MEDIEVAL MONASTIC MYSTICS
and THEIR WORLDS

 

 

 


 


MEDIEVAL
M
ONASTIC
MYSTICS
 

 

 The Vision of the Blessed in Heaven
Fouquet, 1465.

Timelines [addt'l-nav.]          Bibliography / Suggested Reading / Study Links [pdf]


 

 

 


 

 

 

 

 

 

 

 

 


 

 



1_General_Principles_of_Cathoilc_Moral_Decision_Making


 


1. CATHOLIC PRINCIPLES
of
ETHICAL DECISION-MAKING
 

 


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 (13631429) 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. 61984

 

 

 

 

 

 

Hildegard

Suger

 

 

 

 

 

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