This study of eunuchs guides readers as they travel through various lands and periods, familiarizing themselves with the duties and responsibilities, the unspeakable torments and the passions and joys of these individuals. Eunuchs were not simply ""bedchamber attendants"", as the Greek term suggests. Nor were they always slaves. They could just as well be ascetics, priests, magicians, scholars, physicians, military commanders, admirals or senior officials at the courts of both eastern and western rulers. In the Byzantine empire, the only office they were precluded from attaining was that of emperor. The rich and varied forms of religious, social and sexual life associated with eunuchs and castrati embrace a wealth of myths relating to gods and demons, initiation rites, rituals and magic. They touch on the history of law and medicine, various systems of government, and secret societies. And they are presented to us in terms of the cruellest punishments and tortures. On the one hand, they facilitated unique developments in the evolution of vocal music, and on the other, they gave rise to a multiplicity of human behavioural patterns that reflect every aspect of good and evil. Readers should become acquainted with various forms of sexuality, such as androgyny, transvestism, transsexualism and homosexuality, and learn about the historical, religious and social issues associated with their characteristic ""life settings"". Whether out of a sense of shame or because of moral considerations, these phenomena appear only on the margins of the history of customs and mores.

The contemporaries of Hildegard of Bingen called her ""prophetissa teutonica"", honouring her philosophical writings and interpretation of the cosmos. Mediaevalists still consider her one of the leading mystics, and point to her active spiritual and artistic life in the 12th century as the finest example of what a woman can achieve. The abbess Hildegard of Bingen was the first composer to sign her musical works. As a playwright and author, she witnessed and shaped the time of the Crusades, the literary minnesang, and political and theological debate. The author of this text draws a complex picture of her life and work, as he ""translates"" Hildegard's ideas and her mysterious world of symbols from mediaeval Latin into contemporary concepts. Heinrich Schipperges delineates this remarkable thinker's view of the human being as a microcosm of the universe, intricately bound by the senses to the life of the soul, nature, and God.

The contemporaries of Hildegard of Bingen called her ""prophetissa teutonica"", honouring her philosophical writings and interpretation of the cosmos. Mediaevalists still consider her one of the leading mystics, and point to her active spiritual and artistic life in the 12th century as the finest example of what a woman can achieve. The abbess Hildegard of Bingen was the first composer to sign her musical works. As a playwright and author, she witnessed and shaped the time of the Crusades, the literary minnesang, and political and theological debate. The author of this text draws a complex picture of her life and work, as he ""translates"" Hildegard's ideas and her mysterious world of symbols from mediaeval Latin into contemporary concepts. Heinrich Schipperges delineates this remarkable thinker's view of the human being as a microcosm of the universe, intricately bound by the senses to the life of the soul, nature, and God.