Plays · Chapter
Prefaces of Roswitha explained
Roswitha introduces her collection of plays, explaining her purpose and method in writing Christian dramas to replace the pagan works of Terence, and she dedicates her work to her abbess, Gerberg, while acknowledging the support of other pa
What happens
Roswitha introduces her collection of plays, explaining her purpose and method in writing Christian dramas to replace the pagan works of Terence, and she dedicates her work to her abbess, Gerberg, while acknowledging the support of other patrons.
Themes in this chapter
Female Agency and Virtue
Roswitha asserts her own agency as a female writer, using her plays to celebrate virtuous women and counter pagan narratives.
Christian vs. Pagan Conflict
The prefaces explicitly frame Roswitha's work as a Christian alternative to the pagan plays of Terence, highlighting the tension between Christian and classical traditions.
Characters to notice
Key passages
“I, the strong voice of Gandersheim, have not hesitated to imitate in my writings the compositions of Terence, which are read by many, while I also celebrate the praiseworthy chastity of holy virgins in the same form of composition which is used to describe the shameful acts of lascivious women.”
Roswitha states that she has dared to imitate Terence's style in her own works, but instead of depicting immoral behavior, she uses the same dramatic form to honor the virtue of chaste Christian women.
This passage encapsulates Roswitha's central mission: to repurpose classical dramatic forms for Christian moral instruction.
“To the most illustrious and most learned Abbess Gerberg, Roswitha sends the tribute of her humble devotion.”
Roswitha dedicates her work to Abbess Gerberg, expressing her humble respect and loyalty.
The dedication establishes the hierarchical and spiritual context of Roswitha's literary production.