Abstract
Hildegard of Bingen is considered to have selected the Virtues of her 'Play of the Virtues' without recourse to a traditional scheme. However, biblical allusions in their main scene align these Virtues with the Gifts of the Holy Spirit and the Beatitudes, a traditional Virtues' framework. One Virtue, nameless through an erasure, completes the scheme as the exegetically derived Beatitude Virtue 'Heavenly Desire'. Hildegard's music and poetic-dramatic language give a distinct structure to this trajectory of a virtuous Christian life and, unlike Carolingian and twelfth-century authors, she accommodates both common and unusual Virtues in the scheme.
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