ROSWITHA THE NUN
Celtes printing in 1501 Roswitha's MS. But, on the other hand, the similarities we notice may be a mere coincidence, or, as is much more likely, the details in each case may have been common property handed down from one generation to another.
In her play of Paphnutius, Roswitha made use of a story taken from the Historia Monachorum of Rufinus, a contemporary of St. Jerome, who had journeyed through Palestine and Egypt to visit the Hermits of the Desert. The mention, too, at the beginning of Rufinus's account, of a musician who tells of his retirement to a hermitage in order to change the harmony of music into that of the spirit, evidently suggested to her a discussion on music and harmony, probably adapted from Boëthius's De Musica. In this discussion lies the chief interest of the play as giving us some idea of the sort of intellectual exercises probably practised by women in convents in the tenth century. The play opens with a truly mediæval scene,—a disputation between a hermit and his disciples on the question of harmony between soul and body, suggested by the want of it in the life of the courtesan Thais. Such harmony should exist, says the holy man, for though the soul is not mortal like the body, nor the body spiritual like the soul, we shall, if we follow the method of the dialecticians, find that such differences do not necessarily render the two inharmonious. Harmony cannot be produced from like elements or like sounds,
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