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 exercise, dispensed as a sort of religious tonic to womankind, calculated to arouse slumbering souls, or to quicken to still further effort those that did not slumber. For us, its chief interest lies in the antiphonic arrangement of the dialogue, in which we may trace the first germs of characterisation, and in the music, the refrains of which contain the first suggestions, as far as we know, of the principle of the leitmotiv, a principle carried to its most complete development by Wagner. Although the earliest known MS. of it is of the eleventh century, so finished, yet so simple, are its dialogues and refrains, that it seems not unreasonable to infer that the form of the play was well known, either through some earlier MS. or through oral tradition. It is only a slight development of the elegy in dialogue which was performed in A.D. 874, at the funeral of Hathumoda, the first abbess of Gandersheim. This dialogue takes place between the sorrow-stricken nuns, who speak in chorus of their loss, and the monk Wichbert, who acts as consoler. Although its form is liturgical, its subject entitles it to be considered the earliest known mediæval dramatic work extant.

Of Roswitha's dramas, three seem to stand out as of special interest—Abraham, Callimachus, and Paphnutius. All of these are more or less patchwork adaptations from the legendary debris of antiquity. The first appears to have been taken by Roswitha from a Latin translation of a