work of composition I did not know that the authenticity of my material had been questioned. On discovering this to be the case I decided not to discard it, because it often happens that what is reputed false turns out to be true. In these circumstances I shall need as much assistance in defending this little work as in improving it. It must be remembered that when I began it I was far from possessing the necessary qualifications, being young both in years and learning. Up to the present I have not submitted the work to any experts much as I needed their advice, for fear that the roughness of the style would make them discourage me to such an extent that I might give up writing altogether. Unknown to all round me, I have toiled in secret, often destroying what seemed to me to be ill written, and rewriting it. I have tried to the best of my ability to improvise on phrases collected from sacred writings in the precincts of our convent at Gandersheim. I was trained first by our most learned and gentle novice-mistress Rikkarda and others. Later, I owed much to the kind favour and encouragement of a royal personage, Gerberga, under whose abbatial rule I am now living. She, though younger in years than I, was, as might be expected of the niece of an Emperor, far older in learning, and she had the kindness to make me familiar with the works of some of those authors in whose writings she had been instructed by learned men. Although prosody may seem a hard and difficult art for a woman to
