The Vision of the Blessed in Heaven |
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Timelines [addt'l-nav.] †
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INTRODUCTION
THEMES:
SPIRITUAL FRIENDSHIP
Cassian,
Benedict (ch 72 - wholesome contemplation rather than selfish)
Gregory on friendship [also Ben and Schol.],
Goscelin - Rel. with Eva and Vision of Heaven
Hildegard - with Elder (Jutta) - Younger (Rechardis) )and monk
Bede, ?? Caedmon and relationship with Hilda and compatriots with whom formerly cound not sing
Aelred: Spir Friendship and Sister as anchoress
THE ART of READING
a MYSTICAL TEXT
LECTIO DIVINA and CONTEMPLATIVE EXEGESIS
Gregory on Four Levels;
Symeon NT on Light, Scripture, Vision;
Guigo on
lectio
Bede on Caedmon;
MYSTICAL VISIONS and IMAGES
Gregory the Great (on Images);
Dream of the Rood;
Victorines and the Ark;
Elizebeth of Schoenau;
Hildegard;
Gertrude;
Mechtild
Gregory Pallamas
Christus und der Minnende.Seele; similar MSS.
MYSTICAL LITURGY:
Heaven on Earth
Dionysius the Areopagite
Cluny
Guido Micrologus - chapter 14 on power of music
Herman the Cripple: new text transl of Musica, pp, 109 ff, esp p. 111; 139;
Suger and Architecture
?? Gerson Plures Tractatus De Canticis
Published online by Cambridge
University Press: 05 December 2008
Joyce L. IrwinExtract
With some justification musicologists have virtually ignored the group of
writings by the Parisian chancellor Jean Gerson (1363–1429) entitled De canticis.
The title notwithstanding, these three treatises, written between 1423 and 1426,
provide much more commentary on the affects of the soul than on the effects of
the vocal cords. Gerson, a reform-minded mystical theologian active at the
Council of Constance, had no intention of becoming a music theorist; at times in
these treatises he explicitly precludes any explanation of technical musical
terms. Though many such terms are used, the reader is presumed to understand
their literal meaning. It is the allegorical meaning that Gerson purports to
explicate. Indeed the allegorical level is the most appropriate one for treating
musical instruments, for the organ is virtually the only instrument from
biblical times that was still used in late-medieval churches. Yet by the
fifteenth century the treatment of instruments as symbols of states of the soul
had long been commonplace, and Gerson fails to arouse new interest. Even less
attractive to the modern reader is the spiritualisation of Guido's hexachord. By
deleting one of the As (by changing fa to mi in mutation from soft to hard
hexachords), the six syllables ut, re, mi, fa, sol, la can be reduced to the
five vowels A, E, I, O, U, which in turn signify the five primary affections or
emotions: joy, hope, compassion, fear, sorrow.
These were published as Plures tractatus de canticis, Joannis Gerson opera omnia, ed. du Pin, Ellies (Antwerp, 1706), iii, cols. 619–84
Hildegard
Suger
This Webpage was created for a workshop held at Saint Andrew's Abbey, Valyermo, California in 2003