Adolphus William Ward

“ How far Hrosvitha’s comedies were an isolated phenomenon of their age in Germany must remain undecided; in the general history of the drama they form the visible bridge between the few earlier attempts at utilizing the forms of the classical drama for Christian purposes and the miracle plays. They are in any case the productions of genius; nor has Hrosvitha missed the usual tribute of the supposition that Shakespeare has borrowed from her writings. ”

“ The comedies of Hrosvitha are six in number, being doubtless in this respect also intended to recall their nominal model, the comedies of Terence. They were devised on the simple principle that the world, the flesh and the devil should not have all the good plays to themselves. The experiment upon which the young Christian dramatist ventured was accordingly, although not absolutely novel, audacious enough. In form the dramas of “the strong voice of Gandersheim,” as Hrosvitha (possibly alluding to a supposed etymology of her name) calls herself, are by no means Terentian. ”

“ All these themes are treated with both spirit and skill, often with instinctive knowledge of dramatic effect—often with genuine touches of pathos and undeniable felicities of expression. In Dulcitius there is also an element of comedy, or rather of farce. ”