ROSWITHA THE NUN
In judging of Roswitha's dramatic work it must be remembered that, in true mediæval spirit fearing to profane what she venerates, she allows herself but little licence with the legends she dramatises. Nevertheless, as has been said, she from time to time shows, in psychological touches, a capacity for originality quite phenomenal for her time and for the literature of the cloister. Still her plays express but a very small part of the whole gamut of human emotions and experiences, just as her life was lived in an intellectual world narrow from the point of view of to-day or of the great intellectual age of antiquity. Many causes contributed to this. Intellectually, the Christian world shrank as Paganism was superseded by Christianity, a supersession by no means complete in Roswitha's day. Of course this nascent Christianity was inconsistent with much of the intellectual life of the ancient world, which was either inextricably interwoven with Paganism, or essentially anti-religious. With its task of laying afresh the foundations of education, politics, and morality, it had to take root and become established in a relatively narrow intellectual field, the boundaries of which had gradually to be broken down, sometimes with violence.
Time, like some lens which clears our vision, makes it an easy task to criticise and condemn a phase of religious life which, having essayed to tranquillise and sweeten existence, was, under altered conditions of civilisation, bound to pass
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