In Hrotsvitha’s Drama Dialogues some convergences can be seen with Terence’s plays. However, unlike the Roman playwright, the closet drama of the Gandersheim canoness takes on the characteristics of an instrument of redemption. In fact, as confirmed by a direct analysis of Calimachus (even titled Resuscitatio Drusianae et Calimachi), on the one hand Hrotsvitha exalts sacred love and faith in God, on the other she meticulously describes extremely sensual and particularly rough love scenes, a very bad heritage of the pagan world, from which the Saxon poetess distances herself.In Hrotsvitha’s Drama Dialogues some convergences can be seen with Terence’s plays. However, unlike the Roman playwright, the closet drama of the Gandersheim canoness takes on the characteristics of an instrument of redemption. In fact, as confirmed by a direct analysis of Calimachus (even titled Resuscitatio Drusianae et Calimachi), on the one hand Hrotsvitha exalts sacred love and faith in God, on the other she meticulously describes extremely sensual and particularly rough love scenes, a very bad heritage of the pagan world, from which the Saxon poetess distances herself.In Hrotsvitha’s Drama Dialogues some convergences can be seen with Terence’s plays. However, unlike the Roman playwright, the closet drama of the Gandersheim canoness takes on the characteristics of an instrument of redemption. In fact, as confirmed by a direct analysis of Calimachus (even titled Resuscitatio Drusianae et Calimachi), on the one hand Hrotsvitha exalts sacred love and faith in God, on the other she meticulously describes extremely sensual and particularly rough love scenes, a very bad heritage of the pagan world, from which the Saxon poetess distances herself.
Ancora sui Dialoghi drammatici di Rosvita e Terenzio: il Calimachus
Sabina Tuzzo
2020-01-01
Abstract
In Hrotsvitha’s Drama Dialogues some convergences can be seen with Terence’s plays. However, unlike the Roman playwright, the closet drama of the Gandersheim canoness takes on the characteristics of an instrument of redemption. In fact, as confirmed by a direct analysis of Calimachus (even titled Resuscitatio Drusianae et Calimachi), on the one hand Hrotsvitha exalts sacred love and faith in God, on the other she meticulously describes extremely sensual and particularly rough love scenes, a very bad heritage of the pagan world, from which the Saxon poetess distances herself.In Hrotsvitha’s Drama Dialogues some convergences can be seen with Terence’s plays. However, unlike the Roman playwright, the closet drama of the Gandersheim canoness takes on the characteristics of an instrument of redemption. In fact, as confirmed by a direct analysis of Calimachus (even titled Resuscitatio Drusianae et Calimachi), on the one hand Hrotsvitha exalts sacred love and faith in God, on the other she meticulously describes extremely sensual and particularly rough love scenes, a very bad heritage of the pagan world, from which the Saxon poetess distances herself.In Hrotsvitha’s Drama Dialogues some convergences can be seen with Terence’s plays. However, unlike the Roman playwright, the closet drama of the Gandersheim canoness takes on the characteristics of an instrument of redemption. In fact, as confirmed by a direct analysis of Calimachus (even titled Resuscitatio Drusianae et Calimachi), on the one hand Hrotsvitha exalts sacred love and faith in God, on the other she meticulously describes extremely sensual and particularly rough love scenes, a very bad heritage of the pagan world, from which the Saxon poetess distances herself.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
