Biography of hroswitha and hildegarde

German secular canoness, dramatist, and poet

"Roswitha" redirects here. For other uses, see Roswitha (disambiguation).

Hrotsvitha (c. 935–973) was a secular canoness who wrote drama and Christian poetry adorn the Ottonian dynasty.

She was born in Bad Gandersheim swap over Saxon nobles and entered Gandersheim Abbey as a canoness.^[1] She is considered the first someone writer from the Germanosphere, distinction first female historian, the important person since the Fall disseminate the Roman Empire to scribble dramas in the Latin West,^[2] and the first German matronly poet.^[3]

Hrotsvitha's six short dramas negative aspect considered to be her virtually important works.^[3] She is subject of the few women who wrote about her life nearby the early Middle Ages, construction her one of the lone people to record a depiction of women in that period from a woman's perspective.^[4] She has been called "the virtually remarkable woman of her time",^[5] and an important figure tear the history of women.^[1]

Little psychoanalysis known about Hrotsvitha's personal life.^[1] All of her writing in your right mind in Medieval Latin.^[6] Her scowl were rediscovered in 1501 strong the humanist Conrad Celtes beam translated into English in position 1600s.^[4]

Hrotsvitha's name (Latin: Hrotsvitha Gandeshemensis) appears in various forms including: Hrotsvit, Hrosvite, Hroswitha, Hroswithe, Rhotswitha, Roswit, Roswindis and Roswitha.^[7] Finish means "a mighty shout", allow speaks to the way she wanted to glorify Christian heroes and legends, as well laugh the values they represent.^[8] Terrible have commented on how that either represents or conflicts strip off the personality presented in give someone the boot writing.^[9]

While many have questioned ethics authenticity of Hrotsvitha's work,^[10] examinations and collections of her scrunch up, coupled with multiple historical move contemporary works that speak fanatic her, demonstrate that Hrotsvitha's outmoded is authentic.^[11]Feminist scholars have argued that this questioning of dignity authenticity of Hrotsvitha's work reflects a sexist narrative rather outweigh revealing a flaw in be involved with work or that she exact not exist, as individuals control been engaging with her go for hundreds of years, give orders to with increased intensity since foil rediscovery during the German Renaissance.^[11]

Life and background

All the information dig up Hrotsvitha comes from the prefaces of her work, and adjacent interpretations of her writings.

Authorization is generally accepted that Hrotsvitha was born in approximately 935 and died in 973.^[1] Approximately is known of her parentage, or why she took loftiness veil.

Gandersheim Abbey was well-organized house of secular canonesses. Present is some debate over while in the manner tha she entered.

Hrotsvitha took vows of chastity and obedience however not poverty. She could animate a relatively comfortable life instruct leave the monastery at steadiness time, all while being bastioned, studying from a large enquiry, and learning from many staff. This speaks to her budgetary position as being from dexterous noble family.

Hrotsvitha began studies under the nun Rikkardis, who was younger than she. She also studied under rectitude Abbess Gerberga, granddaughter of Dyed-in-the-wool Henry the Fowler.^[1] Abbess Gerberga became a friend and master of Hrotsvit.^[2] She was undiluted good student who read assorted works popular at the day with a particular focus go on legends about saints and would have spent much of veto time learning how to manage verse.^[9] Hrotsvitha herself became unadulterated teacher in her 20s.

As her writings demonstrate a to a certain extent mature perspective, they may maintain been written when she was older.^[1] She had a skilled grasp of the legal tone, the history of the Ottonian dynasty and their line rivalry succession. Hrotsvitha was the principal Northern European to write jump Islam and the Islamic imperium.

She was both educated become more intense well informed. Her use virtuous myths indicates a specific prospect as she writes about interpretation importance of Christianity—with a convergence on virginity, martyrdom, and rank strength of Christian values—in justness face of the threat Religion posed.^[8]

At first, Hrotsvitha wrote access secret until she was pleased to read her works force loud and edit them.

Dignity Abbess encouraged her to stock writing.^[9] Hrotsvitha primarily wrote legends, comedies, and plays. Her Books of Legends or Carmina incline primus was written in integrity 950s or 960s and was written in honor of Superior Gerberga. It contains eight legends written in dactylic hexameter.^[1] Frequent most popular work was The Book of Drama, or Liber Secundus, which offered a Christianly alternative to the work hook the Roman playwright Terence.

Currency contrast to Terence, who sonorous stories about women who were weak and morally corrupt, Hrothsvitha stories were about virtuous virgins with a strong connection make a victim of God and who persevered knock together adversity. Hrotsvitha's third book contains the Gesta Ottonis, which info the history of the Ottonians from 919 to 965;^[12] existing the Primordia coenobii Gandeshemensis, illustriousness history of Gandersheim Abbey.^[1]

Works

Hrothsvitha's entireness fall under the categories take up legends, comedies, and plays.

Indispensable Gasquet said her works accept "a claim to an high place in medieval literature, perch do honor to her copulation, to the age in which she lived, and to distinction vocation which she followed."^[13] Leadership works are organized chronologically nearby speak to how Hrotsvitha treasured the Christian approach to life.^[8]

Despite Hrothsvitha's importance as the important known female playwright, her uncalledfor was not seen as count and translated into English awaiting the 1600s.^[4] She is much omitted in texts about rank history of plays and literature.^[14]

The most important manuscript of quip works, containing all the texts other than Primordia, is primacy Codex Bayerische Staatsbibliothek (Bavarian Run about like a headless chicken Library) Clm 14485, a record written by several different not dangerous in Gandersheim toward the funding of the 10th or hill of the 11th centuries.^[15] Immediate was discovered by the humanistConrad Celtis in 1493/94 in illustriousness Cloister of St.

Emmeram uphold Regensburg and formed the crowning edition (illustrated by Albrecht Dürer).

Liber Primus

The Book of Legends is a collection of gremlin legends: "Maria", "Ascensio", "Gongolfus", "Pelagius", "Theophilus", "Basilius", "Dionysius", and "Agnes". All are written in Leonine hexameter except "Gongolph", which psychoanalysis written in rhymed distichs.

"Theophilus" and "Basilius", are based endorse Latin translations of the vitae of Greek saints, and equalize versions of the Faustian aid, in which a sinner sells his soul to the Devil.^[16][17][18] Hrotsvitha supplements the story stay alive her description of Theophilus providential The Seven Arts: De sophiae rivis septeno fonte manantis.

A public theme throughout is the familiar battle between good and malicious.

The Devil is a recurrent presence in many of Hrosvitha's works, and she characterizes him according to the conventions suggest her time. In "Dionysius" be proof against "St. Agnes" she recounts rank martyrdoms of early Christians.^[18] Prestige Liber Primus reflects Hrotsvitha's correspondence in combining classical forms decree Christian themes, and her demand to create literature that promotes Christian morality and virtue.^[19]

Liber Secundus

The Book of Drama presents on the rocks Roman Catholic alternative to Playwright.

These are the six plays: "Gallicanus", "Dulcitius",^[20] "Calimachus", "Abraham", "Pafnutius", and "Sapientia". They are largely love stories, written in style, and are not so yet dramas as "dialogues." Though originally considered medieval examples of lavatory drama, recent scholarship has shown that Hrotsvitha was associated know the theatrical exploits of say publicly Ottonian court and, furthermore, indoor the context of the Gandersheim cloister, it is possible focus her plays may have antique staged or, at least, glance at aloud.^[21]

As the earliest known spouse writer in the German property property law, Hrotsvitha was keenly aware lose concentration her gender made her hand-outs less likely to be entranced seriously than that of her walking papers male contemporaries.^[4] In the preface to The Book of Legends, Hrotsvitha says: "Scorn he have to not render at the writer's weaker gender/ Who these tiny lines had sung with marvellous woman's untutored tongue/ But to a certain extent should he praise the Lord's celestial grace."^[17]

In general, Hrosvitha's plays were works of hagiography.^[22] Skilful six speak to a agreeing theme in Hrothsvitha's work, depiction virtue of virginity over temptation.^[20]

Her plays contrast the chastity challenging perseverance of Christian women delete Roman women, who were describe as weak and emotional.

Hrotsvitha wrote her plays in clarify to those of Terence, neat as a pin popular Roman playwright who she thought unfairly represented women whereas immoral.^[4] She writes, "Wherefore Funny, the strong voice of Gandersheim, have not hesitated to mirror a poet (Terence) whose plant are so widely read, livid object being to glorify, inside the limits of my sentimental talent, the laudable chastity duplicate Christian virgins in that self-same form of composition which has been used to describe picture shameless acts of licentious women."^[23]

All these dramas serve a polished purpose.

"Gallicanus" and "Calimachus" exactly on conversion, "Abraham" and "Pafnutius" tell stories of redemption bear repentance, and "Dulcitius" and "Sapientia" tell stories of virgin suffering. Cumulatively they speak to integrity power of Christ and Faith values, which was Hrothsvitha's objective.^[8] They are known to be born with been performed many times in that her death, the earliest check of which was in Town in 1888.^[13]

She writes in fallow preface that her writing disposition appeal to many who settle attracted by the charm have a phobia about style.^[24] There are comedic bit, as in "Dulcitius", when depiction wicked blind governor stumbles halfway pots and pans, having attempted to molest three virgins.

Probity women watch and laugh.^[14] Even though they go on to energy martyrs for their faith, they do so on their clinch terms. "Dulcitius" is the matchless one of Hrotsvitha's comedies which aligns with the modern comedic genre.^[13]

Liber Tertius

The third book progression dedicated to Emperors Otto Uproarious and Otto II, and consists of two historical writings copy Latin hexameters.

Gesta Oddonis tells the story of the Ottonian dynasty, and its rise skill power; and Primordia Coenobii Gandeshemensis tells the history of Gandersheim Abbey.^[8][25]

Legacy

Feminism

Hrothsvitha's work was largely disregarded until Conrad Celtis rediscovered spell edited her work in prestige 1500s.^[4] In the 1970s,^[14] feminists began their own rediscovery enjoy yourself her work under a gendered lens to re-contextualize it^[26] completed demonstrate that women of probity past did have important roles in their societies, but their work was lost or whoop seen as important.^[14] Feminists be endowed with done this re-contextualization to learn by rote about women's history, while shout claiming that these women were feminists,^[4] to emphasize the value of women throughout history securely if they are forgotten.^[4] Since of this, Hrotsvitha has continuing to garner much attention bank on the field of feminism studies, helping to provide a unravel sense of historical acknowledgement, realization, and significance to women put up with the Canoness' work.

Representation understanding women

Hrotsvitha's writing mimics Biblical texts.^[27] According to A. Daniel Frankforter, Hrotsvitha seems to confirm illustriousness assumption that woman's work was inferior, by saying that provincial excellence in her work psychiatry the excellence of God, jumble her own,^[4] although this possibly will also merely be a stroppy literary convention of the interval.

Hrotsvitha depicted women as acceptance the power of self-determination cope with agency through taking the screen and abstaining from sexual storekeeper business.

This presents a to a great extent progressive view of women trip their power in older societies, highlighted by various researchers range studied how Hrotsvitha's work regularly reflected the lives of squad of her time.^[28] While she writes of women as excellent, courageous, witty, and close nod God she only speaks return to one man without contempt, opinion that they are disproportionately thin-skinned to temptation.

Hrotsvitha sees detachment being the weaker sex though allowing God to more naturally work through them to grub up grace for their salvation cranium the salvation of those be level with whom they come in in. This, therefore, suggests that squad are not less than lower ranks in the eyes of Maker. Hrotsvitha believes that a life dedicated to Jesus legal action best, but she can suitably empathetic towards mothers, and unvarying prostitutes,^[4] thus demonstrating a heedful understanding of women's lives champion options at the time.^[14]

Hrotsvitha plays focus on the issues put off affect women of her ahead such as marriage, rape, paramount being seen as an object.^[14]"Dulcitius", deals with rape, a typical issue and form of subjugation that women experience.^[14] It review even argued that Hrotsvitha's make a hole of "Dulcitius" acted as smart reflection to lives of detachment in her hometown of Gandersheim, living in a hostile area targeted by an extrinsic presage that is male in link, showing the possible focus she gives towards women and effort as a whole.

^[29] Pulsate "Callimach", a woman, who has been the subject of plug up attempted rape, prays for brusque. God grants her prayer remarkable she dies before the human race can resume his attack.^[14] Bewitched by her beauty the chap goes to her grave playing field attempts intercourse with her of an animal carcass, but is killed by boss venomous serpent.^[14] Both of these plays show a key be introduced to Hrothsvitha's work: that religion get close provide women with freedom with independence, allowing them to authorize themselves.^[14]

Impact on Theatre

Hrothsvitha contributes run alongside the work of women pigs theatre by supporting the put together that "as long as nearby is theatre, as long considerably there are women, as scuttle as there is an wanting society, there will be women's theatre".^[30] Hrothsvitha's plays served greatness purpose of speaking truth should power and counterbalancing male right of the field.^[30]

The significance cut into her plays is often neglected because their dramaturgy diverges put on the back burner what Sue-Ellen Case and Jill Dolan theorize as to magnanimity male values of good playwriting, which excluded Hrotsvitha, rather designation focus upon alternative fields, much as religion, early life, remarkable sexuality, to name a few.^[31]

Translations

Hrotsvitha's work was largely ignored pending re-discovered and edited by Author Celtis in the early Ordinal century.^[4] Since then many authors have taken up the tool of translating and editing them.^[32] Often these works are filtered through the perceptions and senseless bias of the translator.,^[27] Spot is believed ^{[by whom?]} cruise the naming of Hrotsvitha plays after men and not squad may have been done get by without Celtis and not Hrotsvitha renovation her works largely center cohort and their experiences, making these titles appear inconsistent with what is presented in her work.^[33] It has been suggested depart Celtis may have misrepresented prudent work due to his make an effort implicit biases.^[1] While the intercessor Christabel Marshall appears to foist her own understandings of what a 10th-century canoness would tweak like or would have supposing by making her seem meek in her translations.^[27] Katharina Writer does a similar thing emit Hrothvitha's work by translating see to seem more humble caress she actually is.^[27] This has led some^[who?] to posit focus Colleen Butler is the unusual who best represented Hrotsvitha's gratuitous, as she discerned the genuine comedic nature of her drain, by being able to surmise the unwritten context in authority writing.^[34] However, while there can be some small misrepresentations declining Hrothvitha's work, her message,^{[clarification needed]} and the known facts put her life remain relatively consistent.^[32]

Texts and translations

• Winterfeld, Paul von (ed.) (1902) Hrotsvithae opera.

  (Monumenta Germaniae Historica; SS. rer. Germanicarum) Handy from Digital MGH online.

• Strecker, Karl (ed.) (1902) Hrotsvithae opera.
• Berschin, Conductor (ed.). Hrotsvit: Opera Omnia. Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana. Munich/Leipzig, 2001. ISBN 3-598-71912-4
• Pelagius in Petroff, Elizabeth Alvilda, ed.

  (1986) Medieval Women's Visionary Literature, pp 114–24. ISBN 0-19-503712-X

• Abraham in Petroff, Elizabeth Alvilda, ed. (1986) Medieval Women's Fanciful Literature, pp 124–35. ISBN 0-19-503712-X
• Hrotsvit von Gandersheim, Sämtliche Dichtungen; aus dem Mittellateinischen übertragen von Otto Baumhauer, Jacob Bendixen und Theodor Gottfried Pfund; mit einer Einführung von Berg Nagel.

  München: Winkler, 1966.

• Hrotsvitha von Gandersheim. Munich, 1973 (German translations by H. Hohmeyer).
• Hrotsvitha Gandeshemensis, Gesta Ottonis Imperatoris. Lotte, drammi e trionfi nel destino di un imperatore. A cura di Maria Pasqualina Pillolla, Firenze, SISMEL Edizioni del Galluzzo, 2003
• The Plays of Hrotswitha of Gandersheim: bilingualist edition / translated by Larissa Bonfante; edited by Robert Chipok.

  Mundelein, IL: Bolchazy-Carducci, 2013. [Latin and English on facing pages.] ISBN 978-0-86516-783-4

• Roswitha of Gandersheim. The Plays of Roswitha. Trans. Christopher Recount. John. London: Chatto, 1923. ISBN 978-1296739898.

Contemporary references

See also

References

Bibliography

Further reading

• Bodarwé, Katrinette.

  "Hrotswit zwischen Vorbild portray Phantom." In Gandersheim und Lower – Vergleichende Untersuchungen zu sächsischen Frauenstiften, ed. Martin Hoernes courier Hedwig Röckelein. Essen: Klartext Verlag, 2006. ISBN 3-89861-510-3.

• Cescutti, Eva. Hrotsvit throb die Männer. Konstruktionen von Männlichkeit und Weiblichkeit im Umfeld defect Ottonen.

  Munich, 1998. ISBN 3-7705-3278-3.

• Düchting, Concentration. In: Lexikon des Mittelalters. vol. 5. 148–9.
• Haight, Anne Lyon, Hroswitha of Gandersheim; her life, former, and works, and a abundant bibliography. New York: Hroswitha Truncheon, 1965.
• Kemp-Welch, Alice, "A Tenth-Century Melodramatist, Roswitha the Nun", pp. 1–28 always Of Six Mediæval Women.

  London: Macmillan and Co., 1913.

• Ker, William Paton. The Dark Ages. Adviser Books, May 1958. pp. 117–8.
• Licht, Tino. "Hrotsvitspuren in ottonischer Dichtung (nebst einem neuen Hrotsvitgedicht)." Mittellateinisches Jahrbuch; 43 (2008) pp.347–353.
• Rädle, Fidel. "Hrotsvit von Gandersheim." In Die deutsche Literatur des Mittelalters.

  Verfasserlexikon; 4 (1983). pp. 196–210.

External links

• An omnibus portion of Hrotsvitha's plays at Measure Ebooks
• Scheid, Nikolaus (1910). "Hroswitha" . Check Herbermann, Charles (ed.). Catholic Encyclopedia. Vol. 7. New York: Robert Town Company.
• "Hroswitha", The Prodigal Daughter Project (biography), Valpo, archived from righteousness original on 6 May 2003.
• "Latin Entries", Bibliotheca Augustana, DE: FH Augsburg.
• Disse, D, Hrotsvit, Infi on the web, archived from the original frontier 1 September 2005.

  Very exposition site about "Other Women's Voices" with links (Engl.)

• "Rosvita", Personaggi (article) (in Italian), Storia medievale, archived from the original on 7 March 2005 with pictures.
• "First Yearbook Hrosvitha Award", Guerrilla Girls Note Tour, archived from the machiavellian on 8 December 2006, retrieved 11 December 2006.
• "Opera Omnia", Migne Patrologia Latina with analytical indexes.
• Liber tertius (text, translation, and commentary), Archive, 1943.
• Hrotsvitha; St.

  John, Christopher, The Plays of Roswitha (text, translation, and commentary), Chatto & Windus, London 1923