62 pages • 2 hours read
Karen CushmanA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
The central conflict of the book—Birdy’s rejection of marriage—reflects its major theme: In the medieval period, people’s roles in society are rigidly defined, mostly based on their gender and class status. Birdy’s determination not to be married off goes against all of her training to be a lady and against the clear delineation of gender expectations. While her father’s abusive behavior may seem distasteful to our modern sensibilities, within the medieval context, his irritation with and anger toward Birdy’s rejection of his plans is the norm. As a woman, Birdy would be seen as a piece of property more than an individual.
The fact that she is of noble birth—not castle nobility, but to the manor born—restricts her movements and choices even further. Not only is she expected to get married because of her gender, but she is also expected to make a good match because of her class. Birdy’s marriage is not a matter of individual choice or desire but a matter of securing family property, expanding wealth, and reinforcing power. In general, marriage among the landed classes were negotiations to consolidate or increase assets like land, and to foster political alliances. These facts may explain what might otherwise be a disappointing ending: Birdy’s eventual change in disposition toward marriage was facilitated by the change in suitors, but it is also an unavoidable conclusion if the author is true to the time period. Her capitulation might not feel very empowering to modern readers, but her determination to maintain her own identity is her way of exercising what little power she has.
To understand the medieval period, one must also understand the concept of the “medieval estates.” These were the three essential classes of the middle ages: the clergy (the class that prayed); the nobility (the class who ruled and fought, as in the knights of the crusades); and the peasants or serfs (the villagers who labor).In order for feudal society to function properly, everyone had to maintain the duties of their estate. Thus, the villagers in the novel work the land—tending goats, growing food, baking bread, and manufacturing goods—defended by Lord Rollo and his knights and protected by the church and its clergy. People who lived during these times believed that this hierarchy was divine in origin and thus could not be challenged or altered. Birdy eventually takes her place in this social order.
The church and its clergy represent the “first estate” in the medieval hierarchy, so the institution and its members are the pinnacles of authority. Birdy’s little book of saints marks the days by celebrating the various martyrs and great contributors to the development of Christianity, and her daily recounting of these saints and their deeds indicates how central religion is to everyday life.
If one also remembers that, during this period, there were no clocks, no electricity, and no quick means of communication or travel, then it becomes clearer why the days are dominated by seasonal shifts and the religious holidays built around them. People work outdoors in the spring, summer, and fall; they hunker down inside during the winter, and they rise and sleep to the rhythms of the sun. The religious festivals that crop up on a monthly basis—twelfth night celebrating the end of Christmas in January, May Day and Easter promising there birth of spring, and Lammas Day giving thanks for the harvest—show how the calendar depends upon the cyclical nature of the seasons. The religious calendar of the time honors this cycle, and the two are intertwined literally and philosophically.
The process of syncretism—the blending of two different cultural systems—is partly to account for this melding of the seasons and the religious calendar. Christianity often overlapped with previous belief systems like paganism; thus, particular celebrations and festivals that marked planting and harvesting or the waxing and waning of the moon were adopted by Christianity—it was also a method by which to encourage converts. As readers can see throughout the book, superstition also resides comfortably alongside religious belief and what constitutes scientific thinking of the time. For example, the religious plays that Birdy recounts at various points in the book are a combination of actual religious instruction, general revelry, and bawdy mishaps—as when the performer dressed like an angel bumps his head and curses like the devil.
Still, the promise of religion is a potent motivating factor of the time. Life was precarious, as seen in the difficulty of Lady Aislinn’s pregnancy and birth, and often brief, as we seen in the story of the young man who dies after a drunken party. There are no antibiotics, and there is only rudimentary science and technology. People put their faith in the church and its teachings because it offered a sense of relief from the endless labor and uncertainty of the times. Hope, in the medieval period, is for an eternal afterlife of transcendence. Birdy finds hope in the dreary period of Lent because it promises the resurrection of Christ; Easter will always come after the sacrifices of Lent, just as Heaven will always come after the toil of earthly life.
Another major theme in the book is how Birdy matures and develops over the course of a year. This “coming of age” tale is a prominent plot device throughout literary history. From Holden Caulfield’s philosophical musings in The Catcher in the Rye to Scout Finch’s dawning realizations in To Kill a Mockingbird, coming-of-age stories capture something deeply meaningful about what it means to be human. Catherine, Called Birdy is another entry on this list, as Birdy tries to figure out who she is and where she belongs in her world.
Birdy’s coming to terms with how to keep her own identity in the face of an arranged marriage is one of the ways, however minor it may seem, she can assert her power. Learning how to be herself—within the restrictions presented by the period—is the central struggle of this novel. This is why she identifies with the Jews who are forced to flee England: “I am like the Jews in our hall, driven from England, from one life to another, and yet for them, exile was no exile. Wherever they go, they take their lives, their families, their people, and their God with them” (162). Ultimately, she understands that who she becomes isn’t dependent on her relationship with anyone else, not her future husband. She will always be “Birdy, Catherine of Stonebridge, daughter of Lord Rollo and the lady Aislinn, sister to Robert and Thomas and Edward and little Eleanor, friend of Perkin, goat boy and scholar” (162).
The many identities she carries—that of daughter and sister, friend and lady—will always be a part of her, no matter where she ends up or to whom she is married. She at last realizes that “no matter whose wife I am, I will still be me” (162). Thus, the prospect of getting married is no longer a threat to Birdy, and as she matures into Catherine, she begins to look forward to this new chapter of her life.
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