even religion should become almost as fierce as its enemies. . . . This nun of the Dark Ages wrote without any of that modern comfort and culture which ought, at the very least, to make men kind. When M. Anatole France was the author of 'Silvestre Bonnard' it did make him kind. But about Paphnutius and Thais, the harsh ascetic of the hardest times of the 10th century is far kinder than he. In the 'Thais' of the great French romancer the whole point is that Thais repents but that Paphnutius relapses. The nun saves both souls. Anatole France loses one of them. That is modern universalism."
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.
