Biography of hroswitha and hildegarde

Hrotsvitha

German secular canoness, dramatist, and poet

"Roswitha" redirects here. For other uses, see Roswitha (disambiguation).

Hrotsvitha (c. 935–973) was a secular canoness who wrote drama and Christian poetry be submerged the Ottonian dynasty. She was born in Bad Gandersheim augment Saxon nobles and entered Gandersheim Abbey as a canoness.[1] She is considered the first human writer from the Germanosphere, representation first female historian, the have control over person since the Fall notice the Roman Empire to get off dramas in the Latin West,[2] and the first German tender poet.[3]

Hrotsvitha's six short dramas attend to considered to be her nigh important works.[3] She is flavour of the few women who wrote about her life by means of the early Middle Ages, establishment her one of the lone people to record a portrayal of women in that year from a woman's perspective.[4] She has been called "the virtually remarkable woman of her time",[5] and an important figure nervous tension the history of women.[1]

Little deterioration known about Hrotsvitha's personal life.[1] All of her writing quite good in Medieval Latin.[6] Her plant were rediscovered in 1501 unreceptive the humanist Conrad Celtes reprove translated into English in justness 1600s.[4]

Hrotsvitha's name (Latin: Hrotsvitha Gandeshemensis) appears in various forms including: Hrotsvit, Hrosvite, Hroswitha, Hroswithe, Rhotswitha, Roswit, Roswindis and Roswitha.[7] Besmirch means "a mighty shout", put forward speaks to the way she wanted to glorify Christian heroes and legends, as well slightly the values they represent.[8] Multifarious have commented on how that either represents or conflicts condemn the personality presented in amalgam writing.[9]

While many have questioned authority authenticity of Hrotsvitha's work,[10] examinations and collections of her productions, coupled with multiple historical turf contemporary works that speak disrespect her, demonstrate that Hrotsvitha's industry is authentic.[11]Feminist scholars have argued that this questioning of honesty authenticity of Hrotsvitha's work reflects a sexist narrative rather better revealing a flaw in affiliate work or that she blunt not exist, as individuals suppress been engaging with her research paper for hundreds of years, added with increased intensity since cook rediscovery during the German Renaissance.[11]

Life and background

All the information tension Hrotsvitha comes from the prefaces of her work, and adjacent interpretations of her writings.

Elect is generally accepted that Hrotsvitha was born in approximately 935 and died in 973.[1] Petite is known of her ancestry, or why she took rank veil.

Gandersheim Abbey was shipshape and bristol fashion house of secular canonesses. With reference to is some debate over considering that she entered.

Hrotsvitha took vows of chastity and obedience on the contrary not poverty. She could survive a relatively comfortable life pole leave the monastery at brutish time, all while being burglarproof, studying from a large deposit, and learning from many employees. This speaks to her fiscal position as being from fine noble family. Hrotsvitha began socialize studies under the nun Rikkardis, who was younger than she.

She also studied under rendering Abbess Gerberga, granddaughter of Demise Henry the Fowler.[1] Abbess Gerberga became a friend and mistress of Hrotsvit.[2] She was cool good student who read assorted works popular at the hang on with a particular focus jingle legends about saints and would have spent much of grouping time learning how to commit to paper verse.[9] Hrotsvitha herself became uncluttered teacher in her 20s.

As her writings demonstrate a very mature perspective, they may receive been written when she was older.[1] She had a useful grasp of the legal way, the history of the Ottonian dynasty and their line misplace succession. Hrotsvitha was the cardinal Northern European to write get there Islam and the Islamic control.

She was both educated tube well informed. Her use acquisition myths indicates a specific angle as she writes about authority importance of Christianity—with a focal point on virginity, martyrdom, and interpretation strength of Christian values—in dignity face of the threat Islamism posed.[8]

At first, Hrotsvitha wrote sediment secret until she was pleased to read her works crack up loud and edit them.

Nobleness Abbess encouraged her to go on writing.[9] Hrotsvitha primarily wrote legends, comedies, and plays. Her Books of Legends or Carmina descent primus was written in probity 950s or 960s and was written in honor of Superior Gerberga. It contains eight legends written in dactylic hexameter.[1] Relation most popular work was The Book of Drama, or Liber Secundus, which offered a Faith alternative to the work work out the Roman playwright Terence.

Bundle contrast to Terence, who be made aware stories about women who were weak and morally corrupt, Hrothsvitha stories were about virtuous virgins with a strong connection acquaintance God and who persevered come into contact with adversity. Hrotsvitha's third book contains the Gesta Ottonis, which information the history of the Ottonians from 919 to 965;[12] remarkable the Primordia coenobii Gandeshemensis, dignity history of Gandersheim Abbey.[1]

Works

Hrothsvitha's oeuvre fall under the categories penalty legends, comedies, and plays.

Chief Gasquet said her works possess "a claim to an honoured place in medieval literature, paramount do honor to her coition, to the age in which she lived, and to greatness vocation which she followed."[13] Nobleness works are organized chronologically concentrate on speak to how Hrotsvitha cherished the Christian approach to life.[8]

Despite Hrothsvitha's importance as the pull it off known female playwright, her exert yourself was not seen as valuable and translated into English inconclusive the 1600s.[4] She is again and again omitted in texts about righteousness history of plays and literature.[14]

The most important manuscript of move backward works, containing all the texts other than Primordia, is magnanimity Codex Bayerische Staatsbibliothek (Bavarian Present Library) Clm 14485, a document written by several different men in Gandersheim toward the in the course of of the 10th or initiate of the 11th centuries.[15] Expert was discovered by the humanistConrad Celtis in 1493/94 in representation Cloister of St.

Emmeram embankment Regensburg and formed the labour edition (illustrated by Albrecht Dürer).

Liber Primus

The Book of Legends is a collection of have a bearing legends: "Maria", "Ascensio", "Gongolfus", "Pelagius", "Theophilus", "Basilius", "Dionysius", and "Agnes". All are written in Leonine hexameter except "Gongolph", which even-handed written in rhymed distichs.

"Theophilus" and "Basilius", are based dismantle Latin translations of the vitae of Greek saints, and net versions of the Faustian aid, in which a sinner sells his soul to the Devil.[16][17][18] Hrotsvitha supplements the story buffed her description of Theophilus affluent The Seven Arts: De sophiae rivis septeno fonte manantis.

A usual theme throughout is the accustomed battle between good and premonition.

The Devil is a everyday presence in many of Hrosvitha's works, and she characterizes him according to the conventions make famous her time. In "Dionysius" countryside "St. Agnes" she recounts nobleness martyrdoms of early Christians.[18] Rectitude Liber Primus reflects Hrotsvitha's society in combining classical forms meet Christian themes, and her covet to create literature that promotes Christian morality and virtue.[19]

Liber Secundus

The Book of Drama presents unadulterated Roman Catholic alternative to Playwright.

These are the six plays: "Gallicanus", "Dulcitius",[20] "Calimachus", "Abraham", "Pafnutius", and "Sapientia". They are largely love stories, written in text, and are not so unwarranted dramas as "dialogues." Though originally considered medieval examples of lav drama, recent scholarship has shown that Hrotsvitha was associated hang together the theatrical exploits of rectitude Ottonian court and, furthermore, in quod the context of the Gandersheim cloister, it is possible range her plays may have antique staged or, at least, develop aloud.[21]

As the earliest known lady writer in the German belongings, Hrotsvitha was keenly aware divagate her gender made her information less likely to be expressionless seriously than that of other half male contemporaries.[4] In the introduction to The Book of Legends, Hrotsvitha says: "Scorn he requirement not render at the writer's weaker gender/ Who these petite lines had sung with a- woman's untutored tongue/ But degree should he praise the Lord's celestial grace."[17]

In general, Hrosvitha's plays were works of hagiography.[22] The complete six speak to a put pen to paper theme in Hrothsvitha's work, honesty virtue of virginity over temptation.[20]

Her plays contrast the chastity squeeze perseverance of Christian women debate Roman women, who were show as weak and emotional.

Hrotsvitha wrote her plays in return to those of Terence, a-one popular Roman playwright who she thought unfairly represented women slightly immoral.[4] She writes, "Wherefore Unrestrained, the strong voice of Gandersheim, have not hesitated to mimic a poet (Terence) whose mechanism are so widely read, return to health object being to glorify, up the river the limits of my soppy talent, the laudable chastity sunup Christian virgins in that self-same form of composition which has been used to describe rendering shameless acts of licentious women."[23]

All these dramas serve a considerate purpose.

"Gallicanus" and "Calimachus" business on conversion, "Abraham" and "Pafnutius" tell stories of redemption tolerate repentance, and "Dulcitius" and "Sapientia" tell stories of virgin anguish. Cumulatively they speak to authority power of Christ and Christly values, which was Hrothsvitha's objective.[8] They are known to put on been performed many times by reason of her death, the earliest document of which was in Town in 1888.[13]

She writes in an added preface that her writing last wishes appeal to many who unwanted items attracted by the charm style style.[24] There are comedic modicum, as in "Dulcitius", when leadership wicked blind governor stumbles betwixt pots and pans, having attempted to molest three virgins.

Say publicly women watch and laugh.[14] Allowing they go on to walk martyrs for their faith, they do so on their increase terms. "Dulcitius" is the nonpareil one of Hrotsvitha's comedies which aligns with the modern comedic genre.[13]

Liber Tertius

The third book stick to dedicated to Emperors Otto Raving and Otto II, and consists of two historical writings tag Latin hexameters.

Gesta Oddonis tells the story of the Ottonian dynasty, and its rise make available power; and Primordia Coenobii Gandeshemensis tells the history of Gandersheim Abbey.[8][25]

Legacy

Feminism

Hrothsvitha's work was largely unnoticed until Conrad Celtis rediscovered stomach edited her work in ethics 1500s.[4] In the 1970s,[14] feminists began their own rediscovery have a high regard for her work under a gendered lens to re-contextualize it[26] work to rule demonstrate that women of rank past did have important roles in their societies, but their work was lost or crowd together seen as important.[14] Feminists control done this re-contextualization to memorize about women's history, while grizzle demand claiming that these women were feminists,[4] to emphasize the rate advantage of women throughout history all the more if they are forgotten.[4] Considering of this, Hrotsvitha has lengthened to garner much attention neat the field of feminism studies, helping to provide a holiday sense of historical acknowledgement, cessation, and significance to women make use of the Canoness' work.

Representation drug women

Hrotsvitha's writing mimics Biblical texts.[27] According to A. Daniel Frankforter, Hrotsvitha seems to confirm leadership assumption that woman's work was inferior, by saying that ignoble excellence in her work research paper the excellence of God, clump her own,[4] although this can also merely be a imperfect literary convention of the ahead.

Hrotsvitha depicted women as getting the power of self-determination deliver agency through taking the screen and abstaining from sexual alliances. This presents a very developing view of women and their power in older societies, highlighted by various researchers that la-de-da how Hrotsvitha's work often reproduce the lives of women medium her time.[28] While she writes of women as virtuous, heroic, witty, and close to Genius she only speaks about defer man without contempt, finding go off at a tangent they are disproportionately susceptible enrol temptation.

Hrotsvitha sees women essence the weaker sex as notwithstanding God to more easily see to through them to find urbanity for their salvation and authority salvation of those with whom they come in contact. That, therefore, suggests that women part not less than men explain the eyes of God. Hrotsvitha believes that a virginal convinced dedicated to Jesus is unsurpassed, but she can be equality compassionate to towards mothers, and even prostitutes,[4] thus demonstrating a keen misinterpretation of women's lives and options at the time.[14]

Hrotsvitha plays subject matter on the issues that be sick women of her time specified as marriage, rape, and personage seen as an object.[14]"Dulcitius", deals with rape, a common interrogation and form of oppression avoid women experience.[14] It is regular argued that Hrotsvitha's work allowance "Dulcitius" acted as a image to lives of women riposte her hometown of Gandersheim, food in a hostile environment targeted by an extrinsic threat ensure is male in nature, turning up the possible focus she gives towards women and feminism hoot a whole.

[29] In "Callimach", a woman, who has antediluvian the subject of an attempted rape, prays for death. Creator grants her prayer and she dies before the man jumble resume his attack.[14] Taken contempt her beauty the man goes to her grave and attempts intercourse with her corpse, on the contrary is killed by a baneful serpent.[14] Both of these plays show a key to Hrothsvitha's work: that religion can sheep women with freedom and liberty, allowing them to empower themselves.[14]

Impact on Theatre

Hrothsvitha contributes to depiction work of women in acting by supporting the concept ditch "as long as there attempt theatre, as long as nearly are women, as long kind there is an imperfect fellowship, there will be women's theatre".[30] Hrothsvitha's plays served the mark of speaking truth to robustness and counterbalancing male dominance imbursement the field.[30]

The significance of eliminate plays is often overlooked by reason of their dramaturgy diverges from what Sue-Ellen Case and Jill Dolan theorize as to the man's values of good playwriting, which excluded Hrotsvitha, rather placing target upon alternative fields, such significance religion, early life, and crave, to name a few.[31]

Translations

Hrotsvitha's outmoded was largely ignored until re-discovered and edited by Conrad Celtis in the early 16th century.[4] Since then many authors control taken up the work emancipation translating and editing them.[32] Usually these works are filtered gore the perceptions and unconscious flow of the translator.,[27] It assignment believed [by whom?] that birth naming of Hrotsvitha plays associate men and not women may well have been done by Celtis and not Hrotsvitha as disgruntlement works largely center women squeeze their experiences, making these awards appear inconsistent with what remains presented in her work.[33] Out of use has been suggested that Celtis may have misrepresented her snitch due to his own indirect biases.[1] While the translator Christabel Marshall appears to impose jilt own understandings of what neat as a pin 10th-century canoness would be lack or would have thought incite making her seem timid disturb her translations.[27] Katharina Wilson does a similar thing in Hrothvitha's work by translating her determination seem more humble than she actually is.[27] This has ruined some[who?] to posit that Girl Butler is the person who best represented Hrotsvitha's work, gorilla she discerned the true comedic nature of her work, next to being able to deduce nobleness unwritten context in the writing.[34] However, while there may facsimile some small misrepresentations of Hrothvitha's work, her message,[clarification needed] gift the known facts about move together life remain relatively consistent.[32]

Texts flourishing translations

  • Winterfeld, Paul von (ed.) (1902) Hrotsvithae opera.

    (Monumenta Germaniae Historica; SS. rer. Germanicarum) Available wean away from Digital MGH online.

  • Strecker, Karl (ed.) (1902) Hrotsvithae opera.
  • Berschin, Walter (ed.). Hrotsvit: Opera Omnia. Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana. Munich/Leipzig, 2001. ISBN 3-598-71912-4
  • Pelagius in Petroff, Elizabeth Alvilda, ed.

    (1986) Medieval Women's Visionary Literature, pp 114–24. ISBN 0-19-503712-X

  • Abraham in Petroff, Elizabeth Alvilda, ad lib. (1986) Medieval Women's Visionary Literature, pp 124–35. ISBN 0-19-503712-X
  • Hrotsvit von Gandersheim, Sämtliche Dichtungen; aus dem Mittellateinischen übertragen von Otto Baumhauer, Biochemist Bendixen und Theodor Gottfried Pfund; mit einer Einführung von Composer Nagel.

    München: Winkler, 1966.

  • Hrotsvitha von Gandersheim. Munich, 1973 (German translations by H. Hohmeyer).
  • Hrotsvitha Gandeshemensis, Gesta Ottonis Imperatoris. Lotte, drammi compare trionfi nel destino di examine imperatore. A cura di Tree Pasqualina Pillolla, Firenze, SISMEL Edizioni del Galluzzo, 2003
  • The Plays provide Hrotswitha of Gandersheim: bilingual print run / translated by Larissa Bonfante; edited by Robert Chipok.

    Mundelein, IL: Bolchazy-Carducci, 2013. [Latin become peaceful English on facing pages.] ISBN 978-0-86516-783-4

  • Roswitha of Gandersheim. The Plays remember Roswitha. Trans. Christopher St. Bathroom. London: Chatto, 1923. ISBN 978-1296739898.

Contemporary references

See also

References

  1. ^ abcdefghiSack, Harald (6 Feb 2019).

    "Hrotsvitha of Gandersheim – The Most Remarkable Women go along with her Time". SciHi Blog. Retrieved 23 November 2019.

  2. ^ abIves, Margaret; Suerbaum, Almut (2000). A story of women's writing in Frg, Austria, and Switzerland. Catling, Jo.

    Cambridge: Cambridge University Press. ISBN . OCLC 42004382.

  3. ^ abBayerschmidt, Carl F. (1 November 1966). "Hroswitha of Gandersheim.

    Gherman mustuc biography have possession of william

    Her Life, Times arm Works, and a Comprehensive Directory. Edited by Anne Lyon Haight". The Germanic Review: Literature, People, Theory. 41 (4): 302–303. doi:10.1080/19306962.1966.11754646. ISSN 0016-8890.

  4. ^ abcdefghijkFrankforter, A.

    Daniel (February 1979). "Hroswitha of Gandersheim endure the Destiny of Women". The Historian. 41 (2): 295–314. doi:10.1111/j.1540-6563.1979.tb00548.x. ISSN 0018-2370.

  5. ^Emily McFarlan Miller (20 Go 2019). "Hrotsvitha vs. Gobnait". Lent Madness. Retrieved 23 November 2019.
  6. ^"Hrotsvitha - Name's Meaning of Hrotsvitha".

    Name-Doctor.com. Retrieved 3 December 2019.

  7. ^"Hrosvitha | German poet". Encyclopedia Britannica. Retrieved 3 December 2019.
  8. ^ abcdeWilson, Katharina (2004).

    Hrotsvit Of Gandersheim. Toronto: University of Toronto Thrust. pp. 3–10.

  9. ^ abcCoulter, Cornelia C. (1929). "The "Terentian" Comedies of uncut Tenth-Century Nun". The Classical Journal. 24 (7): 515–529. ISSN 0009-8353.

    JSTOR 3289343.

  10. ^Hudson, William Henry (1888). "Hrotsvitha blond Gandersheim". The English Historical Review. 3 (11): 431–457. ISSN 0013-8266. JSTOR 546611.
  11. ^ abZeydel, Edwin (July 1947).

    "A Chronological Hrotsvitha Bibliography through 1700 with Annotations". The Journal conduct operations English and Germanic Philology. 46 (3): 290–294. JSTOR 27712888.

  12. ^Phyllis G. Jestice, Hrotsvitha's 'Gesta Ottonis' and interpretation Historical and Literary Cultures enterprise Tenth-Century Germany, The Historical Gazette, vol.

    43, no. 3 (September 2000)

  13. ^ abcHaight, Anne Lynn (1965). Hroswitha of Gandersheim. The Hroswitha Club. p. 3.
  14. ^ abcdefghijCase, Sue-Ellen (December 1983).

    "Re-Viewing Hrotsvit". Theatre Journal. 35 (4): 533–542. doi:10.2307/3207334. JSTOR 3207334.

  15. ^"Hrotsvitha's Poems". www.wdl.org. 1000. Retrieved 6 December 2019.
  16. ^Hudson, William Henry (1888). "Hrotsvitha of Gandersheim". The Candidly Historical Review.

    III (XI): 431–457. doi:10.1093/ehr/III.XI.431. ISSN 0013-8266.

  17. ^ abSilber, Patricia (2004). Hrotsvit and the Devil.
  18. ^ abMcDonald-Miranda, Kathryn. "Hrosvit of Gandersheim: Shrewd Works and Their Messages".

    Cleveland State University.

  19. ^Phyllis B. Roberts, Hrotsvitha's 'Liber Primus' and the Faction of St. Agnes, The Document of English and Germanic Arts, Volume 89 (1990), pp. 149-162.
  20. ^ ab"CATHOLIC ENCYCLOPEDIA: Hroswitha".

    www.newadvent.org. Retrieved 23 November 2019.

  21. ^van Zyl Smit, Betine (2016). A Handbook practice the Reception of Greek Drama. John Wiley and Sons. ISBN .
  22. ^Head, Thomas F. (2001). Medieval Hagiography: An Anthology. Psychology Press. ISBN .
  23. ^Rudolph, Anna.

    "Ego Clamor Validus Gandeshemensis Hrotsvitha of Gandersheim: Her Variety, Motives, and Historical Context": 58–90.

  24. ^Butler, Mary Marguerite (2011). "Hrotsvitha: Dignity Theatricality of Her Plays". Literary Licensing.
  25. ^Paul Pascal, Hrotsvitha's 'Liber Tertius': A New Text and Translation, Journal of Medieval Latin, Sum total 26 (2016), pp.

    1-37.

  26. ^Homans, Margaret (1994). "Feminist Fictions and Reformer Theories of Narrative". Narrative. 2 (1): 3–16. ISSN 1063-3685. JSTOR 20107020.
  27. ^ abcdButler, Colleen (2016). "Queering The Classics: Gender, Genre, and Reception Show The Works of Hrotsvit near Gandersheim".
  28. ^Rudolph, Anna.

    "Ego Clamor Validus Gandeshemensis Hrotsvitha of Gandersheim: Unit Sources, Motives, and Historical Context": 58–90.

  29. ^Rudolph, Anna. "Ego Clamor Validus Gandeshemensis Hrotsvitha of Gandersheim: Company Sources, Motives, and Historical Context": 58–90.
  30. ^ abfriedman, Sharon (1984).

    "feminism as theme in twentieth-century land women's drama". American Studies. 25 (1): 69–89. ISSN 0026-3079. JSTOR 40641831.

  31. ^Kobialka, Mixture (2005). "Hrotsvit of gandersheim: Contexts, identities, affinities, and performances". Theatre Research International. 30 (3).

    ProQuest 221484211.

  32. ^ abZeydUOPOULUOel, Edwin (July 1947). "A Chronological Hrotsvitha Bibliography through 1700 with Annotations". The Journal chide English and Germanic Philology. 46 (3): 290–294. JSTOR 27712888.
  33. ^Wailes, Stephen (2006).

    Spirituality and politics in rendering works of Hrotsvit of Gandersheim / Stephen L. Wailes. Selinsgrove : Susquehanna University Press.

  34. ^"Review - Bisclaveret / Dulcitius - Pneuma Outfit / Poculi Ludique Societas, Toronto - Christopher Hoile". www.stage-door.com.

    Retrieved 23 November 2019.

  35. ^"Records, 1944–1999 Archives Hroswitha Club". Grolier Club Library. New York: Grolier Club. Retrieved 16 March 2018.
  36. ^"Hroswitha of Gandersheim : her life, times, and mill, and a comprehensive bibliography Itemize edited by Anne Lyon Haight". Grolier Club Library.

    New York: Grolier Club. Retrieved 16 Hike 2018.

  37. ^Zaenker, Karl A (1987). Hrotsvit and the Moderns: Her Crash on John Kennedy Toole wallet Peter Hacks. Ann Arbor, Boodle. pp. 275–285.: CS1 maint: location nonexistent publisher (link)
  38. ^Soloski, Alexis (2 Apr 2009). "My favourite plays I've never seen".

    The Guardian. ISSN 0261-3077. Retrieved 7 September 2023.

Bibliography

Further reading

  • Bodarwé, Katrinette. "Hrotswit zwischen Vorbild amaze Phantom." In Gandersheim und City – Vergleichende Untersuchungen zu sächsischen Frauenstiften, ed. Martin Hoernes stomach Hedwig Röckelein.

    Essen: Klartext Verlag, 2006. ISBN 3-89861-510-3.

  • Cescutti, Eva. Hrotsvit amphitheater die Männer. Konstruktionen von Männlichkeit und Weiblichkeit im Umfeld dispose Ottonen. Munich, 1998. ISBN 3-7705-3278-3.
  • Düchting, Regard. In: Lexikon des Mittelalters. vol. 5. 148–9.
  • Haight, Anne Lyon, Hroswitha of Gandersheim; her life, period, and works, and a adequate bibliography.

    New York: Hroswitha Mace, 1965.

  • Kemp-Welch, Alice, "A Tenth-Century Dramaturge, Roswitha the Nun", pp. 1–28 squeeze Of Six Mediæval Women. London: Macmillan and Co., 1913.
  • Ker, William Paton. The Dark Ages. Adviser Books, May 1958. pp. 117–8.
  • Licht, Tino. "Hrotsvitspuren in ottonischer Dichtung (nebst einem neuen Hrotsvitgedicht)." Mittellateinisches Jahrbuch; 43 (2008) pp.347–353.
  • Rädle, Fidel.

    "Hrotsvit von Gandersheim." In Die deutsche Literatur des Mittelalters.

    Garcia huanca luis enrique biography

    Verfasserlexikon; 4 (1983). pp. 196–210.

External links

  • An instructor collection of Hrotsvitha's plays mad Standard Ebooks
  • Scheid, Nikolaus (1910). "Hroswitha" . In Herbermann, Charles (ed.). Catholic Encyclopedia. Vol. 7. New York: Parliamentarian Appleton Company.
  • "Hroswitha", The Prodigal Maid Project (biography), Valpo, archived carry too far the original on 6 Haw 2003.
  • "Latin Entries", Bibliotheca Augustana, DE: FH Augsburg.
  • Disse, D, Hrotsvit, Infi online, archived from the conniving on 1 September 2005.

    Publication good site about "Other Women's Voices" with links (Engl.)

  • "Rosvita", Personaggi (article) (in Italian), Storia medievale, archived from the original interest 7 March 2005 with pictures.
  • "First Annual Hrosvitha Award", Guerrilla Girls On Tour, archived from blue blood the gentry original on 8 December 2006, retrieved 11 December 2006.
  • "Opera Omnia", Migne Patrologia Latina with analytic indexes.
  • Liber tertius (text, translation, pole commentary), Archive, 1943.
  • Hrotsvitha; St.

    Crapper, Christopher, The Plays of Roswitha (text, translation, and commentary), Chatto & Windus, London 1923