In his monograph, Ferrari identifies the absence of a thorough analysis of the theological content:
Non sarà possibile entrare nei particolari di ognuna delle ventotto figurae. L’estrema complessità segnica dei carmi rende forzatamente difficile un sommario dei temi trattati e il commento esteso e puntuale che sarebbe necessario non può essere fornito in questa sede.143
Up until now, scholars have noticed, reflected and commented on the remarkable interaction of word and image in the In honorem. They have identified various examples of these interactions as significant for the meaning and message of the work. However, these observations have been similar to the pioneering efforts in textual criticism of the Renaissance: dependent on the ope ingenii of the individual scholar. In the second section of this thesis, I propose a methodology for a systematic analysis of the philosophical and theological content of the In honorem. I attempt to sketch an approach which is able to deal with the unparallelled complexities of the form adopted by Hrabanus and provide a coherent structure for discussions of its content.
The third section applies this method of analysis to each carmen of the In honorem in an attempt to elucidate the philosophical and theological content. Here this thesis hopes to offer to the scholarly world a first attempt at that “commento esteso e puntuale” which Ferrari mentions.
The thesis concludes with an examination of what this anaysis has revealed about the contents of the work and a consideration of the relationship between form and content in the In honorem sanctae crucis understood as a theological work. I argue that Hrabanus created a unique method of writing theology. I suggest that the unique form conveys to the attentive reader the basic insight of negative theology, that God infinitely surpasses the capacities of our minds and language, in an aesthetic and emotional way, rather than the straight-forward linguistic methods by which most theologians and mystics have attempted to express this insight.
2. Method
2.1. Introduction
2.1.1. The Need for Method in Approaching the In honorem
The basic unit of the In honorem is a complex whole, consisting of a carmen
figuratum and several closely-associated and subordinated prose texts (discussed
below in §2.2.1.2.). The carmen figuratum itself consists of both multiple levels of text and figures. Since the work is so complicated, it is necessary to consider the form of the work in general in order to grasp how the In honorem communicates its contents to its readers.
2.1.2. The Purpose of the In honorem 2.1.2.1. The Original Audience
Hrabanus originally intended his work for his fellow monks as a fruitful object for their meditation. In the prologue which accompanies the In honorem, he explains his intention:
Nec enim arbitror me posse aliquid sanctae cruci decoris conferre, quae claritate sua cuncta clarificat; sed claritatem eius et maiestatem perpetuam, laudibus quibuscumque possum, conseruis meis praedico, ut saepius eam legentes ac sedulo conspicientes, nostram in ea redemptionem assidue cogitemus, Redemptorique nostro incessanter gratias agamus.144
Hrabanus states the work is directed to his fellow monks (conservis meis) who should read the work (eam legentes) over and over (saepius) and look at its visual elements (conspicientes) carefully (sedulo). Therefore he expected educated readers, with a grasp of Latin and some knowledge of the various religious symbols and ideas which he employs. He expected them to return again and again to the work and meditate upon it. This repeated meditation would have allowed Hrabanusʼ intended readers to penetrate slowly into the complex structure, understanding more and more of it over time.
2.1.2.2. Hrabanusʼ Gift Policy
The personages to whom dedications of the In honorem were written make up an exalted list. It seems that Hrabanus made use of his student work throughout his ecclesiastical career as a gift to win favor with important and powerful figures. Perrin has collated all mentions of receipients of the In honorem.145 They were his fellow
student and successor as abbot of Fulda, Hatto; the archbishops of Mainz Haistulf (813-826) and Otgar (826-847); archbishop Raoul of Bourges (840-866); the popes Gregory IV (827-844) and Sergius II (844-847); the abbeys of St. Martin at Tours and St. Denis near Paris; the margrave Eberhard of Friuli († 865) and the Emperor Louis the Pious (814-840). Such leading secular and religious figures would hardly have the time for the deep meditation that Hrabanus contemplates in the preface. Most likely they would have glanced through the work, admired the figures and interwoven texts, and appreciated the splendor of the conception.
2.1.3. Approach to the In honorem
In attempting to understand these multiple elements interwoven into a complex whole, I believe it is best to approach them in order of perception. First of all, the reader perceives purely visual elements. These form the basis for the texts. Finally, while reading texts the reader becomes aware of certain elements which are neither visual nor textual, but derive from both and consist entirely in information about the work. A relationship between a textual element and a visual element is not precisely textual nor entirely visual. Where is it situated? It seems to be more something the reader notices or becomes aware of during his more or less profound study than something he sees or reads. I call this the cognitive aspect. I propose a systematic approach to the In honorem according to these three categories, visual, textual and cognitive.
This method of analysis also allows us to elucidate the different depths of understanding of different readers. As is clear from the fact that Hrabanus wrote a
second book to elucidate the base poems of the carmina further, even among his intended audience not everyone was able to devote the time, energy and mental perspicuity necessary to a full and thorough study. So, as different readers invest different amounts of time and energy, they reach different levels of understanding. Certain elements can be recognized with a brief glance through the book. Others become clear after a bit of study of one carmen. Still others require a deep study of a medieval monk meditating on the text as part of his religious duties.