritual advisor to him (Bollremann et al., 433-446).

In conclusion Christina was a link between two cultures just like the anchorite Wulfric of Haselbury. Even though her background was Anglo-Saxon, she spoke Anglo-Norman presumably. She made the transition from influential but marginal figures, the hermits to that of the religious world. Links with the devotions of the past of the Anglo-Saxophones and the devotional future of literature in English vernacular is suggested in her book. An Ascetic denial of the world is linked to an intense mystical love affirmed of spiritual friendship. Christina achieves love through suffering and fortitude; she emerges as a strong medieval woman of literature. This is a justification of the role that women played in the development of medieval literature.

Works cited

Bollermann, Karen, and Cary J. Nederman. "King Stephen, the English church, and a female mystic: Christina of Markyate's Vita as a neglected source for the council of Winchester (August 1139) and its aftermath." Journal of Medieval History 34.4 (2008): 433-444.

Cartlidge, Neil. "The unknown pilgrim: drama and romance in the life of St Christina of Markyate." Routledge, 2004. 79-98.

Chaudhuri, Supriya. Literature and Gender: Essays for Jasodhara Bagchi. Orient Blackswan, 2002.

Dinshaw, Carolyn, and David Wallace. The Cambridge companion to medieval women's writing. Cambridge University Press, 2003.

Fanous, Samuel, and Henrietta Leyser, eds. Christina of Markyate. Routledge, 2004.

Jones, Edward A. "Christina of Markyate and the Hermits and Anchorites of England." Christina of Markyate: A Twelfth-Century Holy Woman, edited by Samuel Fanous and Henrietta Leyser (2005): 229-50.

Levin, Carole, ed. Extraordinary women of the Medieval and Renaissance World: A Biographical Dictionary. Greenwood Publishing Group, 2000.

Upchurch, Robert K. "The" Goed Fyn" of Saint Alexius in a Middle English Version of His Legend." The Journal of English and Germanic Philology 102.1 (2003): 1-20.