36 pages • 1 hour read
Lauren GroffA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
As a parting gift from Queen Eleanor, Marie receives a personal matrix seal. A matrix seal is a stamp for sealing an envelope, and a personal matrix seal means that no one but Marie can read her correspondence. The design of the seal is an image of “[Marie], a giant with a head in halo, a book in one hand and a broom flower in the other, nuns gathered around standing the height of her waist” (129).
The “broom flower” in this image echoes Marie’s early vision of a broom flower surrounded by swirling roses—an image that led to her decision to construct a labyrinth passage to her abbey. The broom flower in the matrix seal could, therefore, be seen as a sly reminder from Queen Eleanor that she knows what Marie is doing. At the same time, the image of Marie as a protective holy giant is a respectful and affectionate one. The image evokes Marie and Eleanor’s complicated relationship, one that is a mixture of rivalry and respect.
Marie is delighted by the seal, which seems to promise her a rare privacy: “For an abbey is collective: privacy is against the Rule, aloneness a luxury […]” (129). Yet the word matrix—which is also the book’s title—means womb or mother in Latin, and the seal shows Marie as a mother to her nuns. The gift embodies Marie’s complicated position and nature as a figure who is rebellious and solitary but also maternal and nurturing.
During Marie’s first night in the abbey, she has a dream that is also a memory. The dream is of a beautiful naked woman in a box, being stabbed by a man with a knife; it was a magic trick that Marie saw as a child, which she did not realize at first was a trick. Although the dream seems like a nightmare, it is suffused with a strange yearning. It is vivid and noisy, but Marie’s new monastic surroundings are quiet and drab, and it seems to represent the chaotic and vibrant world that Marie left behind. The proud, beautiful woman in the box also anticipates Marie’s first sighting of Eleanor in a tent during the crusades; Eleanor was also nearly naked at the time but imposing to Marie because of her pride and beauty.
Marie has this memory again on her deathbed. This time, however, the memory is more overtly about entrapment. Rather than admiring the woman’s poise and beauty from a distance, Marie puts herself in the woman’s impossible position: “[S]he is the woman in a box. She is slithering away from the swords coming in from all angles, contorting her body in the darkness so that she will not be stabbed […]” (248). In some ways, the box anticipates the coffin that Marie will soon occupy, as the repeated stabbings evoke the pain that she is feeling and her efforts to stave off death. Yet, the image also symbolizes the contortions that a woman must perform in order to survive, and Marie understands herself to have been occupying such a box all of her life: “Yes. It was like this, her life” (248).
Marie’s first vision is of a white doe with antlers. A white deer is a rare sight and is believed in some cultures to represent a message from the spirit world. A white doe with antlers further suggests a spirit that is feminine but also masculine and warlike: “And it was a doe, because a fawn was nuzzling at its belly, but it was unworldly, because it wore a rack of antlers on its head and its body was made of the purest white” (36).
Marie has this vision as a child while hunting with her Aunt Ursule, who is about to enter a convent. The image gives her a sense of peace and mystery, and she later documents it in one of her poems to Eleanor when she first enters the abbey. Although she wants desperately, at the time, to leave, the vision is an early sign that she has a religious vocation. She has the image again on her deathbed: “A doe burning white in the steam of the cold water, a mother, a queen, her crown her rack of antlers” (248). This image follows a premonition that Marie has of the end of the world; it is, therefore, an eerie image, one that Marie sees as a warning: “Daughters, prepare, make ready for the end of time” (248).
By Lauren Groff
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