Essay
Creed
Middle East
Monastic life
Royalty
9 min read

Edward I and the monk from China

A tale of a Chinese priest meeting a medieval monarch sheds a different light on the extent of Christendom. Benjamin Sharkey tells the surprising tale of the historic Asian church.

Benjamin is a DPhil student in the Faculty of History at the University of Oxford. He is researching the experience of Christian communities in medieval Central Asia.

A medieval illustration of two sets of monks seated and facing each other. One gestures towards the sky
A 13th Century depiction of a meeting between Latin and east Syrian clerics.
AtlasAtlas des Croisades, Jonathan Riley-Smith, Public domain, via Wikimedia Commons.

In the summer of 1288, outside the city of Bordeaux in Gascony, a small group of travellers approached the city walls. The inhabitants of the city gathered, curious to meet this collection of strange looking clergymen who were clearly far from home. The strangers told them that they had come from ‘over the eastern sea’ with letters and gifts from the ‘Mongol kings’ and the Patriarch in the east. Such strange reports, from visitors emerging from the unseen world over the horizon, a world known only from fantastical stories, deserved the immediate attention of the king.  

Edward I, the Duke of Gascony and King of England had been resident in Bordeaux for the last two years, overseeing the affairs of his duchy. Assembling his court, he welcomed these visitors from the east. The leader of the travellers was a monk named Rabban Sawma. He was a Uyghur Turk from China. He presented to Edward letters and gifts from the Mongol ruler of Persia, the ilkhan, Arghun, a great-great-grandson of Genghis Khan, and from the patriarch, Mar Yahbalaha, the head of the Church of the East. 

As a young lord, Edward had taken the crusader’s oath to go and fight to attempt to regain Jerusalem for Latin Christendom from the rule of unbelievers. Jerusalem had fallen from crusader control in 1244 after the city had been sacked by a large force of Kipchak warriors, nomads from the Central Asian steppes who had been displaced by the expanding Mongol empire. Arriving in 1271, Lord Edward managed to break the siege of the port-city of Acre, one of the last cities held by the King of Jerusalem. Over the next two years, however, his small force accomplished little, mostly skirmishing with herdsmen and burning houses and crops. His time in Acre came ignominiously to an end when he was stabbed with a poisoned dagger by one of his Muslim courtiers leading to lengthy and painful surgery. He left the dream of reaching Jerusalem behind him. Returning from crusade, Lord Edward was greeted with the news of his father Henry III’s death, heralding the start of his own reign. It wasn’t until 1274 that he finally reached England for his coronation. There in Westminster Abbey, he was invested with the splendour of Christian kingship. He swore on the gospel books to uphold and dispense justice and, having been anointed, he was dressed by the bishops in priestly robes and given a sword for the defence of the weak and ‘constraining those who do wrong to the Church’. Now, here in Bordeaux, these new visitors represented something quite outside his experience.  

When we dig (literally, archaeologically), we consistently find the evidence of Christian communities that no text ever told us about. 

Edward would have been familiar with the stories of Prester John. Reports of a grand and mysterious figure, a Christian ruler somewhere in the east who was both a priest and king, had begun circulating in the mid-twelfth century and were still current in European imaginations, especially as they tried to make sense of the new world that was opening up to them through contact with the Mongols. While there was not really any great Christian king in the Mongol empire, this legend does reflect the (correct) sense of medieval Europeans that a whole world of Christianity was going on beyond their horizon. 

Many historians today believe that until perhaps as late as the fourteenth century there were more Christians outside than inside Europe. Yet, in our books of global church history these believers rarely get more than a slim chapter, unrepresentative of their large share of the historical Christian demographic and experience. Throughout Late Antiquity and the Middle Ages there were significant numbers of Christians across Asia and Africa, in Ethiopia, Sudan and Egypt; Syria, Mesopotamia and Persia; India, Central Asia and China. Christians had been present in China as early as the sixth century, with significant numbers elsewhere much earlier. Meanwhile Egypt and many other areas of the Middle East had predominantly Christian populations until at least the twelfth to fourteenth centuries, which continued to makeup significant minorities into the twentieth century. In the Middle Ages these areas were global centres of population and development. Bordeaux was one of the largest cities in Europe at the time with a population of nearly 30,000 but cities like Alexandria, Baghdad, Merv (in present-day Turkmenistan) and Samarqand (in present-day Uzbekistan) were among the biggest in the world with populations in the hundreds of thousands, far larger than any in Europe. Present in the historical record of all these urban centres were Christian communities. We find them scattered across the textual record, although for many of these regions this record is far patchier than for medieval Europe, but when we dig (literally, archaeologically), we consistently find the evidence of Christian communities that no text ever told us about.  

Most Christians throughout history have lived outside Europe and North America, in pluralistic societies, ruled over by and living alongside non-Christians. 

By far the largest group of Christians outside Europe was the Church of the East. This church, once termed, inaccurately, Nestorian, was entirely distinct from the Eastern Orthodox churches but had rather grown out of those early churches that had been founded to the east of Judea, outside of the Roman empire in Persian ruled Mesopotamia. They soon rapidly grew to include communities across Asia, from Syria to China, and India to Mongolia. Syriac, a dialect of Aramaic, was the primary language of worship, prayer, and literature in these communities but the gospels, psalms and hymns were often translated into local vernaculars. Growing up outside the Constantinian revolution, which had seen the ushering in of the conception of Christian kingship with the Roman Emperor Constantine’s conversion to Christianity, and never succeeding in converting the Persian Shah or any other significant rulers, these eastern Christians had no experience of existing in a Christian state. Throughout the Church of the East, Christians always lived in pluralistic societies. The patriarch, the head of the church, was indeed for most of the Middle Ages based in Baghdad, also the seat of the Muslim Caliph, from where he oversaw the affairs of more communities than the Pope in Rome. 

By the time that Rabban Sawma made his journey to Europe, there were Christians throughout the Mongol empire (the largest empire until then ever seen). These included many Mongol queens, Khatuns, such as Sorqaqtani Beki, the mother of Kublai Khan, as well as many ordinary Mongols. Christianity had been present in Mongolia for at least a century by the rise of Genghis Khan in the early-thirteenth century and was very popular among many of the tribes he subordinated.  

Christianity for well over the first two thirds of its existence then was not a majority European faith and today it is again not majority western. Most Christians throughout history have lived outside Europe and North America, in pluralistic societies, ruled over by and living alongside non-Christians. The western experience is not just unrepresentative of Christianity today but unrepresentative of Christianity in the past. Christendom has been only a small part of the Christian experience. 

There in Bordeaux, near where the Garonne flows into the Atlantic, the king of England knelt as the monk who had grown up not far from the banks of the Yellow River began singing in Syriac. 

This was the experience of the monk who stood before Edward I. Rabban Sawma had grown up near Khanbaliq, ‘the city of the khan’ (present day Beijing). When still in his early twenties, out of ‘the love of his Lord’ he had become a hermit, living in a cave near a mountain spring, in the manner of many Chinese Taoist, Buddhist, poet and artist ascetics. People would regularly make the day’s journey from the city to come to hear him preach. He was later joined in his secluded life by another young man with a desire to lead a life for Christ named Mark. The two had lived together for some time when one day Mark shared with the older hermit his desire to visit Jerusalem. Together they set out on the long and perilous journey to see Jerusalem and all the sites of the life of Jesus. Like a reverse Marco Polo they travelled west across the Mongol Empire, sometime in the early 1270s, perhaps indeed at the same time as Marco Polo, taking the opportunity for long distance travel which the continent-spanning Mongol empire had made possible. 

When the two monks eventually reached Iraq they were told that fighting between the Mongols and the Mamluk Sultan of Egypt, who then controlled Jerusalem, had made travelling the final part of the journey impossible. So they settled down in Iraq until the time might come when it would be safe to make the journey. Such a time never came but while they were in Iraq they became involved in the life of the church and when in 1281 the patriarch died it was with some surprise that Sawma’s young companion Mark found himself chosen by the bishops to be the new patriarch. He chose the new name Yahbalaha.[3] He was the first believer from the more eastern regions of the church to be chosen as patriarch, reflecting the greater involvement such believers were able to have in the life of the whole church under the Mongols. In 1287 the Mongol ilkhan Arghun, seeking to use the European desire to regain Jerusalem to coordinate attacks against his enemy in Egypt, asked Yahbalaha to provide a Christian messenger to go to Europe with gifts and letters for its Christian kings. Yahbalaha recommended his mentor Sawma, also providing him with his own letters of friendship for the Europeans. 

A year later, having visited the cardinals in Rome, who had quizzed him on his beliefs and been left perfectly satisfied that he shared the same beliefs as them, and in Paris the King of France, who had shown him around the rapidly expanding city with its sprawling universities, Sawma met the king of ‘Inglatar’. In their audience Edward’s attention was particularly caught by the reference in the ilkhan’s letter to Jerusalem, having again taken the crusading oath only the spring before. But Sawma was far more interested in using his trip to see artefacts associated with characters from the gospels, to hear stories of heroes of humility and of the miracles God had worked in the lives of saints, and to observe the novelty of life in a predominantly Christian society. 

In the evening Sawma was invited to lead the king in worship. There in Bordeaux, near where the Garonne flows into the Atlantic, the king of England knelt as the monk who had grown up not far from the banks of the Yellow River began singing in Syriac:

‘Teshbuhta l-alaha ba-mrawme’ ‘Glory to God in the highest…’

On the altar Sawma broke the bread and made the sign of the cross over the chalice of wine. As he broke up the bread he sang: ‘Abun d-ba-shmaya’ ‘Our father in heaven…’ Edward and some of his courtiers and clerics might have recognised the prayer and tried to repeat the strange words or to follow along reciting in Latin. The king and his courtiers approached and Sawma served them. The king of England and the Chinese monk together participating in the divine mystery of Christ’s incarnation and sacrifice. 

  

Further reading and notes 

For the text of Rabban Sawma’s journey to Europe:  

Borbone, Pier Giorgio. History of Mar Yahballaha and Rabban Sauma (Hamburg: tredition, 2021). 
 

Rabban means ‘our master or teacher’, a term related to Rabbi which was an honorific used for monks. Ṣāwmā means ‘fast’ and is a shortened version of the name Bar Ṣāwmā, meaning ‘son of the fast’, often given to a greatly longed for child, as was the case with Rabban Sawma. 

Mar meaning ‘Lord’ was a term of respect applied in the Church of the East to senior clerics and saints. 

Yahbalaha means ‘God has given’, with ‘alaha’ being the word always used in Syriac for God. As with Sawma it is a name given by parents in thankfulness for the child. Mark chose it as a name borne by two previous patriarchs, perhaps recognising his appointment as a gift from God. 

 

Review
Culture
Film & TV
9 min read

Deadpool and Wolverine admit there’s only one story worth telling

Here's why a knowing take on post-modernity's void strikes a chord.

James is Canon Missioner at Blackburn Cathedral. He researches technology and theology at Oxford University.

Two superheroes, deadpool and Wolverine, stand and crouch respectively, in a desert like place.
'A desert of criticism and a wasteland of cynicism.'
Disney.

Can Marvel Jesus save a dying cinematic universe? That's the key question for the latest film from Marvel Studios and, it would seem at least from the box office, that the answer is: yes!  

Deadpool & Wolverine, the snarky buddy comedy odd-ball team-up between Ryan Reynolds and Hugh Jackman, made over $590 million in its first week. That’s the sixth biggest opening of all time. 

What follows is not a traditional review, you can find plenty of those online already. Instead, I want us to consider Deadpool & Wolverine as a cultural artefact that displays some of the key themes of our society. The stories that we tell, including the films that Hollywood produces, can act as a mirror to our culture, giving us an opportunity to see trends that we might have otherwise missed.  

As a mirror to this cultural moment, I want to suggest that Deadpool & Wolverine presents us with a cynical and nihilistic take on the end of an era in which all the protagonists can do is barrage the audience with an endless stream of jokes and quips. 

The third instalment of the Deadpool trilogy is the first to be set in the Marvel Cinematic Universe (MCU) since Disney acquired the rights to 20th Century Fox for $71.3 billion. Until now all the X-men movies, the Wolverine movies, the prequels and the Deadpool movies have been produced by 20th Century Fox. But it’s the start of a new chapter for the X-men franchise.  

The Disney executives hope for a new lease of life for the MCU, which has been struggling to find its way ever since the epic conclusion to Avengers: End Game. Of course, ordinarily, this sort of corporate back and forth would be irrelevant when thinking about the themes of a movie, but, in this case, the business backdrop is effectively a major plot-point of the film. 

A significant portion of the dialogue is spent discussing the acquisition of the X-men franchise by Disney. Deadpool talks about what Kevin Feige (president of Marvel Studios) will and won’t allow in his films. A major action set-piece takes place next to a ruin of the 20th Century Fox logo. Deadpool jokes with Wolverine that he is joined the MCU when they are in a bit of a slump, and, when Deadpool is asked to save the universe, he takes this to mean that he should save the entire MCU franchise describing himself as ‘Marvel Jesus’. The movie knows that this film is the product of a business deal, and it wants its audience to know that too. 

So, this film takes place at the end of an era and to highlight this throughout the film, a series of high-profile cameos are made by actors and characters from the last 24 years (no spoilers here). They are brought into the movie so that they might be given a final send off. A heroic on camera action hero death, one last valiant fight before the curtain falls. In a sense, Deadpool & Wolverine is a eulogy to the comic film industry, an era has passed away, we live only in the ruins of a once great edifice and all we can do is joke around and reminisce about the good old days

Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners. 

The scepticism Deadpool and Wolverine exhibits about the movie industry, correlates neatly with a post-modern disposition to be suspicious about the role of power. Deadpool knows, and points out to his audience, that it is only the vested interests of corporate power that allow this film to take place, and he revels with delight when these corporations seem to be failing. He is under no illusions that the studios are benign entities who merely hope to make worthwhile art - Deadpool is a cynic, the jester, who takes great satisfaction in declaring that the emperor has no clothes.  

Coupled with this is the constant breaking of the fourth wall. This is one of Deadpool’s foundational characteristics, he has been breaking the fourth wall since his earliest appearance in the comics and the previous two films. Deadpool uses this ability to deconstruct and point out some of the quirks of the superhero genre. For example, in the first film when a villain jumps into the scene from a great height, Deadpool says to the audience: “Superhero landing. She's gonna do a superhero landing… You know, that's really hard on your knees.” (This joke is repeated in Deadpool & Wolverine)

The deconstructionist tone contrasts sharply with Marvel’s previous movies, particularly the grand narrative which spanned 22 films and culminated in Avengers: Endgame- an unashamed mythic narrative about the defeat of evil and the triumph of good over bad. Yes, there were jokes and subversive elements in the MCU before Deadpool, but in the main the characters like Captain America are sincere and the movie takes them and their motivations seriously. Deadpool in contrast delights in deconstructing the narrative: Marvel’s grand narrative is over, Fox’s cinematic universe is over, and it is unclear if they will be able to successfully tell another epic mythic story. 

All of this, I imagine, sounds quite dystopian and that is not just how the film feels but also serves as the set piece for the middle section of the story. The misadventure of Deadpool & Wolverine lands both characters in “the void at the end of time” a place described as a Mad Max set, a barren desert where only the strongest survive by dominating the weak. In this hellish environment, Deadpool is completely unphased, he continues to make joke after joke, despite multiple characters in the movie telling him to ‘shut up’, and he displays zero remorse when his joking around results in other characters being killed. The humour of this film is the final element which makes it feel very post-modern and nihilistic. Deadpool and Wolverine are left in a hellscape and all they can do is fight with one another and make non-stop sarcastic quips. Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners. 

Paul Ricoeur, the French Christian and philosopher describes in his work two instincts in modernity: a ‘willingness to listen’ and a ‘willingness to suspect.’ The willingness to suspect is best exemplified by the three ‘masters of suspicion’, Karl Marx, Friedrich Nietzsche and Sigmund Freud. Following these masters of suspicion, modernity has learnt to be critical and to criticise texts, narratives, motives and power. Ricoeur thinks that we need both instincts, we need to be able to listen and we should be able to suspect, but, he cautions post-modern society that it is possible to find yourself in a desert of criticism in which there is nothing symbolic, nothing sacred, nothing but power and will. I have never seen a better depiction of the ‘desert of criticism’ put to film than Deadpool’s void at the end of time. 

Perhaps the film is doing this because this is, in fact, the only story worth telling.

All of this was bubbling around in the back of my head when the film came to its final climax. It is my experience of the finale that made me want to write this review of the film. After almost two hours of post-modern nihilism, in the denouement, our two protagonists are faced with the classic superhero choice to sacrifice themselves so that they can save their universe from imminent destruction. And, of course, like good superheroes, they go willingly into danger and give up their lives for the sake of their friends. 

I had such a strange set of emotions as I watched this part of the story unfold. 

Firstly, I thought “Oh, right, this is the moment when the hero sacrifices himself- that is obviously what comes next.” I have been conditioned by decades of superhero films to expect this sequence of events at the end of the movie. But secondly, I found myself thinking. “This is so out of place with the rest of the film, this is pure sentimental heroics, we’ve just had two hours of cynicism and fourth wall breaking and the climax of the whole thing is a traditional superhero ending?!” And then, lastly, I found myself wonderful, ‘Perhaps the film is doing this because this is, in fact, the only story worth telling- that everything up to this point has only been playing at cynicism because, at a fundamental level, the filmmakers realise that cynicism and scepticism aren’t enough to make a compelling story.” 

Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story. 

Deadpool & Wolverine is a strikingly resonant film, it has struck a chord with contemporary culture. The film offers us a mirror to the contemporary society in which we live and I think we must look deeply into the mirror if we are going to accurately diagnose the ills of our current cultural moment.  

Many people today feel like they are living in a desert at the end of time, devoid of meaningful symbolism and sustenance for the soul. The hollowing out of meaning in post-modern Western culture has resulted in a tinderbox which is ready to combust at a moment's notice. “Over the last month we have seen riots breakout across England caused by an incident in Southport that sent sparks flying.”. Relatedly, contemporary Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story. Look at the average Netflix viewing figures to discover that many of us only enjoy watching re-runs of our favourite TV shows from 10 years ago. 

The cynicism and scepticism of Deadpool & Wolverine resonates with many people in the contemporary West, and the film offers two ways of reacting to the pain of our cultural moment.  

For most of the film Deadpool saunters through this nihilistic hellscape spouting a barrage of gags, sex-jokes and sarcastic quips- that is the first option, to laugh in the face of meaninglessness. But for the climax of the movie, it’s as if the writers knew that they couldn’t maintain the ruse. When the characters of Deadpool and Wolverine make the choice to sacrifice themselves for the sake of others they choose to live for something bigger than themselves. They admit in their actions that they aren’t the nihilists they were pretending to be, and the film acknowledges that in the final analysis there is nothing ultimately satisfying, nothing ultimately sustaining, in that way of being in the world. 

Or, to put it another way, the only way that Deadpool could become ‘Marvel Jesus’ is by following in the footsteps of actual Jesus: by sacrificing his life for those whom he loved and by discovering that true life, resurrection life, is always and only ever found on the far side of death. 

Paul Ricoeur writes that ‘beyond the desert of criticism, we wish to be called again’, called to a second, or post-critical naïveté. Naivete is a deliberately provocative term to use, no one wants to be considered naïve (even postcritically naïve!), so perhaps you might prefer to think of it as synonymous with restored or as experiencing a recollection of meaning. I think many people in the West today are waking up to the challenge of living in a desert of criticism and a wasteland of cynicism. The capacity to criticise is an important skill, but it has run rampant and left out society with a void of meaning in which nothing is sacred, nothing is enchanted. 

Deadpool & Wolverine speaks of a culture desperately in need of a new story, a narrative within which meaning can be found. The film paints in vivid imagery the result of a society that has lost its narrative. And, in the end, Deadpool and Wolverine seems to admit that there is only one story worth telling: self-sacrificial death and resurrection.