Hildegard+of+Bingen

__Hildegard of Bingen __ 'Sybil ofthe Rhine'

In her lifetime, Hildegard recorded twenty-six visions into three books that were compiled to form her first piece entitled //Scivias//. [1] The visions Hildegard experienced are the basis of her work. Her experiences are explained in detail in the beginning of //[|Scivias]//, she writes: //‘I saw a great splendor in which resounded a voice from Heaven saying to me, “O fragile human, ashes of ashes, filth of filth! Say and write what you see and hear”.’////[2////]// The predominant foundation for Hildegard’s work was the notion that all living things shared God’s divine energy, otherwise known as ‘viritas’. She explained the creation of the world in depth conveying the general belief that the world was not created for humans, rather the world was created and humans were merely inserted into the world as creatures with the ability to reason so they could appreciate media type="custom" key="10433424" width="250" height="250" align="right"what God had done.[3] The significance of her work was acknowledged and approved by Pope Euginius III at the Synod of Trier in 1147-1148 prompting her to have her works transcribed and compiled to form //Scivias// and establishing Hildegard into an influential position.[4]


 * Artwork**

Large portions of Hildegard’s visions were also expressed in her artwork and compositions. Her artwork largely depicts the notion of a ‘cosmic equilibrium’ in that opposites are drawn into the centre to maintain the perfect balance.[5] In writing an article for //The Ecologist// Stephanie Roth makes an interesting analysis of Hildegard’s work that can be translated into modern society. Roth describes Hildegard’s fourth vision, ‘The Cosmic Wheel’ as a representation of the relationship between man and the earth. Again she notes that equilibrium is maintained as long as man refrains from sins. If man were to sin he would disrupt the essential balance causing the world to its extreme either too dry or too wet. This idea echoes the thoughts expressed in her written work of man’s insertion into a self-sustaining environment and can relate to the modern sciences of extreme weather patterns resulting from human interference damaging the atmosphere. In this respect while appearing rudimentary her visions and subsequent artworks provide a foundation on which later scientific reasoning could be built despite its representation as a Christian art form.


 * Composition**

Hildegard’s music is recognised as being relatively eccentric for her time.[6] John Stevens, a professor from the University of Cambridge evaluated her music, in exploring this theory he considers a unique composition that he believes essentially captures her Hildegardian genre of music entitled //O Virga Mediatrix////.// He assesses the composition and evaluates it and Hildegard as eccentric, indicating that she did not necessarily know what she was doing. He labels her music as “musical crystallizations of moments of vision”[7] supporting the notion that her music was solely derived from visions from God providing the ultimate inspiration for her work.

media type="file" key="10 O Virga Mediatrix.m4a" width="300" height="50" //O Virga Mediatrix// media type="file" key="01 O Vis Aeternitatis.m4a" width="300" height="50" //O Vis Aeternitatis//


 * Influence on women**

Due to her gender, Hildegard may have been persecuted for her wayward thinking however she ensured to constantly re iterate her position as a ‘poor little woman’ to her male contemporaries including but not limited to: Pope Euginius, Eberhard, Archbishop of Salzburg, Abbot Helengerus and Odo of Paris[8] and was also sure to emphasise her role as a channel that only wrote, “which God saw fit to teach [her] in a true vision”.[9] This could be viewed as a tactic to ensure there is no implication that she is exceeding her roleas a woman in society. Philip and the Clerics of Cologne are openly skeptical of her position in a letter requesting a sermon she had preached stating they were “greatly astonished that God works through such a fragile vessel, such a fragile sex, to display the great marvel of his secrets”. Despite her modesty in these letters, Hildegard also displayed feminist characteristics in some of her writings. This is particularly evident when she addresses a congregation of nuns and openly praises the female sex claiming:

“//O, woman what a splendid being you are! For you have set your foundation in the sun, and have conquered the world.//”[10] From this excerpt it is possible to see fragments of feminism seeping into her work.

It is evident from the above that Hildegard of Bingen was indeed a revolutionary Christian philosopher, artist and composer. While her contribution to society was not confined to these disciplines they provide an adequate summary of her significance in these fields and the practice of theology. She continued to travel and preach to communities until her death in 1179 [14]. Her [|cult] can be traced back to the 13th century and has been approved by the German dioceses.[15] Though she has not been officially canonised, many who continue to follow her teachings consider Hildegard de Bingen as a saint. It is unquestionable the significance of her work that will continue to provide a source of inspiration and provoke thought for centuries to come.
 * Contribution**

[1] Amy Oden, //In Her Words: Women’s Writings in the History of Christian Thought// (Nashville: Abingdon Press, 1994), 107. [2]Hildegard of Bingen, "Scivias," (New Jersey: Paulist Press, 1098-1179). [3] Sabina Flanagan, //Hildegard of Bingen: A Visionary Life// (New York: Routledge, 1989). [4] Stephanie Roth, "The Cosmic Vision of Hildegard of Bingen," //The Ecologist// 30, no. 1 (2000). [5] Ibid. [6] Bruce Wood Hosinger, "The Flesh of the Voice: Embodiment and the Homoerotics of Devotion in the Music of Hildegard De Bingen," //Signs// 19, no. 1 (1993). [7] John Stevens, "The Musical Individuality of Hildegard's Songs," in //Hildegard of Bingen: The Context of Her Thought and Art//, ed. Jill Kraye and W.F. Ryan Charles Burnett (London: The Warburg Institute, 1998). [8]//The Letters of Hildegard of Bingen//, trans. Joseph L. Baird and Radd K. Erhman, vol. 1 (Oxford University Press). [9]Ibid., 32. [10 ﻿ ]Ibid., 128. [11] Anne Brenon, "Cathars, Albigensians," in //Encyclopaedia of the Middle Ages//, ed. Andre Vauchez (James Clarke & Co, 2001). [12] Elisabeth of Schoenau, "Medieval Women's Latin Letters," []. [13]Mike Campbell., "Behind the Name: The Etymology and History of First Names," []. [14] Jane Duran, //Eight Women Philosophers// (Chicago2006). [15] David Hugh Farmer, "Hildegard of Bingen," in //Oxford Dictionary of Saints// (Oxford University Press, 2003).