Gertrude the Great


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Spiritual Exercises


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The remarkable monastery of Helfta was a 'place where learning and art, courtesy and holiness flowered in a dark season' of interregnal warfare.* The nuns drew their inspiration from the twin roots of Citeaux: the Rule of Saint Benedict and the constitutions of Citeaux; their spirituality, liturgy, customs, and habits were modelled on those of the White Monks, even though juridically they were not part of the Cistercian Order. Under the guidance of the thirteenth-century abbess Gertrud of Hackeborn, the nuns of Helfta steadfastly pursued learning and holiness. Among them were three outstanding women whose works have come down through the centuries: Mechtilde of Hackeborn, Mechtilde of Magdeburg, and the scholarly Gertrud the Great. Having entered monastic life at the age of five, Gertrud combined a deep knowledge of the Church Fathers and earlier medieval writers, an intimate familiarity with Scripture, and innate common sense. Her Spiritual Exercises—prayers, litanies, meditations, and hymns—articulate a spirituality that is both traditionally monastic and authentically, but unself-consciously, feminine. Hers is a mysticism of light and love, of humility and commitment, of freedom and discipline and—most of all—of joy. *M. Jeremy Finnegan OP, 'The Women of Helfta', Peace Weavers, Medieval Religious Women, 2:212. --




St. Gertrude the Great


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Mechthild of Hackeborn


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Introduces an English translation of the Book of Special Grace, a Latin mystical work composed by Mechthild of Hackeborn and her sisters at the convent of Helfta in the 1290s.




Prayers of St. Gertrude and St. Mechtilde


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This book is a translation, the only one from the Latin, of the Preces Gertrudianae, a manual of devotions compiled in the seventeenth century from the Suggestions of Divine Piety of St. Gertrude and St. Mechtilde, nllns of the Order of St. Benedict. Of this work Alban Butler says, in his life of St. Gertrude, that it is perhaps the most useful production, next to the writings of St. Teresa, with which any female saint ever enriched the Church."Care has been taken to preserve, not only the substance, but, as far as might be, the form, of the original prayers; and a few others, well known and much valued, have been added as an Appendix.Let us consider this advice: “When you are distracted in prayer, commend it to the Heart of Jesus, to be perfected by him, as our Lord Himself taught St. Gertrude. One day, when she was nluch distracted in prayer, he appeared to her, and held forth to her his Heart with his own sacred hands, saying: Behold, I set My Heart before the eyes of thy soul, that thou mayest commend to it all thine actions, confidently trusting that all that thou canst not of thyself supply to them will be therein supplied, so that they may appear perfect and spotless in my sight. Remember always to say the Gloria Patri with great devotion. The hermit Honorius relates that a certain monk who had been accustomed to say his office negligently appeared to another after his death and being asked what sufferings he had to undergo in punishment of his carelessness, he said that all had been satisfied for and effaced by the reverent devotion with which he had always said the Gloria Patri.”




From the Material to the Mystical in Late Medieval Piety


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The German mystic Gertrude the Great of Helfta (c.1256–1301) is a globally venerated saint who is still central to the Sacred Heart Devotion. Her visions were first recorded in Latin, and they inspired generations of readers in processes of creative rewriting. The vernacular copies of these redactions challenge the long-standing idea that translations do not bear the same literary or historical weight as the originals upon which they are based. In this study, Racha Kirakosian argues that manuscript transmission reveals how redactors serve as cultural agents. Examining the late medieval vernacular copies of Gertrude's visions, she demonstrates how redactors recast textual materials, reflected changes in piety, and generated new forms of devotional practices. She also shows how these texts served as a bridge between material culture, in the form of textiles and book illumination, and mysticism. Kirakosian's multi-faceted study is an important contribution to current debates on medieval manuscript culture, authorship, and translation as objects of study in their own right.




The Refugee from Heaven


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The Refugee from Heaven is the greatest story ever known. Cora Evans recounts the life of Jesus Christ as an eyewitness, beginning with the first meeting between Jesus and Peter, on the shores of Mount Carmel Bay. With vivid detail and dialogue, this unique account breathes new life into well-known figures of the Gospels. Readers gain startling insights into Mary of Magdala's conversion, Herod's ferocious personality, and John the Baptist's courage. Experience the awe of the disciples in the Upper Room at the Last Supper, and stand in the holy sepulcher at the moment of the Resurrection. With a book that is sure to renew appreciation for the loving Heart of Jesus, the author has created an enduring masterpiece.




This Is My Body


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This book examines how the writings of the thirteenth-century nun Gertrude the Great of Helfta articulate an innovative relationship between a person's eucharistic devotion and her body. It attends to her references to the biblical, monastic, and theological traditions, including attitudes and ideas about the spiritual and corporeal senses, in order to illuminate the affirmative role Gertrude assigns to the body in making spiritual progress. Ultimately the book demonstrates that Gertrude leaves behind the dualistic aspect of the Christian intellectual and devotional tradition while exploiting its affirmative concepts of bodily forms of knowing divine union.




Work of Human Hands


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