By Paul Rorem
Born in Saxony in 1096, Hugh turned an Augustinian monk and in 1115 moved to the monastery of Saint Victor, Paris, the place he spent the rest of his lifestyles, finally turning into the pinnacle of the varsity there. His writings hide the entire diversity of arts and sacred technology taught in his day. Paul Rorem deals a uncomplicated advent to Hugh's theology, via a complete survey of his works. He argues that Hugh is better understood as a instructor of theology, and that his quite a few and sundry writings are top preferred as a complete pedagogical application of theological schooling and non secular formation. Drawing his proof not just from Hugh's personal descriptions of his paintings yet from the earliest manuscript traditions of his writings, Rorem organizes and provides his corpus inside a tri-part framework. Upon a beginning of educating within the liberal arts and background, a constitution of doctrine is equipped up, that's ultimately embellished with ethical formation. inside this scheme of association, Rorem treats each one of Hugh's significant works (and many minor ones) in its acceptable position, orienting the reader in short but correctly to its contents, in addition to its situation in Hugh's overarching software of theological pedagogy.
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Additional resources for Hugh of Saint Victor (Great Medieval Thinkers)
83 Indeed, the abbot’s corpus next moves quickly to On Grammar and Practical Geometry, and so shall we. Although this summary mostly repeats what was presented earlier—for example, at the beginning of book 3—it is helpful here for the reader to have a concluding overview, as the teacher no doubt intended. pedagogy 35 4. Summary The Didascalicon is Hugh’s most important work of pedagogical foundation, yet it is best appreciated in the context of the several works that Abbot Gilduin placed at the start of his edition of Hugonian works.
Even such a comprehensive framework cannot do justice to the multifaceted nature of Hugh’s writings or contain all of his different types of writings. Many of his works cannot be so simply classiﬁed, and a few fall outside this schema altogether, such as his extensive commentary on the Dionysian Celestial Hierarchy, presented in an appendix. Nevertheless, creation-restoration and historical-allegorical-tropological are Hugh’s own pedagogical foundations for his work, especially according to Abbot Gilduin’s initial ordering of the Victorine corpus, and thus suggest themselves as the ordering principles of a sequence for gradually encountering Hugh’s many other writings.
In (theological) principle, the theoretical, practical, and mechanical arts may be needed as remedies against the evils implied in the fall (respectively, “wisdom against ignorance, virtue against vice, and needs against life’s weaknesses,” as the Didascalicon concludes2), but in fact they are presented in terms of creation by itself rather than as part of the process of restoration. For example, Hugh lists the particulars of the seven mechanical sciences without the theological overlay of this “fallen” world but with a delightful array of details about the created realm of fabrics, construction, commerce, farming, hunting, medicine, and theatrics.