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A Companion to Hildegard of Bingen

Beverly Mayne Kienzle, Debra L. Stoudt & George Ferzoco, "A Companion to Hildegard of Bingen". BRILL, Leiden - Boston, 2014.

Beverly Mayne Kienzle, Debra L. Stoudt & George Ferzoco, "A Companion to Hildegard of Bingen". BRILL, Leiden - Boston, 2014.

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206 leigh-choate, flynn, and fassler<br />

the mountain<strong>to</strong>p that will not be leveled—against the wiles <strong>of</strong> the devil.<br />

These references suggest evangelical activity, the preparation <strong>of</strong> others <strong>to</strong><br />

receive God. In this, they reflect Disibod’s legendary status not only as a<br />

righteous, mountain-dwelling hermit, but as one <strong>of</strong> the region’s apostles.<br />

The melodic parallels between the settings <strong>of</strong> plantationem and preparatione<br />

suggest that <strong>Hildegard</strong> viewed Disibod’s founding <strong>of</strong> a monastic<br />

community, represented by the image <strong>of</strong> the vineyard, as integral <strong>to</strong> his<br />

prepara<strong>to</strong>ry work. Moreover, she calls this plantatio (and presumably the<br />

saint for whom it was named) a “pillar that glistens on high,” perhaps<br />

reflecting the common symbolism <strong>of</strong> the apostles as pillars <strong>of</strong> the Church:<br />

in <strong>Hildegard</strong>’s words, “a mighty row <strong>of</strong> pillars supporting the Lamb’s<br />

bride.”27 Her responsory thus bolsters the idea that the placement <strong>of</strong> the<br />

Disibod songs among those for the apostles had <strong>to</strong> do with the saint’s<br />

local apos<strong>to</strong>lic work in establishing his religious community, but it also<br />

suggests a link <strong>to</strong> the biblical apostles.<br />

A closer look at <strong>Hildegard</strong>’s other works and a consideration <strong>of</strong> the<br />

chronology <strong>of</strong> their composition and compilation may add <strong>to</strong> our understanding.<br />

In Scivias 2.5, <strong>Hildegard</strong> relates the Church’s apos<strong>to</strong>lic teaching<br />

<strong>to</strong> the work <strong>of</strong> local bishops:<br />

Thus you see that a splendor white as snow and translucent as crystal shines<br />

around the image <strong>of</strong> that woman [Ecclesia] from the <strong>to</strong>p <strong>of</strong> her head <strong>to</strong> her<br />

throat. . . .<br />

The apos<strong>to</strong>lic teaching shone around the head <strong>of</strong> the Church when the<br />

apostles fijirst began <strong>to</strong> build her up by their preaching; moving through<br />

diffferent places, they collected workers who would strengthen her in<br />

the Catholic faith and make themselves in<strong>to</strong> priests and bishops and all the<br />

ecclesiastical orders, <strong>to</strong> establish faithfully the rights <strong>of</strong> men and women<br />

who married and all other such institutions. . . . Hence also the apostles<br />

chose those orders with which, by heavenly inspiration, they adorned the<br />

Church. What does this mean?<br />

That their followers, who <strong>to</strong>ok their places, [i.e. the priests and bishops]<br />

faithfully traverse streets and farms and cities and other places, regions and<br />

lands, carrying the health-giving chrisms and announcing the divine law <strong>to</strong><br />

the people.28<br />

27 Compare “in excelso resplendat / ut statuta columna” with “fortissimumque genus<br />

columnarum, / sponsam Agni sustentans” in <strong>Hildegard</strong>’s responsory O lucidissima apos<strong>to</strong>lorum<br />

turba, Symph., 34, p. 420; Symph. (Eng.), 34, pp. 164–65, ll. 11–12. Unless otherwise<br />

indicated, all translations <strong>of</strong> <strong>Hildegard</strong>’s songs are from Symph. (Eng.).<br />

28 Scivias (Eng.), pp. 202–3; Scivias 2.5, p. 177: “Unde etiam uides quod praefatam muliebrem<br />

imaginem quidam splendor albus ut nix et tamquam crystallus perlucidus a uertice<br />

usque ad guttur eius circumfulget. . . .

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