Read Ebook: The Plays of Roswitha by Hrotsvitha Gasquet Francis Aidan Author Of Introduction Etc St John Christopher Christopher Marie Translator

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TRANSLATOR'S NOTE

The works consulted include the following:

I am much indebted to Dame Laurentia McLachlan, O.S.B., Superioress of Stanbrook Abbey, and to the Reverend Paul Bonnet of Lyons University, for assistance in the work of translation.

--Christopher St. John

INTRODUCTION

Whatever may be thought of the precise merits of these six short dramas, now translated into English for the first time, it will be conceded that a collection of plays bearing the date of the 10th century, authenticated as the work of a woman, and a nun, is a remarkable phenomenon, interesting to students of monasticism and of the drama alike.

At one time, it is interesting to note, it was suggested that the author of these dramas was an Englishwoman. In fact, the English scholar, Laurence Humfrey, who first introduced them to notice in this country, endeavoured to prove that Roswitha was no other than St. Hilda of Northumbria. His theory cannot, of course, be maintained; but the very anxiety shown to identify this talented poetess and dramatist as a native of this country is evidence of the high estimation in which her compositions were held in the 16th century, the time when Laurence Humfrey, an exile from England for his religion, learnt to know them in Germany. It is now an established fact that the plays are the work of a Benedictine nun of Gandersheim, in Saxony, and their merits certainly justify her biographer's exclamation: "Rara avis in Saxonia visa est."

It used to be assumed that between the 6th and the 12th century all dramatic representations ceased, but each of these centuries when patiently searched has yielded some dramatic texts. The feudal period, reckoned the most barbarous, and Germania, set down then, as later in history, as the least civilized of countries, have produced the most considerable and least imperfect of these texts in the plays of Hrotsuitha, or Roswitha, a nun of the Order of St. Benedict, who spent her religious life in the Convent of Gandersheim.

The Abbey of Gandersheim, where these plays were written, was founded about the year 850 by Ludolph, Duke of Saxony, at the request of his wife Oda, a Frankish princess. Although these were what men call "the dark ages," the darkness was comparative. The Saxon court at this time was enlightened, and the Abbeys of Saxony, notably that of Corbei, were centres of learning and civilization. Gandersheim was one of the "free abbeys," that is to say its Abbess held it direct from the King. Her rights of overlordship extended for many miles; she had her own law courts, and sent her men-at-arms into the field. In fact, she enjoyed the usual privileges and undertook the usual responsibilities of a feudal baron, and as such had the right to a seat in the Imperial Diet. Coins are extant, struck by the Abbesses of Gandersheim, whose portraits they bear.

It is from such sentences as this that we are able to gain a little information about Roswitha's life. Her mention of certain historical events and personages proves that she was born after the year 912 and before the year 940 . She seems to have entered the religious life at Gandersheim when she was about twenty-three years old. She tells us nothing about her antecedents, but as Gandersheim was an exclusive house we may assume that she was of gentle birth. What education or experience of the world she had had before she became a nun is a matter of guesswork.

THE PLAYS OF ROSWITHA

This translation of the six plays of Roswitha was begun in the year 1912 and completed in 1914. The lively interest provoked by the stage performance of one of the translations by the Pioneer Players in January 1914 led me to think that the publication of the whole theatre of Roswitha in English would be welcomed by all students of the drama. Unfortunately, the war delayed publication, and the manuscript was entirely destroyed by a fire at the publisher's premises in Dublin during the Irish insurrection of Easter 1916.

Those readers who are unable or unwilling to compare the translations with the original should be warned that Roswitha's dialogue is characterized by a simplicity and conciseness hardly attainable in any tongue but Latin. The difficulty of finding equivalents for the terse phrases employed tempts the translator to "write them up." Although I have aimed at producing a readable translation for lovers of the drama in all its forms rather than an exact paraphrase for scholars, I have tried to resist this temptation at the risk of making the dialogue seem at times almost ludicrously bald. Except in a few cases where the use of "thou" seemed dramatically fit, "tu" has been rendered by "you." Roswitha's style is colloquial, and the constant employment of the singular pronoun would misrepresent its character. The Latin is not obsolete, and it would surely be a mistake to translate it into an obsolete vernacular. Although the author's syntax is decadent, and there is a tendency to make every sentence analytical, her use of words is classical, and her Latin in this respect superior to the scholastic Latin of the Middle Ages. The only principle observed in my translation has been the general one laid down by Edward Fitzgerald: "The live dog is to be preferred to the dead lion--in translation at any rate," and if this has involved a loss of dignity, I hope there may be some compensating gain in ease and force. In regard to the names of the characters in the plays, when there were well-known English equivalents such as "Hadrian" and "Constantine" I have not hesitated to use them, but when there were none I have given the Latin names. There is a good precedent for this inconsistency. We speak of "Rome" and "Venice," but we do not try to Anglicize Perugia or Assisi.

I hope that the publication of these plays in the English language will confirm Roswitha's right to a high place in medieval literature, and a place also among the few writers of plays which have more than a transitory interest. Perhaps a certain predilection for medieval art is necessary before we can love her wholeheartedly. I do not imagine that those who see no beauty in the primitive art of Cimabue, Giotto, Sana di Pietro, or Lorenzetti will admire the work of a primitive dramatist. But others who find sincere simplicity, as opposed to affected simplicity, a charm in itself, will take Roswitha to their hearts and will have no difficulty in recognizing her merits. In addition to the six plays I have translated the five prefaces printed in Roswitha's complete works, in the hope that the "strong voice of Gandersheim," speaking directly to the reader, may win a fresh interest for the plays, and give some idea of the character and attainments of the remarkable woman who wrote them.

THE PREFACES OF ROSWITHA

Preface to the Plays of Hrotswitha, German Religious and Virgin of the Saxon Race

There are many Catholics, and we cannot entirely acquit ourselves of the charge, who, attracted by the polished elegance of the style of pagan writers, prefer their works to the holy scriptures. There are others who, although they are deeply attached to the sacred writings and have no liking for most pagan productions, make an exception in favour of the works of Terence, and, fascinated by the charm of the manner, risk being corrupted by the wickedness of the matter. Wherefore I, the strong voice of Gandersheim, have not hesitated to imitate in my writings a poet whose works are so widely read, my object being to glorify, within the limits of my poor talent, the laudable chastity of Christian virgins in that self-same form of composition which has been used to describe the shameless acts of licentious women. One thing has all the same embarrassed me and often brought a blush to my cheek. It is that I have been compelled through the nature of this work to apply my mind and my pen to depicting the dreadful frenzy of those possessed by unlawful love, and the insidious sweetness of passion--things which should not even be named among us. Yet if from modesty I had refrained from treating these subjects I should not have been able to attain my object--to glorify the innocent to the best of my ability. For the more seductive the blandishments of lovers the more wonderful the divine succour and the greater the merit of those who resist, especially when it is fragile woman who is victorious and strong man who is routed with confusion.

I have no doubt that many will say that my poor work is much inferior to that of the author whom I have taken as my model, that it is on a much humbler scale, and indeed altogether different.

Well, I do not deny this. None can justly accuse me of wishing to place myself on a level with those who by the sublimity of their genius have so far outstripped me. No, I am not so arrogant as to compare myself even with the least among the scholars of the ancient world. I strive only, although my power is not equal to my desire, to use what talent I have for the glory of Him Who gave it me. Nor is my self-love so great that I would, to avoid criticism, abstain from proclaiming wherever possible the virtue of Christ working in His saints. If this pious devotion gives satisfaction I shall rejoice; it it does not, either on account of my own worthlessness or of the faults of my unpolished style, I shall still be glad that I made the effort.

In the humbler works of my salad days I gathered up my poor researches in heroic strophes, but here I have sifted them into a series of dramatic scenes and avoided through omission the pernicious voluptuousness of pagan writers.

Epistle of the Same to the Learned Patrons of this Book

To you, learned and virtuous men, who do not envy the success of others, but on the contrary rejoice in it as becomes the truly great, Hrotswitha, poor humble sinner, sends wishes for your health in this life and your joy in eternity.

I cannot praise you enough for your humility, or pay an adequate tribute to your kindness and affection. To think that you, who have been nurtured in the most profound philosophical studies and have attained knowledge in perfection, should have deigned to approve the humble work of an obscure woman! You have, however, not praised me but the Giver of the grace which works in me, by sending me your paternal congratulations and admitting that I possess some little knowledge of those arts the subtleties of which exceed the grasp of my woman's mind. Until I showed my work to you I had not dared to let anyone see it except my intimate companions. I came near abandoning this form of writing altogether, for if there were few to whom I could submit my compositions at all there were fewer still who could point out what needed correction and encourage me to go on. But now, reassured by your verdict , I feel that I have enough confidence to apply myself to writing, if God grants me the power, and that I need not fear the criticism of the learned whoever they may be. Still, I am torn by conflicting feelings. I rejoice from the depths of my soul that the God through Whose grace alone I am what I am should be praised in me, but I am afraid of being thought greater than I am. I know that it is as wrong to deny a divine gift as to pretend falsely that we have received it. So I will not deny that through the grace of the Creator I have acquired some knowledge of the arts. He has given me the ability to learn--I am a teachable creature--yet of myself I should know nothing. He has given me a perspicacious mind, but one that lies fallow and idle when it is not cultivated. That my natural gifts might not be made void by negligence I have been at pains, whenever I have been able to pick up some threads and scraps torn from the old mantle of philosophy, to weave them into the stuff of my own book, in the hope that my lowly ignorant effort may gain more acceptance through the introduction of something of a nobler strain, and that the Creator of genius may be the more honoured since it is generally believed that a woman's intelligence is slower. Such has been my motive in writing, the sole reason for the sweat and fatigue which my labours have cost me. At least I do not pretend to have knowledge where I am ignorant. On the contrary, my best claim to indulgence is that I know how much I do not know.

Impelled by your kindly interest and your express wish I come, bowing low like a reed, to submit this little work to your judgment. I wrote it indeed with that idea in my mind, although doubt as to its merits has made me withhold it until now. I hope you will revise it with the same careful attention that you would give to a work of your own, and that when you have succeeded in bringing it up to the proper standard you will return it to me, that I may learn what are its worst faults.

Roswitha's Preface to her Poetical Works

To Gerberg

Illustrious Abbess, venerated no less for uprightness and honesty than for the high distinction of a royal and noble race, Roswitha of Gandersheim, the last of the least of those fighting under your ladyship's rule, desires to give you all that a servant owes her mistress.

O my Lady, bright with the varied jewels of spiritual wisdom, your maternal kindness will not let you hesitate to read what, as you know, was written at your command! It was you who gave me the task of chronicling in verse the deeds of the Emperor, and you know that it was impossible to collect them together from hearsay. You can imagine the difficulties which my ignorance put in my way while I was toiling over this work. There were things of which I could not find any written record, nor could I elicit information by word of mouth which seemed sufficiently reliable. I was like a person in a strange land wandering without a guide through a forest where the path is concealed by dense snow. In vain he tries to follow the directions of those who have shown the way. He wanders from the path, now by chance strikes it again, until at last, penetrating the thickness of the wood, he reaches a place where he may take a long-desired rest, and sitting down there, does not proceed further until someone overtakes him, or he discovers the footprints of one who has gone before. Even so have I, obeying the command to undertake a complete chronicle of great deeds, gone on my way, trembling, hesitating, and vacillating, so great was the difficulty of finding a path in the forest of these royal achievements.

And now, worn out by the journey, I am holding my peace and resting in a suitable place. I do not propose to go further without better guidance. If I could be inspired by the eloquent words of learned folk I might perhaps find a means of glozing my uncouth workmanship. At present I am defenceless at every point, because I am not supported by any authority. I also fear I shall be accused of temerity in presuming to describe in my humble uncultured way matters which ought to be set forth with all the ceremony of great learning. Yet if my work is examined by those who know how to weigh things fairly, I shall be more easily pardoned on account of my sex and my inferior knowledge, especially as I did not undertake it of my own will but at your command. Why should I fear the judgment of others, since if there are mistakes I should fall only under your censure, and why should I not escape reproof seeing that I was anxious to keep silence? I should deserve blame if I sought to withhold my work. In any case I leave the decision to you and your friend, Archbishop William, to whom you have thought fit to show these unpolished lines.

Roswitha's Preface to the Complete Works

I found all the material I have used in this book in various ancient works by authors of reputation, with the exception of the story of the martyrdom of St. Pelagius, which has been told here in verse. The details of this were supplied to me by an inhabitant of the town where the Saint was put to death. This truthful stranger assured me that he had not only seen Pelagius, whom he described as the most beautiful of men, face to face, but had been a witness of his end. If anything has crept into my other compositions, the accuracy of which can be challenged, it is not my fault, unless it be a fault to have reproduced the statements of unreliable authorities.

GALLICANUS

Argument

The conversion of Gallicanus, Commander-in-Chief. On the eve of his departure for a campaign against the Scythians, Gallicanus is betrothed to the Emperor Constantine's daughter, Constance, a consecrated virgin.

When threatened with defeat in battle, Gallicanus is converted by John and Paul, Grand Almoners to Constance. He is immediately baptized and takes a vow of celibacy.

Later he is exiled by order of Julian the Apostate, and receives the crown of martyrdom. John and Paul are put to death by the same prince and buried secretly in their own house. Not long after, the son of their executioner becomes possessed by a devil. He is cured after confessing the crime committed by his father. He bears witness to the merits of the martyrs, and is baptized, together with his father.

Characters in Part I

Characters in Part II

Gallicanus--Part I

Scene I

CONSTANTINE. Gallicanus, this tries my patience. You have delayed the offensive against the Scythians too long. The only nation which boldly resists our power and refuses to make peace with Rome! You know well enough that you were chosen because of your energy in your country's service.

GALLICANUS. Most noble Constantine, I have served you hand and foot, ungrudgingly, devotedly, and have always striven to repay your trust in me with deeds. I have never shirked any task.

CONSTANTINE. Is there any need to remind me? As if your great services were not always in mind! I spoke, not to reproach you, but to urge you to act quickly.

GALLICANUS. I will set out at once.

CONSTANTINE. I am rejoiced to hear it.

GALLICANUS. I am ready to obey your orders if it costs me my life.

CONSTANTINE. Your zeal pleases me. I appreciate your devotion.

GALLICANUS. As both are immense should they not be rewarded on the same scale?

CONSTANTINE. That is only fair.

GALLICANUS. It is easier for a man to undertake a difficult enterprise when he is sustained by the knowledge that his reward is sure.

CONSTANTINE. Naturally.

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