A Companion to Hildegard of Bingen

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190 leigh-choate, flynn, and fassler Table 1. Virtues in the Ordo (After Dabke) Opening: The Group of Virtues, Knowledge of God (Scientia Dei), Humility (Humilitas) (Knowledge of God fails to make much headway with Anima) The First Octad: The Gift Virtues* Mode Range Humility (Humilitas) D A-c Charity (Caritas) D A-b Fear of the Lord (Timor Dei) E B-c Obedience (Obedientia) E C-c Faith (Fides) E C-d Hope (Spes) D A-d Chastity (Castitas) E D-d Innocence (a subset of Chastity) (Innocentia) E C-c * Related to Isaiah 11:1–5. The Second Octad: The Beatitude Virtues* Mode Range Contempt of the World (Contemptus mundi) E C-c Heavenly Love (Amor celestis) D A-G The Virtue with the Missing Name** E C-c Shamefacedness (Verecundia) D A-d Mercy (Misericordia) C F-aa Victory (Victoria) C G-g Discretion (Discretio) C g-f Patience (Patientia) E G-e * Related to Matthew 5:1–12. ** Identifĳied by Dabke as Heavenly Desire. Through careful study, Dabke offfers a new solution for one of the most persistent puzzles regarding the drama: the name of the Virtue unidentifĳied through scribal error in its early copies. Dabke argues for Heavenly Desire, showing how her appearance and signifĳicance in Scivias reflect the drama, and demonstrating that she evokes the exegetical tradition surrounding Matthew 5:5.86 Under this scheme, new themes emerge as central to the play; Anima’s struggle is with her inability to follow the triad of perfection, which Dabke adapts from Eriugena: (1) deifĳication through a moral life; (2) contemplation of Christ; and (3) union with Christ.87 The Devil tries to persuade Anima to embrace the reality of the world, opposing the progression that the Virtues advocate. If the unnamed Virtue is 86 Dabke, “Hidden Scheme,” pp. 24–27. 87 Ibid., p. 29.
hearing the heavenly symphony 191 indeed Heavenly Desire, she embodies the reversal from longing for the world to longing for Heaven, and thus is pivotal in Anima’s process of change. The Devil chafes against reversal: “You were in my embrace, I led you out. Yet now you are going back.”88 Musically, too, this explanation of the Ordo and the identifĳication of Heavenly Desire make sense, adding to Fassler’s understanding of the drama as a sonic Tree of Jesse.89 The musical ranges of the characters take on special importance, as Morent has demonstrated;90 if the Ordo is a tree, the higher the branches, the nearer to the lofty peaks where the Virgin Mary and her Son have their allegorical dwelling. The Virtues’ response to Heavenly Desire includes the fĳirst high point of the second octad of Virtues. Heavenly Desire appears hand in hand with Contempt of the World (Contemptus mundi), who leads the Beatitude Virtues in their representation of salvation to post-Incarnation souls. The table above demonstrates that, in general, the music moves higher as we ascend the tree of Virtues. The highest range belongs to Mercy (Misericordia), whose melody, mode, and range foreshadow the play’s most triumphant song, that of Victory (Victoria), when the Devil is bound and the Virtues celebrate his demise and Anima’s restoration. Here Victory sings (stretching up to aa), “Rejoice, O friends, for the ancient serpent is bound!”91 Her melody presents one of Hildegard’s most dramatic borrowings: it derives from the famous Marian antiphon Ave regina caelorum, thus connecting the Virtues’ actions to the Incarnation and the Virgin Mary, who is the Mother of Mercy.92 The Virtues who bind the Devil are also allied with Ursula and the 11,000 Virgins, whose actions, like those of the Virtues and Mary, are the pearls that choke Satan.93 88 Dronke, “Ordo Virtutum,” in Nine Medieval Latin Plays, p. 177, ll. 209–10; Ordo, p. 518, ll. 286–87: “Tu amplexata es me, et ego foras eduxi te. Sed nunc in reversione tua confundis me.” 89 See especially Fassler, “Melodious Singing.” These issues are investigated in Margot Fassler, “‘Who are These Like Clouds?’: Hildegard’s Ordo Virtutum in the Context of Scivias,” Journal of the American Musicological Society 67 (2014), forthcoming. 90 Morent, “Ordo virtutum. Vom Spiel der Kräfte,” pp. 227–51. 91 Dronke, Nine Medieval Latin Plays, pp. 178–79, l. 227; Ordo, p. 519, l. 311: “Gaudete, o socii, quia antiquus serpens / ligatus est!” 92 Fassler, “Melodious Singing,” pp. 171–72. 93 See the next chapter in this volume, “Hildegard as Musical Hagiographer.”
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A Companion to Hildegard of Bingen
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A Companion to Hildegard of Bingen
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CONTENTS Notes on Contributors ....
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NOTES ON CONTRIBUTORS Michael Embac
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notes on contributors ix with parti
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xii abbreviations Epistolarium, III
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ACKNOWLEDGMENTS The editors wish to
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TIMELINE FOR HILDEGARD OF BINGEN’
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THE REGION OF HILDEGARD OF BINGEN s
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2 kienzle and stoudt as well emphas
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4 kienzle and stoudt A Companion to
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6 kienzle and stoudt Elisabeth of S
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8 kienzle and stoudt Finally, the a
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10 kienzle and stoudt over the cour
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12 kienzle and stoudt also an (illu
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WHAT DO WE KNOW ABOUT THE LIFE OF J
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what do we know about the life of j
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ST DISIBOD AND THE HISTORY OF THE D
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st disibod and the history of the d
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58 constant j. mews least as practi
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60 constant j. mews Hildegard was r
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62 constant j. mews a religious lif
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64 constant j. mews how Archbishop
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66 constant j. mews gathered around
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68 constant j. mews have copied at
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70 constant j. mews life to come se
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72 constant j. mews Augustinian com
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74 constant j. mews “the ways of
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76 constant j. mews true life” (r
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78 constant j. mews the language of
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80 constant j. mews Disibodenberg,
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82 constant j. mews into bloom, and
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UNEQUAL TWINS: VISIONARY ATTITUDE A
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unequal twins 87 nifĳicat (Quia re
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unequal twins 89 In this study, how
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unequal twins 91 Maria consors mart
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unequal twins 93 amazing popularity
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unequal twins 95 An important conf
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unequal twins 97 and shared its lit
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unequal twins 99 common musical com
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unequal twins 101 Could we imagine
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unequal twins 103 interpreted as a
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unequal twins 105 Hildegard’s son
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unequal twins 107 encounter with th
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HILDEGARD, THE SCHOOLS, AND THEIR C
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hildegard, the schools, and their c
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138 kienzle and stevens commenting
Page 160 and 161: 140 kienzle and stevens monks at Vi
Page 162 and 163: 142 kienzle and stevens Mary, and t
Page 164 and 165: 144 kienzle and stevens problems oc
Page 166 and 167: 146 kienzle and stevens Hildegard
Page 168 and 169: 148 kienzle and stevens Likewise, i
Page 170 and 171: 150 kienzle and stevens The magistr
Page 172 and 173: 152 kienzle and stevens Knowledge o
Page 174 and 175: 154 kienzle and stevens became the
Page 176 and 177: 156 kienzle and stevens to prophecy
Page 178 and 179: 158 kienzle and stevens the Rhinela
Page 180 and 181: 160 kienzle and stevens also chose
Page 182 and 183: 162 kienzle and stevens memory enjo
Page 184 and 185: 164 leigh-choate, flynn, and fassle
Page 242 and 243: 222 susanne ruge linked to the part
Page 244 and 245: 224 susanne ruge An outline is incl
Page 246 and 247: 226 susanne ruge in the Vite mer. t
Page 248 and 249: 228 susanne ruge Thus, even before
Page 250 and 251: 230 susanne ruge These two primary
Page 252 and 253: 232 susanne ruge Since the devil is
Page 254 and 255: 234 susanne ruge in the tradition o
Page 256 and 257: 236 susanne ruge In response, the v
Page 258 and 259: 238 susanne ruge blessed who await
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240 susanne ruge levels do not diff
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242 susanne ruge the murder of a ch
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244 susanne ruge teacher or judge (
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246 susanne ruge The Benedictine Ru
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248 susanne ruge (vices) and in the
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250 debra l. stoudt Translations of
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252 debra l. stoudt St Augustine (3
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254 debra l. stoudt appeared in the
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256 debra l. stoudt are useful in i
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258 debra l. stoudt of life,”39 a
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260 debra l. stoudt physical and sp
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262 debra l. stoudt begins with Ada
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264 debra l. stoudt Hildegard is af
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266 debra l. stoudt As an amulet, t
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268 debra l. stoudt account of Chri
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270 debra l. stoudt exorcism, compl
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272 debra l. stoudt The Antichrist
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274 michael embach Pentachronon and
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276 michael embach Chapter in Pragu
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278 michael embach for the canoniza
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280 michael embach the successful e
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282 michael embach texts compiled d
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284 michael embach that will afffli
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286 michael embach that Winand was
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288 michael embach University, Ms.
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290 michael embach cannot be consid
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292 michael embach In addition, he
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294 michael embach Hildegard in his
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296 michael embach saint’s nimbus
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298 michael embach Jacobus de Guis
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300 michael embach works in his com
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302 michael embach produced by a Je
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304 michael embach of Hildegardian
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306 george ferzoco ignored. Thus, t
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308 george ferzoco sent their revis
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310 george ferzoco better part of t
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312 george ferzoco Hildegardis, vir
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314 george ferzoco and was complete
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316 george ferzoco The papal bull o
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318 george ferzoco in providing a l
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320 george ferzoco II.B. Church off
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322 george ferzoco but it also show
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324 bibliography München, Bayerisc
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326 bibliography Gerard of Csanad.
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328 bibliography Johannes Afffligem
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330 bibliography ——. Guillelmi
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332 bibliography Bund, Konrad. “D
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334 bibliography ——. “Platoni
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336 bibliography ——. “Ductus
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338 bibliography Alfred Haverkamp,
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340 bibliography Jonsson, Ritva. Hi
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342 bibliography May, Johannes. Die
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344 bibliography Oxford Music Onlin
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346 bibliography Staab, Franz. “R
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INDEX Abelard, Peter 117n36, 127, 1
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index 351 Cuno, abbot of Disibodenb
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index 353 Helenger, abbot 207 hell
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index 355 Leclerq, Jean, scholar 10
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index 357 Paul of Bernried 67-68 Pa
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index 359 theology, creation 78, 10
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A Companion to Hildegard of Bingen

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