1096–1141) was an Augustinian canon at the Abbey of Saint Victor in Paris. Both works are here presented for the first time with an English translation.
De oratione dominica has never been studied or published, and survives in a single manuscript from Bury St Edmunds that was likely corrected by its author, now Cambridge, Pembroke College, MS 115. Hugh’s work has been printed many times this article presents a documentary edition of Paris, Bibliothèque Mazarine, MS 717, representing the edition of Abbot Gilduin made shortly after Hugh’s death. Samuel Presbiter’s De oratione dominica is a versification of De quinque septenis, written around the turn of the thirteenth century. 2 Later writers also adapted its contents to present Hugh’s thought in new ways. 1 Hugh’s accessibility and logic made it appealing to anyone wishing to teach these subjects, and the work was widely copied for the remainder of the Middle Ages.
He links the vices with four other groups of seven: the requests of the Lord’s Prayer (using the version in Matthew 6:9–13), the gifts of the Holy Spirit (based on Isaiah 11:2–3), the virtues, and the beatitudes (Matt.
Victor pride christian full#
Hugh of St Victor’s De quinque septenis ( On the Five Sevens) encapsulates the full scheme of the seven deadly sins in the high medieval period – today both widely recognized in popular culture and misunderstood. The source files are available online and provided under a Creative Commons Attribution licence. I undertook this project primarily as experiment in digital editing to see its strengths and weaknesses in comparison to traditional methods, after seeing Notes from the School of William de Montibus through print. Dunning, ‘Hugh of St Victor’s De quinque septenis ( On the Five Sevens) and Its Versification in Samuel Presbiter’s De oratione dominica ( On the Lord’s Prayer)’, Scholarly Editing 37 (2016), is available online at. This is a pre-copyedited, author-produced version of an article accepted for publication in Scholarly Editing following peer review.
0 kommentar(er)
