Most of the humour comes from the odd delivery, sudden tonal shifts and the borderline sociopathic reaction of the characters, my favourite ridiculous example of all three being: Dulcitius: I'm in love! Do you think they will fall in love with me? You wouldn't think 10thC plays that essentially boil down to 'Jesus good, sex bad' would be hilarious, but Roswitha manages it and I'm still unsure if that was her intention (Roswitha is an acceptable version of the author's name and doesn't give me an aneurysm when I try to spell it). Several of her plays draw on the "Apocryphal gospels." Her works form part of the renaissance of Otto. Work of Hrotsvit shows familiarity with the Church Fathers and classical poetry, including that of Virgil, Horace, Ovid, and Plautus, and she modellded her own verse on that of Terence. Gerberg introduced her, noted for her great learning, to Roman writers. Otto I the Great, emperor and brother of Gerberg, penned a history, one of poetical subjects of Hrotsvit in her Carmen de Gestis Oddonis Imperatoris, which encompasses the period to the coronation of Otto I in 962. Hrotsvit studied under Rikkardis and Gerberg, daughter of Henry the Fowler, king. She attests her name as Saxon for "strong voice."Īfter antiquity, some critics consider her, who wrote in Latin, as the first person to compose drama in Latin-influenced western Europe.
With a name also spelled Hroswitha, Hrotsvit, or Hrosvit, this a 10th-century German secular canoness and dramatist, born into nobility, lived and worked in a community, the abbey of Bad Gandersheim in modern-day Lower Saxony, Germany.
On ancient Roman plays, German nun and poet Roswitha ( Hrotsvitha) (circa 935-circa 1000) modeled dialogs that represent an early stage in the revival of European drama.
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