Iz svih djela sv. Hildegarde iz Bingena proviru nadahnuće i upute iz Pravila sv. Benedikta. Za života cijenjena, dugo je vremena njezino djelo bilo zastrto pomanjkanjem zanimanja, da bi u 20. stoljeću bila “ponovno otkrivena” kao autorica čija djela - književnost (proza, stihovi, dramsko prikazanje), teologija, glazba, prirodna filozofija - i današnjim primateljima progovaraju kao jedinstven spoj poetskoga nadahnuća i nabožne književnosti. Ona uvijek promatra sve stvorenje kao jedno, kao Božje djelo pa stoga traži veze između povijesti svijeta i povijesti spasenja, te između stvorenoga, materijalnoga svijeta i Stvoritelja, tj. one stvarnosti koja je neprolazna. A u središte stvorenja Bog je bio postavio upravo čovjeka koji jest creatura, ali ima i dostojanstvo da bude operarius Dei. Taj panoramski pogled najjasnije dolazi do izražaja u Hildegardinim vizijama, napose u djelu “Scivias” (nastalom između 1142. i 1151. god.) koje obuhvaća različite žanrove i diskurse, od stihova preko (kraćih) teoloških traktata, do prirodnofilozofijskih razmatranja. Uz to u vizijama kombinira različite moduse (pitanja i odgovori, pripovijedanje, opis, tumačenje, komentar), a takav se postupak može nazvati specifičnim višeglasjem ili suzvučjem različitih žanrova i modusa. All of Hildegard's works derive inspiration from the Rule of St Benedict. Throughout a large part of her adult life Hildegard was well respected, but after her death interest in her opus diminished. She was "rediscovered" in the 20th century as an author whose work - literature (prose, verse, morality-play), theology, music, natural philosophy - tends to touch the modern reader as a very individual, creative fusion of poetic inspiration and theological depth. She views the created universe as one, as the work of God in which man (homo) has a special place. He is God's "plenum opus", body, soul, spirit and senses and is called upon to be God's "operarius", i.e. His helper in shaping the history of the created world. She forges ever new connections and relations between the material world and the transcendent, immortal spheres. Perhaps the most poignant works in which this interplay is thematised are her visions, particularly the book "Scivias" (written between the years 1141 and 1151). It is a very complex work, comprising genres such as vision, contrast/debate, questions and answers, tract and sermon, as well as different discourses (narration, description, dialogue, edification, exegesis, commentary, even verse). Literature and theology coexist in all Hildegard's visions, perhaps most prominently in "Scivias", one stems from the other and they cannot be separated. Therefore, her visions are characterized by a specific polyphony or consonance (symphonia) of various genres and modes. That is arguably the most unique feature of "Scivias", the mixture of poetry, (literary) vision and theological treatise. In that respect "Scivias" is particular among the preserved medieval texts: no vision is so profoundly theological, nor is any treatise so poetic and aesthetically imaginative. The interplay of different modes, discourses and subject-matter has great appeal to the modern recipient, but at times proves to be demanding and somewhat unusual reading.The simile is one of the most commonly used stylistic features, as well as antithesis. Her theology is pictorial, since she uses images from everyday life, nature and the Holy Scriptures to convey the message pertaining to the Truth, which is revealed to her in visions by the voice of the Living Light, i.e. by God himself. And since human language is limited, just as is the human mind and reason, Hildegard is compelled to use comparisons and similes (she often uses expressions such as quasi, velut, imago, forma, apparebant) that function as a bridge between the physical reality and the transcendental.