Didascalicon of Hugh of St. Victor: A Medieval Guide to the Arts; Translated From the Latin With an Introduction and Notes (Classic Reprint)

Excerpt from The Didascalicon of Hugh of St. Victor: A Medieval Guide to the Arts; Translated From the Latin With an Introduction and Notes<br><br>The very title of the work places it squarely in a long ante cedent tradition of didascalic or didactic literature concerned in various ways with what arts or disciplines a man should study and why he should acquire them. In the Latin Christian West such literature begins with Augustine and continues through Boethius Cassiodorus Isidore of Seville Bede Alcuin Rhabanus Maurus and the late Carolingian masters including John the Scot. Before them it is found in the writings of Cicero and Quintilian on the education of the orator; in the lost works of M. Terentius Varro on the arts; in the introductions to specialized treatises on particular arts like that of Vitruvius on architecture or that of Galen on medicine; in certain moral epistles of Seneca; and in the allegory on the arts by Martianus Capella Augustine''s contemporary. Its roots reach far back to the ancient Greek conception Of an ''eyx6xxtog natseioc to the Objections of Socrates to Sophist education in the fifth century B. C. And to the opposed views Of education propounded in the next generation by Isocrates on the one hand and by Plato and Aristotle on the other.3 In a sense the Dia''asea/ioon can be regarded as both a summary and an extension of this tradition.<br><br>About the Publisher<br><br>Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com<br><br>This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work preserving the original format whilst repairing imperfections present in the aged copy. In rare cases an imperfection in the original such as a blemish or missing page may be replicated in our edition. We do however repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.