Saint Hildegard of Bingen
Hildegard of Bingen (1098 – 17 September 1179) was a remarkable figure of the High Middle Ages. Also known as Saint Hildegard and the Sibyl of the Rhine, she not only served as a German Benedictine abbess but also left a profound impact as a writer, composer, philosopher, mystic, visionary, and medical practitioner. Her contributions include being one of the best-known composers of sacred monophony and a pioneer in scientific natural history in Germany, marking her enduring influence through the ages.
Hildegard's leadership at the convent of Disibodenberg was recognized when she was elected as magistra (mother superior) in 1136, marking the beginning of an extraordinary journey. Over the years, her influence extended as she established the monasteries of Rupertsberg in 1150 and Eibingen in 1165. Hildegard's remarkable legacy encompasses a diverse array of contributions, including theological, botanical, and medicinal works, along with an assortment of letters, hymns, and antiphons for the liturgy. Furthermore, she delved into poetry and meticulously oversaw the creation of intricate miniature illuminations in the Rupertsberg manuscript of her initial work, Scivias. Her musical prowess is unparalleled, with a greater number of surviving chants than any other composer from the entire Middle Ages. Notably, she is revered for being one of the few known composers to have composed both the music and the accompanying lyrics. Among her compositions, the Ordo Virtutum stands out as an early specimen of liturgical drama and is arguably the oldest surviving morality play. Additionally, Hildegard's innovation extended to the creation of a unique constructed language known as Lingua Ignota, a testament to her multifaceted genius. Although the history of her formal canonization is complicated, regional calendars of the Roman Catholic Church have listed her as a saint for centuries. On 10 May 2012, Pope Benedict XVI extended the liturgical cult of Hildegard to the entire Catholic Church in a process known as "equivalent canonization". On 7 October 2012, he named her a Doctor of the Church, in recognition of "her holiness of life and the originality of her teaching," making her significant contributions to spirituality and theology more widely acknowledged and celebrated within the Catholic Church.
Hildegard was born around 1098 into a family of the free lower nobility in the service of the Count Meginhard of Sponheim. Despite being sickly from birth, she is traditionally considered the youngest and tenth child in her family. However, records only account for seven older siblings. In her Vita, Hildegard recounts her experience of having visions from a very young age. From early childhood, long before she undertook her public mission or even her monastic vows, Hildegard's spiritual awareness was grounded in what she called the umbra viventis lucis, the reflection of the living Light. Her letter to Guibert of Gembloux, which she wrote at the age of 77, describes her experience of this light:
From my early childhood, before my bones, nerves, and veins were fully strengthened, I have always seen this vision in my soul, even to the present time when I am more than seventy years old. In this vision, my soul, as God would have it, rises up high into the vault of heaven and into the changing sky and spreads itself out among different peoples, although they are far away from me in distant lands and places. And because I see them this way in my soul, I observe them in accord with the shifting of clouds and other created things. I do not hear them with my outward ears, nor do I perceive them by the thoughts of my own heart or by any combination of my five senses, but in my soul alone, while my outward eyes are open. So I have never fallen prey to ecstasy in the visions, but I see them wide awake, day and night. And I am constantly fettered by sickness, and often in the grip of pain so intense that it threatens to kill me, but God has sustained me until now. The light which I see thus is not spatial, but it is far, far brighter than a cloud which carries the sun. I can measure neither height, nor length, nor breadth in it; and I call it "the reflection of the living Light." And as the sun, the moon, and the stars appear in water, so writings, sermons, virtues, and certain human actions take form for me and gleam.
Perhaps due to the impact of Hildegard's profound visions, her parents may have chosen to offer her as an oblate to the Benedictine monastery at Disibodenberg for both spiritual devotion and strategic positioning within the political landscape. The exact date of Hildegard's enclosure at the monastery remains a topic of scholarly debate. According to her Vita, she was eight years old when she took her vows alongside Jutta, who was approximately six years her senior and hailed from the prestigious lineage of Count Stephan II of Sponheim. Contradictorily, historical records indicate Jutta's enclosure occurred in 1112, a year when Hildegard would have been 14. It has been theorized by some scholars that Hildegard was initially placed under Jutta's guardianship at the tender age of eight, and they were both formally enclosed together six years later under the solemn reception of their vows by Bishop Otto of Bamberg on All Saints Day in 1112.
Hildegard and Jutta were enclosed together at Disibodenberg and formed the core of a growing community of women attached to the monastery of monks, named a Frauenklause, a type of female hermitage. Jutta, known for her visions, attracted many followers who came to visit her at the monastery. According to Hildegard, Jutta taught her to read and write, despite being considered unlearned and unable to provide sound Biblical interpretation. The written record of the Life of Jutta suggests that Hildegard likely assisted her in reciting the psalms, engaged in gardening and other handiwork, and tended to the sick. It's believed that during this period, Hildegard may have also learned to play the ten-stringed psaltery, possibly with the assistance of Volmar, a frequent visitor who may have taught her simple psalm notation. This period of studying music may have laid the foundation for the compositions she would later create.
Upon Jutta's death in 1136, Hildegard was unanimously elected as magistra of the community by her fellow nuns, showcasing their deep respect and trust in her leadership. Despite being asked by Abbot Kuno of Disibodenberg to become Prioress under his authority, Hildegard yearned for more autonomy for herself and her nuns. She proposed a move to Rupertsberg, a transition towards a life of poverty, forsaking their established stone complex for a humble temporary dwelling. Though the abbot initially rejected her proposal, Hildegard persevered and sought the approval of Archbishop Henry I of Mainz, showing her unwavering determination. It was only after Hildegard was struck by an illness that left her paralyzed, which she interpreted as a divine sign, that the abbot agreed to grant the nuns their own monastery. In 1150, Hildegard and around 20 nuns relocated to the St. Rupertsberg monastery, with Volmar serving as their provost, confessor, and scribe. Continuing her legacy, Hildegard established a second monastery at Eibingen in 1165, further expanding her impact and influence.
Hildegard said that she first saw "The Shade of the Living Light" at the age of three, and by the age of five, she began to understand that she was experiencing visions. She used the term visio (Latin for 'vision') to describe this feature of her experience and she recognized that it was a gift that she could not explain to others. Hildegard explained that she saw all things in the light of God through the five senses: sight, hearing, taste, smell, and touch. Despite her deep understanding, Hildegard hesitated to share her visions, confiding only to Jutta, who in turn told Volmar, Hildegard's tutor and, later, secretary. Throughout her life, she continued to have many visions, and in 1141, at the age of 42, Hildegard received a vision she believed to be an instruction from God, telling her to "write down that which you see and hear." Still hesitant to record her visions, Hildegard became physically ill, grappling with the weight of her divine gift. The illustrations recorded in the book of Scivias were visions that Hildegard experienced, causing her great suffering and tribulations. In her first theological text, Scivias ("Know the Ways"), Hildegard describes her struggle within:
But I, though I saw and heard these things, refused to write for a long time through doubt and bad opinion and the diversity of human words, not with stubbornness but in the exercise of humility, until, laid low by the scourge of God, I fell upon a bed of sickness; then, compelled at last by many illnesses, and by the witness of a certain noble maiden of good conduct [the nun Richardis von Stade] and of that man whom I had secretly sought and found, as mentioned above, I set my hand to the writing. While I was doing it, I sensed, as I mentioned before, the deep profundity of scriptural exposition; and, raising myself from illness by the strength I received, I brought this work to a close – though just barely – in ten years. [...] And I spoke and wrote these things not by the invention of my heart or that of any other person, but as by the secret mysteries of God I heard and received them in the heavenly places. And again I heard a voice from Heaven saying to me, 'Cry out, therefore, and write thus!'
— Hildegard von Bingen, Scivias, translated by Columba Hart and Jane Bishop, 1990
It was between November 1147 and February 1148 at the synod in Trier that Pope Eugenius heard about Hildegard's writings. It was from this that she received Papal approval to document her visions as revelations from the Holy Spirit, giving her instant credence.
On 17 September 1179, when Hildegard died, her sisters claimed they saw two streams of light appear in the skies and cross over the room where she was dying.
Illumination from Hildegard's Scivias (1151) showing her receiving a vision and dictating to teacher Volmar
Hildegard's hagiography, known as Vita Sanctae Hildegardis, was meticulously compiled by the monk Theoderic of Echternach following Hildegard's passing. The narrative was enriched with the inclusion of the hagiographical work Libellus, also referred to as the "Little Book", which was originally initiated by Godfrey of Disibodenberg. Unfortunately, Godfrey's demise prevented him from completing this endeavor. Subsequently, Guibert of Gembloux was approached to finalize the work, yet, regrettably, he had to depart with the project remaining incomplete. Theoderic, resourcefully drawing from the materials that Guibert had left behind, sought to bring the Vita to its culmination.
Hildegard of Bingen, a remarkable figure in history, left behind a rich legacy encompassing three extensive volumes of visionary theology. Additionally, she composed a diverse range of musical pieces intended for use in religious ceremonies and authored the thought-provoking musical morality play Ordo Virtutum. Furthermore, her correspondence, comprising nearly 400 letters, provides a unique glimpse into the Middle Ages, addressing a wide array of recipients from popes to emperors to abbots and abbesses. This extensive collection also includes detailed records of her impactful sermons delivered during the 1160s and 1170s. Hildegard's contributions extend beyond theology and music, as seen in her two volumes dedicated to natural medicine and cures. Notably, she even developed an enigmatic language known as the Lingua Ignota ('unknown language'). Among her remarkable achievements are various minor works, including a gospel commentary and two works of hagiography, showcasing the depth and breadth of her intellectual pursuits.
Several meticulous and beautifully crafted manuscripts of Hildegard of Bingen's works were created during her lifetime, each showcasing a different aspect of her multifaceted genius. These included the intricately illustrated Rupertsberg manuscript of her groundbreaking work, Scivias; the Dendermonde Codex, housing a unique iteration of her musical compositions; and the significant Ghent manuscript, serving as the inaugural fair-copy for the editing process of her culminating theological masterpiece, the Liber Divinorum Operum. As she approached the end of her earthly journey, all her works, most likely under her direct supervision, were meticulously compiled and consolidated into the monumental Riesenkodex manuscript.
Hildegard's most significant works were her three volumes of visionary theology: Scivias ("Know the Ways", composed between 1142 and 1151), Liber Vitae Meritorum ("Book of Life's Merits" or "Book of the Rewards of Life", composed between 1158 and 1163); and Liber Divinorum Operum ("Book of Divine Works", also known as De operatione Dei, "On God's Activity", which she began around 1163 or 1164 and completed around 1172 or 1174). As she entered her seventies, Hildegard meticulously detailed each vision, often filled with strange and enigmatic elements, and then provided their theological interpretations as revealed through the "voice of the Living Light."
Scivias I.6: The Choirs of Angels. From the Rupertsberg manuscript, folio 38r.
With the gracious permission of Abbot Kuno of Disibodenberg, she initiated the practice of documenting the extraordinary visions she received, laying the foundation for her renowned work, Scivias. Derived from "Sci vias Domini" meaning 'Know the Ways of the Lord', Scivias marked a pivotal point in Hildegard's life and served as her inaugural major visionary endeavor. Prompted by a divine directive to "write down what you see and hear," Hildegard diligently undertook the task of chronicling and deciphering her profound visionary encounters, ultimately encapsulating 26 extraordinary experiences in this significant compilation.
Scivias is divided into three distinct parts, each offering a unique glimpse into different aspects of theological understanding. The initial section, comprising six visions, delves into the sequence of God's creation and the subsequent fall of Adam and Eve, as well as the intricate structure of the universe likened to the shape of an "egg." It further explores the relationship between body and soul, elucidates God's connection to his people through the Synagogue, and portrays the hierarchies of angels. Next, the seven visions of the second part expound on the sequence of redemption, detailing the arrival of Christ the Redeemer, the concept of the Trinity, the church's role as the Bride of Christ and the Mother of the Faithful in the context of baptism and confirmation, the various orders within the church, Christ's sacrificial act on the cross and the significance of the Eucharist, along with the perpetual struggle against the forces of evil. Finally, the third segment, encompassing thirteen visions, offers a broader perspective as it recapitulates the saga of salvation depicted in the preceding sections, symbolized through a metaphorical building adorned with a diverse array of allegorical figures and virtues. This culminates in the stirring Symphony of Heaven, an early manifestation of Hildegard's musical oeuvre. In early 1148, prompted by growing curiosity about Hildegard and her writings, a special commission dispatched by the Pope journeyed to Disibodenberg. Following their scrutiny, the commission confirmed the authenticity of the visions and conveyed a portion of Scivias back to the Pope. Subsequently, excerpts from the unfinished work were recited before Pope Eugenius III at the Synod of Trier in 1148, prompting him to dispatch a letter of blessing to Hildegard. This gesture was later construed as papal endorsement for Hildegard's extensive theological endeavors. As her life drew to a close, Hildegard oversaw the creation of a lavishly adorned manuscript of Scivias (the Rupertsberg Codex). Although the original manuscript was lost after being moved to Dresden for safekeeping in 1945, a meticulously hand-painted replica from the 1920s has preserved its captivating imagery.
The Church, the Bride of Christ and Mother of the Faithful in Baptism. Illustration to Scivias II.3, fol. 51r from the 20th-century facsimile of the Rupertsberg manuscript, c. 1165–1180.
In her second volume of visionary theology, Liber Vitae Meritorum, composed between 1158 and 1163, after she had moved her community of nuns into independence at the Rupertsberg in Bingen, Hildegard embarked on a profound exploration of the moral life, portraying dramatic confrontations between the virtues and the vices. This rich body of work builds upon her earlier foray into this realm with the musical morality play, Ordo Virtutum, and the "Book of the Rewards of Life" eloquently continues its poignant themes. In riveting detail, each vice, no matter how repugnant in its ultimate depiction, seduces with compelling speeches aimed at ensnaring unsuspecting souls. Counteracting this perilous allure stand the resolute voices of the Virtues, steadfastly and powerfully challenging every deceitful enticement, standing as humanities stalwart defenders. Amongst the work's noteworthy innovations is one of the earliest and most vivid descriptions of purgatory. Here, Hildegard portrays purgatory as the realm where each soul must toil to settle its debts post-death before gaining entry into heaven. Hildegard's depictions of the potential torments in this realm are frequently horrifying and macabre, serving to underscore the work's moral and pastoral intent as a hands-on manual for embracing true penance and virtuous living.
Hildegard's last and grandest visionary work, Liber divinorum operum, had its genesis in one of the few times she experienced something like an ecstatic loss of consciousness. As she described it in an autobiographical passage included in her Vita, sometime in about 1163, she received "an extraordinary mystical vision" in which was revealed the "sprinkling drops of sweet rain" that she stated John the Evangelist experienced when he wrote, "In the beginning was the Word" (John 1:1). In her perception, this Word became the central pillar of the "Work of God", with humankind at its pinnacle. Consequently, the Book of Divine Works is essentially an extensive elucidation of the prologue to the Gospel of John, connecting a profound narrative with her revelatory experience.
The ten visions contained within this work's three parts are expansive in their cosmic scale, serving to depict diverse perspectives on the intricate connection between God and his creation. Frequently, this relationship is symbolized by majestic allegorical female figures embodying Divine Love (Caritas) or Wisdom (Sapientia). Commencing the work, the initial vision unleashes a barrage of poetic and visionary imagery, swirling to portray God's dynamic involvement intertwined with the historical narrative of salvation. The subsequent three visions in the first part introduce the representation of a human figure straddling the spheres comprising the universe, intricately delineating the correlation between the human as microcosm and the universe as macrocosm. This reaches a climax in the concluding chapter of Part One, Vision Four, where Hildegard reflects directly on the prologue to the Gospel of John (John 1:1–14), engaging in a contemplation of the significance of "In the beginning was the Word." The solitary vision encompassing the entirety of Part Two extends this contemplation back to the Genesis creation account, presenting an extensive commentary on the seven days of world creation narrated in Genesis 1–2:3. This commentary interprets each day of creation in three dimensions: literal or cosmological; allegorical or ecclesiological (i.e. pertaining to the church's history); and moral or tropological (i.e. related to the soul's growth in virtue). Lastly, the five visions in the third part revisit the architectural imagery from Scivias to depict the panorama of salvation history. The ultimate vision (3.5) encapsulates Hildegard's most extensive and detailed prophetic vision of the life of the church from her own days of "womanish weakness" to the arrival and eventual downfall of the Antichrist.
In recent decades, there has been a growing focus on the women of the medieval Catholic Church, igniting widespread fascination with Hildegard's musical contributions. Apart from the renowned Ordo Virtutum, she has left behind an impressive collection of 69 musical compositions, each accompanied by its unique poetic text. Additionally, there are at least four other texts attributed to her, although the musical notations for these have regrettably been lost, solidifying her reputation as one of the most prolific medieval composers. One of her most famous works is the Ordo Virtutum (Play of the Virtues), which is a morality play believed to have been composed as early as 1151. This independent Latin morality play features music, consisting of 82 songs, and is not associated with a specific liturgical celebration, making it the earliest surviving musical drama of its kind.
The Ordo virtutum, a significant theatrical production, likely took place within Hildegard's monastery, enchanting her exclusive community of noblewomen and nuns. Rooted in the theology expounded in the Scivias, this play symbolizes the Christian narrative of sin, penance, and absolution, with a noteworthy twist— the revival of the fallen is orchestrated by the female Virtues, not the male figures of authority. This powerful message would have resonated deeply with the nuns in Hildegard's convent. It is believed that Volmar portrayed the role of the Devil, contrasting the nuns who embodied Anima and the Virtues. The devil's portrayal consisted solely of spoken or shouted lines, devoid of any musical accompaniment, while other characters expressed themselves through monophonic plainchant. The extensive cast included patriarchs, prophets, various types of souls, and an ensemble of 16 virtues, such as mercy, chastity, and faith, each lending their voice to this captivating performance.
Ordo Virtutum by Hildegard von Bingen
In addition to the Ordo Virtutum, Hildegard composed a vast array of liturgical songs that were gathered into a cycle known as the Symphonia armoniae celestium revelationum. This collection encompasses a variety of musical forms, including antiphons, hymns, and sequences, alongside responsories. Hildegard's musical style, primarily monophonic, is lauded for its captivating, soaring melodies that both challenge and go beyond the boundaries of traditional Gregorian chant. Scholars are actively studying how her compositions compare to those of her contemporaries, like Hermannus Contractus. Furthermore, her music, marked by frequent melismatic passages and recurring melodic units, reflects the evolving nature of 12th-century chant while introducing new innovations. Notably, esteemed researchers like Margot Fassler, Marianne Richert Pfau, and Beverly Lomer emphasize the deep connection between Hildegard's music and text, highlighting distinct rhetorical features uncommon in 12th-century chant. Additionally, Hildegard's notation, typical of medieval chant, lacks indications of tempo or rhythm, employing ornate neumes in surviving manuscripts. Lastly, the profound reverence for the Virgin Mary evident in her music underscores the profound influence and inspiration that both Hildegard of Bingen and her community derived from the Virgin Mary and the saints. The multifaceted nature of Hildegard's musical compositions reveals a rich tapestry of innovation, tradition, and spiritual devotion, establishing her as a pivotal figure in the history of medieval music.
Hildegard's medicinal and scientific writings, although thematically complementary to her ideas about nature expressed in her visionary works, are different in focus and scope. While they do not claim to be rooted in her visionary experience and its divine authority, they instead emerge from her practical involvement with the monastery's herbal garden and infirmary. Over time, her expertise expanded through theoretical knowledge gained from extensive reading in the monastery's library. This multifaceted approach led to the development of her skills in diagnosis, prognosis, and treatment, where she merged physical remedies for bodily afflictions with holistic methods focused on "spiritual healing". Her reputation flourished due to her adept application of tinctures, herbs, and precious stones, coupled with the theological belief stemming from Genesis that all earthly resources are for human benefit. Furthermore, apart from her hands-on experiences, she also assimilated medical knowledge, including aspects of her humoral theory, from traditional Latin texts, enriching the depth of her contributions to medicinal practices.
Hildegard left behind a rich literary legacy that encompassed both theoretical and practical knowledge. In her two major works, she meticulously documented her insights and experiences. Physica, consisting of nine comprehensive books, delves into the intricate scientific and medicinal attributes of a wide array of natural elements, from plants and stones to fish, reptiles, and animals. Notably, this compilation is believed to contain the earliest known reference to the utilization of hops as a preservative in beer. In her second monumental work, Causae et Curae, Hildegard embarked on an exploration of the human body, its interconnectedness with the natural world, and the causes and treatments of numerous diseases. Within these pages, she methodically chronicled diverse medical practices, encompassing everything from bloodletting to home remedies for common afflictions. Moreover, she provided insightful guidance for addressing prevalent agricultural injuries such as burns, fractures, dislocations, and cuts. It is speculated that Hildegard may have utilized these invaluable volumes to impart knowledge to her assistants at the monastery. These exceptional texts hold immense historical significance, shedding light on aspects of medieval medicine that had been scarcely documented due to the infrequent written contributions of practitioners, particularly women, in Latin. Furthermore, Hildegard's writings have been the subject of analysis and commentary by Mélanie Lipinska, a distinguished Polish scientist, further attesting to their enduring impact and relevance.
In addition to its wealth of practical evidence, Causae et Curae is also noteworthy for its exceptional organizational scheme. Its first part eloquently places the work in the context of the creation of the cosmos and subsequently humanity as its pinnacle. The perpetual interplay of the human being as a microcosm, both physically and spiritually, with the universe's macrocosm serves as the foundation of Hildegard's approach. She is renowned for highlighting the crucial link between the "green" health of the natural world and the holistic well-being of the human being. Viriditas, also known as greening power, was believed to sustain humans and could be manipulated by adjusting the balance of elements within an individual. Thus, her view of medicine resembling gardening was not merely metaphorical. Instead, Hildegard perceived the plants and elements of the garden as direct equivalents to the humors and elements within the human body, whose imbalance resulted in illness and disease.
The second book of Causae et Curae, comprising nearly three hundred chapters, delves into the causes of disease, human sexuality, psychology, and physiology. Within this extensive text, Hildegard provides detailed instructions for bloodletting, taking into account various factors such as gender, the lunar phase, and the location of the ailment. She also covers treatments for both major and minor ailments based on the humoral theory, including guidance on animal health. Additionally, the book features insights on diagnosis and prognosis, advocating for the examination of blood, pulse, urine, and stool. Notably, it includes a lunar horoscope for evaluating medical conditions and even human conception, underlining the significance of lunar phases in both human and plant fertility. Furthermore, Hildegard emphasizes the importance of boiling drinking water to prevent infections, demonstrating her holistic approach to healthcare.
As Hildegard delves into the intricate connection between the human microcosm and the vast macrocosm of the universe, she repeatedly emphasizes the harmonious interplay of the number four. Her focus encompasses the four elements (fire, air, water, and earth), the four seasons, the four humors, the four zones of the earth, and the four major winds. While she inherited the fundamental concept of humoral theory from ancient medicine, Hildegard's interpretation of the hierarchical equilibrium of the four humors (blood, phlegm, black bile, and yellow bile) was truly distinctive. She established their correspondence to the "superior" and "inferior" elements—blood and phlegm aligning with the "celestial" elements of fire and air, while the two biles corresponded to the "terrestrial" elements of water and earth. Hildegard attributed disease-causing imbalances of these humors to the improper dominance of the subordinate humors, a disharmony that she believed stemmed from the Fall of Adam and Eve. According to Hildegard, this marked the indelible introduction of disease and humoral imbalance into humankind, as articulated in Causae et Curae c. 42.
It happens that certain men suffer diverse illnesses. This comes from the phlegm which is superabundant within them. For if man had remained in paradise, he would not have had the flegmata within his body, from which many evils proceed, but his flesh would have been whole and without dark humor [livor]. However, because he consented to evil and relinquished good, he was made into a likeness of the earth, which produces good and useful herbs, as well as bad and useless ones, and which has in itself both good and evil moistures. From tasting evil, the blood of the sons of Adam was turned into the poison of semen, out of which the sons of man are begotten. And therefore their flesh is ulcerated and permeable [to disease]. These sores and openings create a certain storm and smoky moisture in men, from which the flegmata arise and coagulate, which then introduce diverse infirmities to the human body. All this arose from the first evil, which man began at the start, because if Adam had remained in paradise, he would have had the sweetest health, and the best dwelling-place, just as the strongest balsam emits the best odor; but on the contrary, man now has within himself poison and phlegm and diverse illnesses.
Hildegard also invented an alternative alphabet. Litterae ignotae ('Alternate Alphabet') was another work and was more or less a secret code, or even an intellectual code – much like a modern crossword puzzle today.
Alphabet by Hildegard von Bingen, Litterae ignotae, which she used for her language Lingua Ignota
Hildegard's Lingua ignota, also known as the "unknown language," comprised a collection of newly crafted words that were linked to a diverse array of nouns, totaling around 1,000 items with an absence of other linguistic components. The primary sources of the Lingua ignota are the Wiesbaden, Hessische Landesbibliothek 2 (referred to as the Riesenkodex) and the Berlin manuscript, both featuring medieval German and Latin interpretations inscribed above Hildegard's fabricated vocabulary. Notably, the Berlin manuscript includes supplementary Latin and German glosses absent in the Riesenkodex. Moreover, the initial two terms of the Lingua, as transcribed in the Berlin manuscript, are aigonz (German, goth; Latin, deus; English, god) and aleganz (German, engel; Latin, angelus; English, angel).
Barbara Newman posits the view that Hildegard utilized her Lingua Ignota to foster solidarity within her community of nuns. However, Sarah Higley presents a differing perspective, contending that there exists no substantiated proof of Hildegard actually imparting the language to her nuns. Higley proposes that the language wasn't meant to be clandestine; rather, the inclusion of terms for everyday objects may indicate its intended usage for the entire abbey and even the wider monastic sphere. In Higley's interpretation, the Lingua Ignota serves as a linguistic embodiment of the philosophy encapsulated in Hildegard's three prophetic books, representing the interconnectedness of divine and human creation as well as the various sins inherent to humanity.
The text of her writing and compositions reveals Hildegard's use of this form of modified medieval Latin, encompassing many invented, conflated, and abridged words.[13] Because of her inventive creation of words to complement her lyrics and her utilization of a tailored script, numerous conlangers regard her as a medieval forerunner in linguistic innovation.
Contributing to Christian European rhetorical traditions, Hildegard "authorized herself as a theologian" through alternative rhetorical arts while maintaining a creative interpretation of theology. Furthermore, she advocated for the exclusion of non-noble novices from her monastery to prevent social division within her community. Additionally, she emphasized the interconnectedness of man and woman by stating that "woman may be made from man, but no man can be made without a woman."
Because of church limitations on public, discursive rhetoric during the medieval period, the rhetorical arts encompassed more constrained forms of expression such as preaching, letter writing, poetry, and the encyclopedic tradition. Hildegard's active participation in these arts adds to her significance as a female rhetorician, surpassing the prevailing bans on women's social involvement and interpretation of scripture. Her public preaching, despite societal expectations, challenges the stereotype of the time. In 1160, she openly preached in Germany, conducting four preaching tours throughout the country, addressing both clergy and laity in chapter houses and public spaces, primarily focusing on denouncing clerical corruption and advocating for reform. Notably, she garnered a following and corresponded with influential individuals, including popes, statesmen, German emperors, and notable figures such as Bernard of Clairvaux, further demonstrating her far-reaching impact and influence. Hildegard of Bingen's correspondence serves as a significant component of her extensive literary output.
Hildegard was one of the first individuals to undergo the Roman canonization process, but it was a lengthy endeavor, spanning four attempts at canonization that ultimately resulted in her beatification. Despite this, her name was included in the Roman Martyrology in the late 16th century and continues to be listed as "Saint Hildegard," celebrated on 17 September. Over the years, several popes, such as Pope John Paul II and Pope Benedict XVI, have recognized her as a saint. Her relics are housed at her parish and pilgrimage church in Eibingen near Rüdesheim. Notably, on 10 May 2012, Pope Benedict XVI extended the veneration of Saint Hildegard to the entire Catholic Church through "equivalent canonization," paving the way for her to be named a Doctor of the Church. Finally, on 7 October 2012, the feast of the Holy Rosary, the pope bestowed upon her the title of Doctor of the Church, emphasizing her enduring relevance and her expertise in theology, natural science, and music.
Hildegard of Bingen also appears in the calendar of saints of various Anglican churches, such as that of the Church of England, in which she is commemorated on 17 September