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Lindsay Rudge PhD Thesis - University of St Andrews

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<strong>of</strong> Eboriac in fact provides one <strong>of</strong> the clearest examples in the work <strong>of</strong> Jonas’ conception<br />

<strong>of</strong> Eustasius and his contemporaries as discipuli <strong>of</strong> Columbanus: he completed the work<br />

his master started, by ensuring Burgund<strong>of</strong>ara’s eventual entry into Eboriac.<br />

Eustasius’ vital role in the foundation is carefully set out. Arriving at the home <strong>of</strong><br />

Chagneric, conviva <strong>of</strong> the king, he received a warm welcome, not least because he was<br />

accompanied by Chagneric’s son Chagnoald, who had entered Luxeuil and became<br />

Columbanus’ assistant and later bishop <strong>of</strong> Meaux. 216 With her parents was Burgund<strong>of</strong>ara,<br />

whom her father had now decided to marry <strong>of</strong>f, and whom, Jonas is careful to imply, was<br />

blind and close to death as a consequence <strong>of</strong> this decision and her own unhappiness. 217<br />

After confirming her wish to enter religious life, and gaining the agreement <strong>of</strong> Chagneric,<br />

Eustasius cured her, but the moment she was cured, and Eustasius had departed,<br />

Chagneric again decided that she should be married. This time Burgund<strong>of</strong>ara had to take<br />

her fate into her own hands, and fled to the church <strong>of</strong> <strong>St</strong> Peter. Chagneric sent his<br />

servants after her with orders to kill her; fortunately, Eustasius returned and rescued her,<br />

taking her to Gundoald, the bishop <strong>of</strong> Meaux, to be consecrated with the religious<br />

habit. 218<br />

Taking this episode in isolation, the participants appear to be playing out well-<br />

defined roles. Burgund<strong>of</strong>ara is the virgin who wishes to remain so, prepared to die in<br />

preference to marriage; Chagneric is the cruel father with his mind fixed on worldly<br />

affairs; Eustasius, whose story this is, a figure <strong>of</strong> sufficient spiritual and temporal<br />

authority to be able to intervene in defence <strong>of</strong> the girl’s longed-for union with Christ. 219<br />

This is a dramatic piece <strong>of</strong> writing on Jonas’ part, but it reads rather as the slightly<br />

desperate use <strong>of</strong> a stock motif which would enable him to present Eustasius as a figure <strong>of</strong><br />

dynamism and courage. Nothing else suggests opposition to Burgund<strong>of</strong>ara’s vocation;<br />

indeed, Jonas himself states quite the opposite. In Book I, Jonas had described<br />

216 VCD I:27; I:15.<br />

217 VCD II:7.<br />

218 VCD II:7.<br />

219 Other examples <strong>of</strong> such intervention are in the Vita Glodesindis (AASS Jul. 25, 198-224, cap. 10),<br />

where a mysterious stranger veils the fugitive Glodesind; or in the Vita Rictrudis (AASS May 12, 78-98,<br />

cap. 14), when Amand helps Rictrude in her plan to avoid remarriage in favour <strong>of</strong> a life in religion.<br />

120

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