Finally, let finish my discussion of Hildegard of Bingen and the parables with two of her homilies on the parable of the Prodigal Son.
Homily 26 constructs a moral allegory of virtue and vice
with the parable of the Prodigal Son: God created humankind in God’s likeness
(note Hildegard’s continuing focus on God as Creator) and gave them the ability
to discern between good and evil. The elder son symbolizes the one who clings
to “good knowledge,” whereas the younger son symbolizes the ones who incline
toward evil. God bestows glory and honor on the former but allows the latter to
depart, and “In the excess of vices [they] lost hope for life” (119). The son
at last remembers his creator and returns to his father, thus turning from vice
to virtue. The father responds “through heavenly inspiration” by saying to the
servants to bring elements that represent virtues: the robe (the innocence that
was lost by Adam in Paradise), ring (the comprehension of good works and
renunciation of the devil), and shoes (so that he may walk uprightly).
Another interesting aspect of Hildegard’s allegorical
reading is that she expands the thinking of the older son by having him compare
himself more fully to his younger brother:
With measure and moderation I serve you through good things, and never have I gone against your command
by denying it, as my brother did; evidently, it was not allowed that I, by my share of sins, would have
so great a report with the virtues about my good actions as this brother of
mine about his conversion . . . . in other words, the one who was created by
you and by neglecting your commands rejected those works that were necessary
for his soul, squandered them with the ravings of his folly, but made an
upright journey, and you appointed him with the passion of your son in the
abundance of life (121-2).
The father replies that it is necessary to rejoice when evil
knowledge returns to the good and is alive again in the knowledge of God. He
also uses the interesting metaphor of the warrior, one that is found repeatedly
in Hildegard’s works. Here the image represents the ones who fell into vices
but have been restored to virtue (see Isaiah 42:13; Kienzle 2009: 282-5):
Similarly, a warrior defeats an
enemy, and the enemy, after being conquered, will later be his friend when
compelled by necessity, because he will not be able to resist him; therefore,
the one conquered should be praised for his service (122).
One wonders whether this interpretation that expands the
role of the elder brother is directed specifically at those in Hildegard’s
religious community to remind them to celebrate when others—who unlike them had
indulged in great vices—returned to the family of God; hence the expanded role
given to the voice of the elder brother.
Homily 27 includes the distinctive element that the elder
son in the field represents the angels (a theme of some Gnostics that is also
found in Origen, from whom Hildegard may have received it; see Kienzle 2009:
88-9) who heard that the apostles who “were performing wonders and great signs
among the people.” When the angels found out that God had sent God’s son to
save humankind, they were jealous and angry, because they did not need the
incarnation, suffering, and death of Jesus to receive salvation, but that
sinful human beings had received that gift. God admonishes them and says that
they will always be God’s messengers to humankind but that it was necessary for
Jesus to bring humankind the eternal life of salvation.
In case anyone is interested, here is the text I used for the homilies: Hildegard of
Bingen, Homilies on the Gospels.
Collegeville, MN: Liturgical (Cistercian Studies), 2011.
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