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The Plays of Roswitha translated by Christopher St. John

Transcriber’s Note

These transcriptions are also available on a GitHub repository, where they are available as markdown-formatted text files. If you want to remix this text, the GitHub repository would probably be the best place to build off from: https://github.com/cncoulter/Transcription_The-Plays-of-Roswitha

These transcriptions are also available in a GitHub repository, where you can find them as markdown-formatted text files. If you want to remix this text, the GitHub repository is probably the best place to start from: https://github.com/cncoulter/Transcription_The-Plays-of-Roswitha

The Plays of Roswitha
Translated by Christopher St. John
London: Chatto & Windus, 1923

The Plays of Roswitha
Translated by Christopher St. John
London: Chatto & Windus, 1923

Contents

  1. Translator’s Note
  2. Introduction by His Eminence Cardinal Gasquet
  3. Critical Preface by Christopher St. John
  4. The Prefaces of Roswitha
  5. Gallicanus
  6. Dulcitius
  7. Callimachus
  8. Abraham
  9. Paphnutius
  10. Sapientia
  11. Note on the Acting of the Plays

Translator’s Note

The works consulted include the following:

The sources reviewed include the following:

  • Hrotsvithae Opera: Edited by Paul Winterfeld.
  • Hrotsvithae Opera: Edited by H. L. Schurzfleisch.
  • Hrotsvithae Opera: Edited by Conrad Celtes (Nurnberg, 1 501).
  • Patrologiae Cursus Completus: J. P. Migne (vol. 137).
  • Abraham: Translated into French by C. Cuzin, with critical preface.
  • Theatre de Roswitha: Charles Magnin.
  • Origines du theatre Moderne: Charles Magnin.
  • Antiquitates Gandersheimensis: Leuckfeld.
  • Six Medieval Women: Alice Kemp Welch.

I am much indebted to Dame Laurentia McLachlan, O.S.B., Superioress of Stanbrook Abbey, and to the Reverend Paul Bonnet of Lyons University, for assistance in the work of translation.

I am very grateful to Dame Laurentia McLachlan, O.S.B., the Superior of Stanbrook Abbey, and to the Reverend Paul Bonnet of Lyons University, for their help with the translation work.

—Christopher St. John

—Christopher St. John

Introduction

By His Eminence Cardinal Gasquet

Whatever may be thought of the precise merits of these six short dramas, now translated into English for the first time,1 it will be conceded that a collection of plays bearing the date of the 10th century, authenticated as the work of a woman, and a nun, is a remarkable phenomenon, interesting to students of monasticism and of the drama alike.

Whatever people may think about the exact value of these six short plays, now translated into English for the first time,1 it will be acknowledged that a collection of plays dated from the 10th century, confirmed to be the work of a woman and a nun, is a remarkable phenomenon, intriguing to both students of monasticism and drama.

At one time, it is interesting to note, it was suggested that the author of these dramas was an Englishwoman. In fact, the English scholar, Laurence Humfrey, who first introduced them to notice in this country, endeavoured to prove that Roswitha was no other than St. Hilda of Northumbria. His theory cannot, of course, be maintained; but the very anxiety shown to identify this talented poetess and dramatist as a native of this country is evidence of the high estimation in which her compositions were held in the 16th century, the time when Laurence Humfrey, an exile from England for his religion, learnt to know them in Germany. It is now an established fact that the plays are the work of a Benedictine nun of Gandersheim, in Saxony, and their merits certainly justify her biographer’s exclamation: “Rara avis in Saxonia visa est.”

At one point, it's worth noting that someone suggested the author of these plays was an Englishwoman. In fact, the English scholar Laurence Humfrey, who first brought them to attention in this country, tried to prove that Roswitha was actually St. Hilda of Northumbria. His theory, of course, can't be upheld; however, the eagerness to connect this talented poet and playwright to this country shows how highly valued her works were in the 16th century, when Laurence Humfrey, an exile from England because of his beliefs, got to know them in Germany. It is now established that the plays were written by a Benedictine nun from Gandersheim, in Saxony, and her skills definitely justify her biographer's comment: “Rara avis in Saxonia visa est.”

It used to be assumed that between the 6th and the 12th century all dramatic representations ceased, but each of these centuries when patiently searched has yielded some dramatic texts. The feudal period, reckoned the most barbarous, and Germania, set down then, as later in history, as the least civilized of countries, have produced the most considerable and least imperfect of these texts in the plays of Hrotsuitha, or Roswitha, a nun of the Order of St. Benedict, who spent her religious life in the Convent of Gandersheim.

It was once believed that no dramatic performances took place between the 6th and 12th centuries, but with thorough exploration, we can find some dramatic texts from each of these centuries. The feudal era, often considered the most barbaric, and Germania, which has been viewed both then and later as one of the least civilized places, actually produced some of the most significant and well-crafted texts in the plays of Hrotsuitha, or Roswitha, a nun from the Order of St. Benedict, who lived her religious life in the Convent of Gandersheim.

There is a marked difference between her plays and such dramas as The Mystery of the Wise and Foolish Virgins, which is little more than an amplification of the sequence of the liturgy. We find here an author familiar not only with the Scriptures, the works of the Fathers of the Church, of the agiographers, and of the Christian philosophers, but with Plautus, Terence, Horace, Virgil, and Ovid—an author who, on her own confession, took the theatre of Terence as her model.

There is a clear difference between her plays and dramas like The Mystery of the Wise and Foolish Virgins, which is little more than an expansion of the liturgical sequence. Here, we see an author who is well-versed not only in the Scriptures, the writings of the Church Fathers, the lives of the saints, and Christian philosophers, but also in the works of Plautus, Terence, Horace, Virgil, and Ovid—an author who, as she has admitted, used Terence's theater as her model.

The Abbey of Gandersheim, where these plays were written, was founded about the year 850 by Ludolph, Duke of Saxony, at the request of his wife Oda, a Frankish princess. Although these were what men call “the dark ages,” the darkness was comparative. The Saxon court at this time was enlightened, and the Abbeys of Saxony, notably that of Corbei, were centres of learning and civilization. Gandersheim was one of the “free abbeys,” that is to say its Abbess held it direct from the King. Her rights of overlordship extended for many miles; she had her own law courts, and sent her men-at-arms into the field. In fact, she enjoyed the usual privileges and undertook the usual responsibilities of a feudal baron, and as such had the right to a seat in the Imperial Diet. Coins are extant, struck by the Abbesses of Gandersheim, whose portraits they bear.

The Abbey of Gandersheim, where these plays were created, was founded around 850 by Ludolph, Duke of Saxony, at the request of his wife Oda, a Frankish princess. Although this was what people refer to as “the dark ages,” the darkness was relative. The Saxon court at this time was enlightened, and the Abbeys of Saxony, especially Corbei, were centers of learning and culture. Gandersheim was one of the “free abbeys,” meaning its Abbess was directly answerable to the King. Her rights of overlordship stretched for many miles; she had her own courts and sent her soldiers into battle. In fact, she enjoyed the usual privileges and took on the typical responsibilities of a feudal baron, including the right to a seat in the Imperial Diet. Coins still exist, minted by the Abbesses of Gandersheim, featuring their portraits.

During the 10th and 11th centuries these Abbesses were drawn chiefly from the royal house of Saxony, which had been raised to the dignity of the Imperial throne of Germania. Leuckfeld, in his voluminous history of Gandersheim, quotes a contemporary chronicler who praises the royal nuns for keeping all luxury and state out of the life of the community, and for observing the Rule of St. Benedict strictly. “They were forbidden,” says the chronicler, “to eat away from the common table at the appointed times, except in case of sickness. They slept together, and came together to celebrate the canonical hours. And they set to work together whenever work had to be done.” The Abbess who ruled the community in Roswitha’s time was Gerberg, or Gerberga, a niece of the Emperor Otho I. Gerberg was a good classical scholar, and Roswitha tells us, in one of the introductory prefaces with which, fortunately for posterity, her works are freely sprinkled, how much she owed to the tuition of this Abbess, “younger in years than I, but far older in learning.”

During the 10th and 11th centuries, these Abbesses mostly came from the royal family of Saxony, which had ascended to the Imperial throne of Germania. Leuckfeld, in his extensive history of Gandersheim, cites a contemporary chronicler who praises the royal nuns for keeping all luxury and formality out of community life and for strictly following the Rule of St. Benedict. “They were not allowed,” the chronicler says, “to eat apart from the common table at the set times, except if they were sick. They slept together and gathered to celebrate the canonical hours. And they worked together whenever there was work to be done.” The Abbess in charge during Roswitha’s time was Gerberg, or Gerberga, a niece of Emperor Otho I. Gerberg was an excellent classical scholar, and Roswitha informs us, in one of the introductory prefaces that, fortunately for future generations, her works contain often, how much she owed to this Abbess's teaching, “younger than I in age, but much older than I in knowledge.”

It is from such sentences as this that we are able to gain a little information about Roswitha’s life. Her mention of certain historical events and personages proves that she was born after the year 912 and before the year 940 (the known date of Gerberg’s birth). She seems to have entered the religious life at Gandersheim when she was about twenty-three years old. She tells us nothing about her antecedents, but as Gandersheim was an exclusive house we may assume that she was of gentle birth. What education or experience of the world she had had before she became a nun is a matter of guesswork.

It’s from sentences like these that we can learn a bit about Roswitha’s life. Her references to certain historical events and figures show that she was born after the year 912 and before 940 (the known date of Gerberg’s birth). It appears she joined the religious life at Gandersheim when she was around twenty-three years old. She doesn’t mention anything about her background, but since Gandersheim was a prestigious institution, we can assume she came from a noble family. What kind of education or worldly experience she had before becoming a nun is purely speculative.

Roswitha wrote in Latin, the only language used in the 10th century in the West for literary composition. Conrad Celtes, the well-known humanist, discovered the manuscript, the writing of which cannot be earlier than the 9th, or later than the 10th century, in the library of the Benedictine monastery of St. Emmeran, Ratisbon, in the last days of the 15th century. In the year 1501 it was printed. This first edition has an interesting frontispiece representing the nun poet and dramatist presenting her works to the Emperor Otho II, in the presence of her Abbess Gerberg, who wears the crown of a “Fürstabtin.” This and the other plates illustrating incidents in the plays have been attributed to both Dürer and Cranach, but they are not signed. Another edition, that of Schurzfleisch, in nearly all respects a reprint of the first, was issued in 1707, augmented with biographical and philological notes. The text given in the Latin Patrology (Migne, Tomus 137) is taken from the Schurzfleisch edition. More valuable to the student is Magnin’s edition. The French commentator collated the Celtes and Schurzfleisch texts with the original manuscript, which in 1803 had been moved from St. Emmeran to the Munich library, and found one or two readings preferable to those of Celtes. Magnin also restored some stage directions omitted by Celtes, one of which, in the eighth scene of Callimachus, affords, as the English translator notes, valuable evidence that the play was acted, or at least intended for representation.

Roswitha wrote in Latin, the only language used for literary writing in the 10th century West. The well-known humanist Conrad Celtes found the manuscript, which dates no earlier than the 9th century and no later than the 10th century, in the library of the Benedictine monastery of St. Emmeran in Ratisbon during the last days of the 15th century. It was printed in 1501. This first edition features an intriguing frontispiece showing the nun poet and playwright presenting her works to Emperor Otho II, with her Abbess Gerberg, who wears a “Fürstabtin” crown, in attendance. The illustrations depicting scenes from the plays have been attributed to both Dürer and Cranach, but they are not signed. Another edition, by Schurzfleisch, which closely resembles the first, was released in 1707 and included biographical and philological notes. The Latin Patrology text (Migne, Tomus 137) is derived from the Schurzfleisch edition. More useful for students is Magnin’s edition. The French commentator compared the Celtes and Schurzfleisch texts with the original manuscript, which had been moved from St. Emmeran to the Munich library in 1803, and found a couple of preferred readings. Magnin also restored some stage directions that Celtes had omitted, including one in the eighth scene of Callimachus, which provides, as the English translator observes, valuable evidence that the play was performed or at least meant to be performed.

The original manuscript is divided into three parts. The first contains eight poems or metrical legends of the Saints in which reliable authorities are carefully followed, much skill being shown, however, in the arrangement of the material and in the handling of the “leonine hexameter.” The second part consists of the six plays here given in English; the third, of a long unfinished poem called “Panegyric of the Othos.” Celtes changed the order, which is to be regretted, as it is obviously chronological. Roswitha’s preface to Part III shows more confidence than the preface to the plays, and very much more than the diffident preface to the poems. One of these poems, Passio Sancti Pelagii,” once enjoyed a very high reputation, and is often quoted by Spanish and Portuguese agiographers. The Bollandists print it entire in the Acta Sanctorum. It has another interest in that Roswitha tells us that she obtained her facts from a witness of the saint’s martyrdom.

The original manuscript is divided into three parts. The first part contains eight poems or metrical legends of the Saints, carefully following reliable sources, although there is a lot of skill shown in how the material is arranged and in the use of the “leonine hexameter.” The second part consists of the six plays presented here in English, and the third part includes a long unfinished poem titled “Panegyric of the Othos.” Celtes changed the order, which is unfortunate, as it is clearly chronological. Roswitha’s preface to Part III shows more confidence than the preface to the plays and much more than the hesitant preface to the poems. One of these poems, “Passio Sancti Pelagii,” once had a very high reputation and is often cited by Spanish and Portuguese agiographers. The Bollandists print it in full in the Acta Sanctorum. It is also interesting because Roswitha mentions that she obtained her facts from someone who witnessed the martyrdom of the saint.

Although Roswitha claims Terence as her master in the art of play-writing, it cannot be said that she imitates him closely. When Paphnutius was acted in London in 1914 the dramatic critic of The Times was justified from one point of view in asserting that Roswitha’s style is “not in the least Terentian.” For one thing she is quite indifferent to the “unities,” and transports us from place to place with bewildering abruptness. Her relation to Terence, as she herself insists, is one of moral contrasts rather than of literary parallels. The “situation” in Terence’s comedies almost invariably turns on the frailty of women; in Roswitha’s plays as invariably on their heroic adherence to chastity. Although considerable variety is shown in the treatment of each story, the motive is always the same—to glorify uncompromising fidelity to the vow of virginity. This nun dramatist deals courageously, but, it must be added, delicately, when it is remembered that she lived in an age when even the best educated were neither fastidious nor restrained in manners or conversation, with the temptations which her characters overcome. The preface to her plays shows that it was not without some qualms of conscience that she wrote of things “which should not even be named among us.” But the purity of her intentions, which was obviously recognized by her religious superiors, should induce the most prudish reader to refrain from charges of impropriety. With all their shortcomings, Roswitha’s works have a claim to an eminent place in medieval literature, and do honour to her sex, to the age in which she lived, and to the vocation which she followed.

Although Roswitha regards Terence as her mentor in playwriting, it can’t be said that she closely imitates him. When Paphnutius was performed in London in 1914, the drama critic for The Times was right from one perspective in claiming that Roswitha’s style is “not at all Terentian.” For one thing, she disregards the “unities” and jumps between locations with confusing suddenness. Her relationship with Terence, as she emphasizes, is one of moral contrasts rather than literary similarities. The “situation” in Terence’s comedies usually hinges on the weaknesses of women, while in Roswitha’s plays, it consistently focuses on their heroic commitment to chastity. Although there is considerable variation in how each story is treated, the underlying motive remains the same—to celebrate unwavering fidelity to the vow of virginity. This nun playwright addresses challenging topics courageously, but it’s important to note that she lived in an era when even the well-educated were neither particularly refined nor restrained in their behavior or conversation, dealing with the temptations her characters face. The preface to her plays makes it clear that she wrote about things “that should not even be named among us” with some hesitation. However, the purity of her intentions, which her religious superiors evidently recognized, should lead the most modest reader to hold back from accusations of impropriety. Despite their flaws, Roswitha’s works deserve a significant place in medieval literature, honoring her gender, the time in which she lived, and the calling she pursued.

The Plays of Roswitha2

By Christopher St. John

This translation of the six plays of Roswitha (there are really seven, for the two parts of Gallicanus practically constitute two separate dramas) was begun in the year 1912 and completed in 1914. The lively interest provoked by the stage performance of one of the translations (that of the play Paphnutius) by the Pioneer Players in January 1914 led me to think that the publication of the whole theatre of Roswitha in English would be welcomed by all students of the drama. Unfortunately, the war delayed publication, and the manuscript was entirely destroyed by a fire at the publisher’s premises in Dublin during the Irish insurrection of Easter 1916.

This translation of the six plays of Roswitha (there are actually seven, since the two parts of Gallicanus essentially make up two separate dramas) began in 1912 and was finished in 1914. The enthusiastic response to the stage performance of one of the translations (the play Paphnutius) by the Pioneer Players in January 1914 made me believe that releasing the complete works of Roswitha in English would be appreciated by all drama scholars. Unfortunately, the war postponed publication, and the manuscript was completely lost in a fire at the publisher's location in Dublin during the Irish insurrection of Easter 1916.

The work of collating the various Latin texts of Roswitha’s plays and producing a translation which should preserve some of the naive simplicity of the original had been a difficult one, and to begin it all over again was a heart-breaking task. The consciousness that the interest in Roswitha provoked by the performance of Paphnutius had waned did not alleviate the heaviness of spirit in which the work of replacing the burned manuscript was undertaken.

The task of gathering the different Latin texts of Roswitha’s plays and creating a translation that keeps some of the original's innocent simplicity was challenging, and starting it all over again was a heart-wrenching job. Knowing that the interest in Roswitha sparked by the performance of Paphnutius had faded didn’t make it any easier to tackle the difficult job of replacing the burned manuscript.

Those readers who are unable or unwilling to compare the translations with the original should be warned that Roswitha’s dialogue is characterized by a simplicity and conciseness hardly attainable in any tongue but Latin. The difficulty of finding equivalents for the terse phrases employed tempts the translator to “write them up.” Although I have aimed at producing a readable translation for lovers of the drama in all its forms rather than an exact paraphrase for scholars, I have tried to resist this temptation at the risk of making the dialogue seem at times almost ludicrously bald. Except in a few cases where the use of “thou” seemed dramatically fit, “tu” has been rendered by “you.” Roswitha’s style is colloquial, and the constant employment of the singular pronoun would misrepresent its character. The Latin is not obsolete, and it would surely be a mistake to translate it into an obsolete vernacular. Although the author’s syntax is decadent, and there is a tendency to make every sentence analytical, her use of words is classical, and her Latin in this respect superior to the scholastic Latin of the Middle Ages. The only principle observed in my translation has been the general one laid down by Edward Fitzgerald: “The live dog is to be preferred to the dead lion—in translation at any rate,” and if this has involved a loss of dignity, I hope there may be some compensating gain in ease and force.3 In regard to the names of the characters in the plays, when there were well-known English equivalents such as “Hadrian” and “Constantine” I have not hesitated to use them, but when there were none I have given the Latin names. There is a good precedent for this inconsistency. We speak of “Rome” and “Venice,” but we do not try to Anglicize Perugia or Assisi.

Those readers who can't or won’t compare the translations with the original should be aware that Roswitha’s dialogue is marked by a simplicity and brevity that's hard to achieve in any language other than Latin. The challenge of finding equivalents for the short phrases she uses can tempt the translator to "embellish" them. Although I aimed to create a readable translation for those who love drama in all its forms rather than a precise paraphrase for scholars, I've tried to resist this temptation, even at the risk of making the dialogue sometimes seem almost ridiculously stripped down. Except in a few instances where using "thou" felt fitting, I’ve translated “tu” as “you.” Roswitha’s style is informal, and consistently using the singular pronoun would misrepresent its nature. Latin is not outdated, and it would definitely be a mistake to translate it into an archaic vernacular. While the author’s syntax is complex, with a tendency to make every sentence analytical, her word choice is classical, and her Latin is superior to the scholastic Latin of the Middle Ages in this respect. The only guiding principle in my translation has been the general one proposed by Edward Fitzgerald: “The live dog is to be preferred to the dead lion—in translation at any rate,” and if this leads to a loss of dignity, I hope there’s some compensating gain in clarity and impact. 3 Regarding the names of the characters in the plays, when there were well-known English equivalents like “Hadrian” and “Constantine,” I didn’t hesitate to use them, but where there were none, I kept the Latin names. There’s a good reason for this inconsistency. We refer to “Rome” and “Venice,” but we don’t try to Anglicize Perugia or Assisi.

The plays are all founded on well-known legends, which Roswitha follows very closely as regards the facts. But she shows great originality in her use of the facts and in her development of characters often merely indicated in the legends. Three of the plays, Gallicanus, Dulcitius, and Sapientia, deal with the conflict between infant Christianity and Paganism, martyrdoms under the Emperors Hadrian, Diocletian, and Julian the Apostate being the chief incidents. Gallicanus, which comes first in the manuscript, shows considerable skill in dramatic construction. Incident follows rapidly on incident. The scene lies alternately in Rome and on the battlefield, yet the action is kept quite clear. The story is easily followed, although Roswitha, like all good dramatists, eschews narrative. Gallicanus, one of the Emperor Constantine’s generals, claims the hand of the Emperor’s daughter as a reward for undertaking a dangerous campaign against the Scythians. The Emperor knows that Constance has taken a solemn vow of chastity, but he dares not offend Gallicanus by a refusal, on account of the value of his military services. So he temporizes, and consults Constance, who shows great shrewdness in dealing with the situation. She sends her almoners, John and Paul, to accompany Gallicanus on the Scythian expedition, in the hope that they will convert him to Christianity before he returns to marry her. The stratagem succeeds. Gallicanus, saved from defeat at a critical moment in the battle by the intervention of a heavenly host, becomes a Christian, and on his return to Rome shows respect for Constance’s resolution to remain in the virgin state, and renounces her. But he admits that the renunciation is bitter—Roswitha often shows such touches of sympathy with natural human desires—and we are made to feel that, although the dramatist was in no doubt that the life of chastity, poverty, and obedience is the highest life, she understood how hard it is for those who embrace it to believe that the yoke will be easy and the burden light.

The plays are all based on well-known legends, which Roswitha adheres to closely regarding the facts. However, she demonstrates great originality in how she uses these facts and develops characters that are only briefly mentioned in the legends. Three of the plays, Gallicanus, Dulcitius, and Sapientia, focus on the struggle between early Christianity and Paganism, with the martyrdoms under the Emperors Hadrian, Diocletian, and Julian the Apostate as key events. Gallicanus, the first play in the manuscript, shows significant skill in dramatic structure. Events unfold rapidly. The setting shifts between Rome and the battlefield, yet the action remains clear. The plot is easy to follow, even though Roswitha, like all great dramatists, avoids narrative. Gallicanus, one of Emperor Constantine’s generals, seeks the Emperor’s daughter as a reward for leading a risky campaign against the Scythians. The Emperor knows that Constance has made a vow of chastity, but he doesn’t want to offend Gallicanus by refusing because of the importance of his military contributions. So he delays and consults Constance, who handles the situation with great insight. She sends her almoners, John and Paul, to join Gallicanus on the Scythian mission, hoping they will convert him to Christianity before he returns to marry her. The plan works. Gallicanus, saved from defeat at a critical point in battle by a divine intervention, becomes a Christian, and upon returning to Rome, he respects Constance’s decision to remain a virgin and chooses to renounce her. However, he admits that this renunciation is painful—Roswitha often captures such moments of empathy with natural human desires—and we sense that, while the dramatist firmly believed that a life of chastity, poverty, and obedience is the highest calling, she understood how difficult it can be for those who choose it to believe that the yoke will be easy and the burden light.

The second play, Dulcitius, is poorly constructed and, as a whole, less interesting than any of the plays. Yet it has some features which repay close study. It is the only play of Roswitha’s obviously designed to provoke laughter, and if the level of the opening scenes had been maintained would be a very droll religious farce. Here we have the usual tale of martyrdom interspersed with incidents of buffoonery. The conventional cruel and bloody executioners are replaced by comic soldiers and a comic governor. Unfortunately, the farcical vein is suddenly abandoned, perhaps because Roswitha’s Abbess thought such fooling undignified in a nun! There must be some explanation of the sudden disappearance of the comic character of Dulcitius from the play. However, even as it stands Dulcitius is worth a great deal, since it affords the best proof we have that Roswitha’s plays were written for representation. There is indirect proof in the fact that we know that plays were acted at Gandersheim, as at other monasteries, on great occasions, but here is direct evidence. All the fun of Dulcitius lies in the action. No dramatist who had not in mind the effect on spectators could have conceived the scene in which the foolish governor, black as a sweep from his amorous encounter with the kitchen pots and pans which he mistakes for young women, is chased away from the palace gates, asking the while if there is anything amiss with his fine and handsome appearance. Stage directions, or didascalia, are very rarely found in old dramatic texts, but when Magnin compared Roswitha’s original text4 with the first printed edition he found several which had been omitted by Celtes.

The second play, Dulcitius, is poorly put together and overall less engaging than any of the other plays. However, it has some elements that make careful examination worthwhile. It’s the only play by Roswitha that’s clearly meant to be funny, and if the humor in the opening scenes had been kept up, it could have been a really amusing religious farce. Here we have the typical story of martyrdom mixed with comic moments. Instead of the usual cruel and bloody executioners, we see goofy soldiers and a comedic governor. Unfortunately, the humorous tone is abruptly dropped, possibly because Roswitha’s Abbess thought such antics were undignified for a nun! There must be a reason for the sudden removal of the comic character Dulcitius from the play. Still, even as it is, Dulcitius is valuable because it provides the clearest evidence we have that Roswitha’s plays were meant for performance. We know plays were performed at Gandersheim, as well as at other monasteries, during important events, but this offers direct proof. All the humor in Dulcitius comes from the action. No playwright who didn’t consider the audience's reaction could have dreamed up the scene where the foolish governor, covered in soot from his awkward encounter with kitchen pots and pans that he thinks are young women, gets chased away from the palace gates while asking if there’s anything wrong with his good looks. Stage directions, or didascalia, are very rarely found in old dramatic texts, but when Magnin compared Roswitha’s original text4 with the first printed edition, he found several that Celtes had omitted.

Callimachus, Abraham, and Paphnutius precede Sapientia in the manuscript, but as the last belongs by reason of its subject to the same group as Gallicanus and Dulcitius, it is more convenient to discuss it next. It is the best constructed of the “martyrdom” plays, and is singled out for special praise by most of the Roswitha commentators. The final scene in which Sapientia, having buried the bodies of her martyred children outside Rome, lifts up her soul in an ecstatic prayer for death is described by Magnin as “a ray of Sophocles shining through a Christian mind.” Many, however, may find the repetition in the long-drawn-out “torture” scenes monotonous, and the impertinence of Sapientia’s daughters to their imperial persecutor as trying as the real thing must have been. These slips of girls defy “law and order” in the person of the Emperor Hadrian much as in our own day youthful suffragettes used to defy British magistrates. Probably this is in accordance with truth. Roswitha was separated from the days of the first Christians by a shorter space of time than that which separates us from her, and she based her narrative poem about the martyrdom of Saint Pelagius on an account given her by an eye-witness. While modern authors (with the exception of Mr. Bernard Shaw, whose Christian martyrs in Androcles and the Lion bear a resemblance to Roswitha’s) love to dwell on the dignity of the early converts to Christianity, Roswitha conveys the impression that the dignity was mingled with impudence.

Callimachus, Abraham, and Paphnutius come before Sapientia in the manuscript, but since the last belongs to the same group as Gallicanus and Dulcitius due to its subject, it's more convenient to discuss it next. It is the best constructed of the “martyrdom” plays and receives special praise from most of the Roswitha commentators. The final scene where Sapientia, after burying the bodies of her martyred children outside Rome, lifts her soul in an ecstatic prayer for death is described by Magnin as “a ray of Sophocles shining through a Christian mind.” However, many might find the repetition in the lengthy “torture” scenes tedious, and the boldness of Sapientia’s daughters towards their imperial persecutor as frustrating as the situation must have been. These girls defy “law and order” through the Emperor Hadrian much like young suffragettes used to challenge British magistrates in our day. This is likely accurate. Roswitha was separated from the time of the first Christians by a shorter span than that which separates us from her, and she based her narrative poem about the martyrdom of Saint Pelagius on an account given to her by an eyewitness. While modern authors (except for Mr. Bernard Shaw, whose Christian martyrs in Androcles and the Lion resemble Roswitha’s) cherish the dignity of the early converts to Christianity, Roswitha gives the impression that this dignity was mixed with audacity.

In Callimachus, Abraham, and Paphnutius, Roswitha sets out to describe the war between the flesh and the spirit, and the long penance which must be done by those who have allowed the flesh to triumph. It is not enough for them to be converted and to realise their crime against the infinite beauty and goodness of God. They are called on to take practical measures to cleanse themselves. Callimachus is the first of these plays, and by no means the best, although it timidly sounds a note of passion, rare, if it exists at all, in medieval literature. Some commentators have laboured to establish a resemblance between Callimachus and Romeo and Juliet, and there are curious parallels. In both you see a sepulchre, a woman’s open grave, and the shroud lifted by the desperate hand of a lover. In both two men come to this tragic scene, bowed down by grief, yet able to control it —in Romeo and Juliet, Capulet and Friar Lawrence, in Callimachus, the husband of the dead woman and the Apostle John. It would be idle to strain the parallels too far. They might not strike the attention at all if Callimachus did not possess a touch of the spirit of Romeo and Juliet. It is this which makes the play seem to belong to a later period than the others, and gives it a different character. The passionate language employed, the romance of the story, the colour of the earlier scenes are extraordinary when we remember that the play was written in the 10th century. Haltingly, and apparently without any conscious intention, Roswitha describes the kind of love of which Terence her model knew nothing —that feverish desire absorbing the senses and the soul, which leads to sin or madness or self-slaughter. As if frightened by her own daring (or did the Abbess intervene, as we guess she intervened in Dulcitius!), Roswitha spoils the play as a play by a lengthy and tedious final scene in which St. John appears to more advantage as a theologian than as a man.

In Callimachus, Abraham, and Paphnutius, Roswitha aims to portray the conflict between the flesh and the spirit, along with the extensive penance that those who let the flesh win must endure. Simply converting and acknowledging their wrongdoing against God's infinite beauty and goodness isn’t enough. They are called to take concrete steps to purify themselves. Callimachus is the first of these plays, and definitely not the best, although it timidly introduces a note of passion that is rare, if present at all, in medieval literature. Some scholars have tried to draw parallels between Callimachus and Romeo and Juliet, and there are intriguing similarities. In both, there’s a tomb, a woman’s open grave, and the shroud being lifted by the desperate hand of a lover. In both scenarios, two men come to this tragic scene, weighed down by sorrow yet able to manage it — in Romeo and Juliet, it’s Capulet and Friar Lawrence, while in Callimachus, it's the husband of the deceased woman and the Apostle John. It would be pointless to stretch these parallels too far. They might go unnoticed if Callimachus didn’t possess a hint of the spirit of Romeo and Juliet. This element makes the play seem to belong to a later time than the others, giving it a distinct character. The passionate language, the romance of the story, and the vividness of the earlier scenes are extraordinary when we consider that the play was written in the 10th century. Tentatively, and seemingly without any deliberate intent, Roswitha describes a kind of love that Terence, her model, knew nothing about — that intense longing that consumes the senses and the soul, leading to sin, madness, or self-destruction. As if intimidated by her own boldness (or perhaps the Abbess intervened, as we suspect she did in Dulcitius!), Roswitha spoils the play with a long and tedious final scene where St. John comes off better as a theologian than as a man.

Abraham and Paphnutius show Roswitha at her best as a dramatist. In both plays the scenes are well knit, the characterization deft and sure, and the dialogue admirably expressive. The opening scenes of Abraham reveal that power to suggest character and situation without wordy explanations which is essential in drama. We know at once, although we are not told, that Mary, mere child as she is, is not made of stern stuff, and that her vocation is doubtful. Her replies to the two holy hermits are all that they should be superficially, but through them penetrates a materialism antagonistic to their mystical exaltation. Equally rich in the quality of suggestion is the scene in the house of ill-fame which Abraham visits to rescue his niece from her evil life. She does not recognize him at first, but melancholy seizes her at the supper which it is her duty to enliven by her gaiety. There is the beauty which never ages and appeals to all nations in all times in the following scene, when the hermit, throwing off his worldly disguise, shows his hair grown white through vigils and fasts, and his tonsure, the badge of his thorn-crowned Master, and in words more compassionate than upbraiding moves his lost child to contrition. It is indeed amazing that so true and touching a scene, dealing with a subject which has led later dramatists into false sentiment, coarseness, or mere preaching, should have been written nearly a thousand years ago by an obscure nun in a convent in Lower Saxony.

Abraham and Paphnutius showcase Roswitha at her best as a playwright. In both plays, the scenes are tightly woven, the characterizations are skillful and confident, and the dialogue is beautifully expressive. The opening scenes of Abraham demonstrate the ability to suggest character and situation without lengthy explanations, which is crucial in drama. We immediately understand, even though it’s not stated, that Mary, despite being just a child, lacks inner strength and that her calling is uncertain. Her responses to the two holy hermits are perfectly superficial, yet they reveal a materialism that contradicts their mystical ideals. Equally rich in suggestive quality is the scene in the brothel that Abraham visits to save his niece from her sinful life. She doesn’t recognize him at first, but a sense of sadness overwhelms her during the dinner that she is expected to brighten with her cheerfulness. There’s a timeless beauty that resonates with all cultures in the next scene when the hermit sheds his worldly disguise, revealing his hair white from vigil and fasting, and his tonsure, the symbol of his crown-wearing Master. With words more compassionate than accusatory, he moves his lost child towards repentance. It’s truly remarkable that such an authentic and poignant scene, addressing a subject that has led later playwrights into false sentiment, crudeness, or mere preaching, was written almost a thousand years ago by an obscure nun in a convent in Lower Saxony.

Perhaps nothing in Paphnutius is on quite the same level of achievement, but a play is not made by a single scene, and Paphnutius as a whole is better than Abraham as a whole. Few will question that it is Roswitha’s masterpiece. It is very creditable to her that, although the stones of the two plays are similar, she should have shown such variety in the treatment of them. When we compare them we find hardly any repetition. It is interesting to notice that it is not Mary, brought up to the religious life from which she lapses and to which she turns again, who becomes a saint, but Thais, whose life from childhood has been spent in “dangerous delights.” There is a spice of irony in the fact that the penitence of Thais, who had not had Mary’s opportunities, is represented by the dramatist as being on a much higher spiritual plane. With true insight Roswitha makes Paphnutius treat his penitent with far more severity than the hermit Abraham treats Mary. Yet the angelic love of Paphnutius for Thais, thanks to the dramatist’s power of suggestion, penetrates through his austerity, although he never manifests it until the moment when he is assured through the vision of Paul, St. Anthony’s disciple, that the repentance of the sinner has caused that joy in heaven which exceeds all the joy that can be given by the righteous. Paphnutius alone among Roswitha’s plays has stood the test of stage representation in modern times,5 and come through it triumphantly, although the miraculous swiftness of Thais’s conversion was considered most “unnatural” by the critics who witnessed the performance.

Perhaps nothing in Paphnutius reaches the same level of achievement, but a play isn’t defined by just one scene, and overall, Paphnutius is stronger than Abraham. Few will argue that this is Roswitha’s masterpiece. It’s impressive that, even though the themes of the two plays are similar, she shows such variety in how she approaches them. When we compare them, we find almost no repetition. It’s interesting to note that it’s not Mary, who was raised in a religious life from which she strays and then returns, that becomes a saint, but Thais, whose life has been filled with “dangerous delights” since childhood. There’s a hint of irony in the fact that Thais's repentance, despite lacking Mary’s opportunities, is portrayed by the playwright as being on a much higher spiritual level. With true insight, Roswitha makes Paphnutius treat his penitent with much more severity than the hermit Abraham treats Mary. Yet, Paphnutius’s deep love for Thais, thanks to the dramatist’s ability to suggest, shines through his sternness, even though he doesn’t reveal it until he’s reassured, through the vision of Paul, St. Anthony’s disciple, that the sinner’s repentance has brought about a joy in heaven that surpasses all the joy the righteous can experience. Paphnutius is the only one of Roswitha’s plays that has successfully stood the test of modern stage representation, 5 and has emerged from it triumphantly, even though critics found Thais’s rapid conversion to be quite “unnatural.”

Roswitha, it must be remembered, believed in miracles. The average Englishman is sceptical. As Mr. Chesterton has pointed out, he will not swear to the possibility of a thing he has not seen, although he is quite ready to swear to the impossibility of a thing he has seen. In the foreword which Mr. Chesterton wrote for the programme of the first performance of Paphnutius he compared Roswitha’s treatment of the story of Thais’s conversion with Anatole France’s in his well-known novel “Thais.” “This very strong and moving play (Paphnutius) was written by a person about as different from the author of ‘Thais’ as could be capable of wearing the human form, a devout woman, vowed to a restricted life, and writing in the light of a Latin that was gradually going out like a shortening candle. … It is inevitable that such darkness should breed dangerous and even savage things, and that even religion should become almost as fierce as its enemies. … This nun of the Dark Ages wrote without any of that modern comfort and culture which ought, at the very least, to make men kind. When M. Anatole France was the author of ‘Silvestre Bonnard’ it did make him kind. But about Paphnutius and Thais, the harsh ascetic of the hardest times of the 10th century is far kinder than he. In the ‘Thais’ of the great French romancer the whole point is that Thais repents but that Paphnutius relapses. The nun saves both souls. Anatole France loses one of them. That is modern universalism.”

Roswitha, it’s important to note, believed in miracles. The average Englishman is skeptical. As Mr. Chesterton pointed out, he won’t commit to the possibility of something he hasn’t seen, even though he’ll readily declare the impossibility of something he has seen. In the foreword that Mr. Chesterton wrote for the program of the first performance of Paphnutius, he compared Roswitha’s take on the story of Thais’s conversion with Anatole France’s in his famous novel “Thais.” “This very powerful and emotional play (Paphnutius) was written by someone as different from the author of ‘Thais’ as one could be while still being human—a devout woman dedicated to a restricted life, writing in an era when Latin was fading like a dying candle. … It’s inevitable that such darkness would give rise to dangerous and even brutal things, making religion almost as fierce as its enemies. … This nun from the Dark Ages wrote without any of the modern comforts and culture that should, at the very least, make people kind. When M. Anatole France was the author of ‘Silvestre Bonnard,’ it did make him kind. But when it comes to Paphnutius and Thais, the harsh ascetic of the tough 10th century is far kinder than he is. In the ‘Thais’ of the great French novelist, the whole point is that Thais repents, while Paphnutius relapses. The nun saves both souls. Anatole France loses one of them. That is modern universalism.”

I hope that the publication of these plays in the English language will confirm Roswitha’s right to a high place in medieval literature, and a place also among the few writers of plays which have more than a transitory interest. Perhaps a certain predilection for medieval art is necessary before we can love her wholeheartedly. I do not imagine that those who see no beauty in the primitive art of Cimabue, Giotto, Sana di Pietro, or Lorenzetti will admire the work of a primitive dramatist. But others who find sincere simplicity, as opposed to affected simplicity, a charm in itself, will take Roswitha to their hearts and will have no difficulty in recognizing her merits. In addition to the six plays I have translated the five prefaces printed in Roswitha’s complete works, in the hope that the “strong voice of Gandersheim,” speaking directly to the reader, may win a fresh interest for the plays, and give some idea of the character and attainments of the remarkable woman who wrote them.

I hope that the release of these plays in English will establish Roswitha’s rightful place in medieval literature, as well as among the few playwrights whose works hold lasting significance. It may be that an appreciation for medieval art is necessary before we can truly appreciate her. I don’t expect those who can’t find beauty in the early works of Cimabue, Giotto, Sana di Pietro, or Lorenzetti to admire a primitive playwright. However, those who see genuine simplicity, rather than pretentious simplicity, as charming will embrace Roswitha and easily recognize her worth. Along with the six plays, I have translated the five prefaces included in Roswitha’s complete works, hoping that the "strong voice of Gandersheim," speaking directly to the reader, will spark a renewed interest in the plays and provide insight into the character and achievements of the remarkable woman who created them.

The Prefaces of Roswitha

Preface to the Plays of Hrotswitha, German Religious and Virgin of the Saxon Race

There are many Catholics, and we cannot entirely acquit ourselves of the charge, who, attracted by the polished elegance of the style of pagan writers, prefer their works to the holy scriptures. There are others who, although they are deeply attached to the sacred writings and have no liking for most pagan productions, make an exception in favour of the works of Terence, and, fascinated by the charm of the manner, risk being corrupted by the wickedness of the matter. Wherefore I, the strong voice of Gandersheim, have not hesitated to imitate in my writings a poet whose works are so widely read, my object being to glorify, within the limits of my poor talent, the laudable chastity of Christian virgins in that self-same form of composition which has been used to describe the shameless acts of licentious women. One thing has all the same embarrassed me and often brought a blush to my cheek. It is that I have been compelled through the nature of this work to apply my mind and my pen to depicting the dreadful frenzy of those possessed by unlawful love, and the insidious sweetness of passion—things which should not even be named among us. Yet if from modesty I had refrained from treating these subjects I should not have been able to attain my object—to glorify the innocent to the best of my ability. For the more seductive the blandishments of lovers the more wonderful the divine succour and the greater the merit of those who resist, especially when it is fragile woman who is victorious and strong man who is routed with confusion.

There are many Catholics, and we can't completely clear ourselves of the accusation, who, drawn in by the polished elegance of pagan writers, prefer their works to the holy scriptures. There are others who, even though they are deeply devoted to the sacred writings and don't care for most pagan works, make an exception for the writings of Terence, and, captivated by the charm of his style, risk being tainted by the immorality of the content. Therefore, I, the strong voice of Gandersheim, have not hesitated to model my writing on a poet whose works are so widely read, aiming to celebrate, within the limits of my modest talent, the admirable purity of Christian virgins using the same style that has been used to describe the shameless actions of immoral women. One thing has still troubled me and often made me blush. It's that I’ve had to focus my mind and pen on portraying the awful madness of those consumed by forbidden love and the deceptive sweetness of passion—topics that should not even be mentioned among us. Yet, if out of modesty I had avoided discussing these subjects, I would not have been able to achieve my goal—to honor the innocent to the best of my ability. For the more alluring the temptations of lovers, the more incredible the divine support, and the greater the merit of those who resist, especially when fragile woman emerges victorious and strong man is left in confusion.

I have no doubt that many will say that my poor work is much inferior to that of the author whom I have taken as my model, that it is on a much humbler scale, and indeed altogether different.

I have no doubt that many will say that my work is far inferior to that of the author I’ve modeled myself after, that it’s much less impressive, and honestly, completely different.

Well, I do not deny this. None can justly accuse me of wishing to place myself on a level with those who by the sublimity of their genius have so far outstripped me. No, I am not so arrogant as to compare myself even with the least among the scholars of the ancient world. I strive only, although my power is not equal to my desire, to use what talent I have for the glory of Him Who gave it me. Nor is my self-love so great that I would, to avoid criticism, abstain from proclaiming wherever possible the virtue of Christ working in His saints. If this pious devotion gives satisfaction I shall rejoice; it it does not, either on account of my own worthlessness or of the faults of my unpolished style, I shall still be glad that I made the effort.

Well, I can't deny this. No one can rightfully accuse me of wanting to put myself on the same level as those whose genius has far surpassed mine. I’m not so arrogant as to compare myself even to the least of the scholars from ancient times. I only try, even though my ability doesn’t match my ambition, to use whatever talent I have for the glory of the One who gave it to me. My self-love isn’t so great that I would avoid speaking up about the virtue of Christ at work in His saints just to dodge criticism. If this sincere devotion brings satisfaction, I’ll be happy; if not, whether due to my own shortcomings or the flaws in my rough style, I’ll still be glad I made the effort.

In the humbler works of my salad days I gathered up my poor researches in heroic strophes, but here I have sifted them into a series of dramatic scenes and avoided through omission the pernicious voluptuousness of pagan writers.

In the simpler works from my younger days, I collected my modest research into grand verses, but here I've refined them into a series of dramatic scenes and avoided, by leaving out some elements, the harmful excess of ancient writers.

Epistle of the Same to the Learned Patrons of this Book

To you, learned and virtuous men, who do not envy the success of others, but on the contrary rejoice in it as becomes the truly great, Hrotswitha, poor humble sinner, sends wishes for your health in this life and your joy in eternity.

To you, wise and good people, who don’t envy others’ success but instead celebrate it like the truly great, Hrotswitha, a lowly sinner, sends her wishes for your well-being in this life and your happiness in eternity.

I cannot praise you enough for your humility, or pay an adequate tribute to your kindness and affection. To think that you, who have been nurtured in the most profound philosophical studies and have attained knowledge in perfection, should have deigned to approve the humble work of an obscure woman! You have, however, not praised me but the Giver of the grace which works in me, by sending me your paternal congratulations and admitting that I possess some little knowledge of those arts the subtleties of which exceed the grasp of my woman’s mind. Until I showed my work to you I had not dared to let anyone see it except my intimate companions. I came near abandoning this form of writing altogether, for if there were few to whom I could submit my compositions at all there were fewer still who could point out what needed correction and encourage me to go on. But now, reassured by your verdict (is it not said that the testimony of three witnesses is “equivalent to the truth”?), I feel that I have enough confidence to apply myself to writing, if God grants me the power, and that I need not fear the criticism of the learned whoever they may be. Still, I am torn by conflicting feelings. I rejoice from the depths of my soul that the God through Whose grace alone I am what I am should be praised in me, but I am afraid of being thought greater than I am. I know that it is as wrong to deny a divine gift as to pretend falsely that we have received it. So I will not deny that through the grace of the Creator I have acquired some knowledge of the arts. He has given me the ability to learn—I am a teachable creature—yet of myself I should know nothing. He has given me a perspicacious mind, but one that lies fallow and idle when it is not cultivated. That my natural gifts might not be made void by negligence I have been at pains, whenever I have been able to pick up some threads and scraps torn from the old mantle of philosophy, to weave them into the stuff of my own book, in the hope that my lowly ignorant effort may gain more acceptance through the introduction of something of a nobler strain, and that the Creator of genius may be the more honoured since it is generally believed that a woman’s intelligence is slower. Such has been my motive in writing, the sole reason for the sweat and fatigue which my labours have cost me. At least I do not pretend to have knowledge where I am ignorant. On the contrary, my best claim to indulgence is that I know how much I do not know.

I can't praise you enough for your humility or adequately express my gratitude for your kindness and support. It's incredible that you, someone who has immersed yourself in deep philosophical studies and achieved such a high level of knowledge, would take the time to appreciate the work of an unknown woman! However, you haven't just praised me but also the source of the grace that works within me, by sending your heartfelt congratulations and recognizing that I have some understanding of those arts that are often beyond the reach of my feminine mind. Before I showed you my work, I hadn’t dared to share it with anyone except my closest friends. I nearly gave up on this form of writing entirely, since there were so few people I could even share my compositions with, and even fewer who could offer constructive feedback and encourage me to continue. But now, reassured by your endorsement (isn’t it said that the testimony of three witnesses is “equivalent to the truth”?), I feel confident enough to pursue writing, if God gives me the ability, and I no longer fear the criticism of learned individuals, no matter who they are. Still, I’m experiencing mixed emotions. I’m genuinely happy that God, through Whose grace alone I am what I am, should be praised in me, but I’m also afraid of being seen as greater than I truly am. I understand that it’s just as wrong to deny a divine gift as it is to falsely claim we’ve received one. So I won’t deny that through the grace of the Creator, I have gained some understanding of the arts. He has given me the ability to learn—I’m open to being taught—yet on my own, I would know nothing. He has blessed me with a perceptive mind, but one that remains dormant and unproductive without cultivation. To ensure that my natural talents aren’t wasted through neglect, I’ve made an effort, whenever I’ve been able to grasp some threads and scraps from the rich fabric of philosophy, to weave them into my own work, hoping that my humble, inexperienced efforts might gain more acceptance by introducing something of higher quality, and that the Creator of genius may be even more honored, especially since people generally believe that a woman’s intelligence is slower. This has been my motivation in writing, the sole reason for the effort and fatigue my work has cost me. At the very least, I don’t pretend to have knowledge where I’m ignorant. On the contrary, my best claim for leniency is that I recognize how much I don’t know.

Impelled by your kindly interest and your express wish I come, bowing low like a reed, to submit this little work to your judgment. I wrote it indeed with that idea in my mind, although doubt as to its merits has made me withhold it until now. I hope you will revise it with the same careful attention that you would give to a work of your own, and that when you have succeeded in bringing it up to the proper standard you will return it to me, that I may learn what are its worst faults.

Driven by your kind interest and your clear wish, I come, humbly bowing like a reed, to present this little work for your judgment. I wrote it with that idea in mind, although doubts about its quality have made me hold back until now. I hope you will review it with the same careful attention that you would give to your own work, and that when you’ve managed to bring it up to the right standard, you’ll return it to me so I can understand its biggest flaws.

Roswitha’s Preface to her Poetical Works

(The Life Story of the Blessed Virgin, The Fall and Conversion of Theophilus, The Martyrdom of Saint Agnes, Poems concerning the First Cenobites at Gandersheim, The Acts of Otho I, etc., etc.)

(The Life Story of the Blessed Virgin, The Fall and Conversion of Theophilus, The Martyrdom of Saint Agnes, Poems about the First Cenobites at Gandersheim, The Acts of Otho I, etc., etc.)

I offer this little book, which has not much to recommend it in the way of beauty, although it has been compiled with a good deal of care, for the criticism of all those learned people who do not take pleasure in a writer’s faults but are anxious to amend them. I am well aware that in my first works I made many mistakes not only in prosody but in literary composition, and there must be much to criticise in this book. By acknowledging my shortcomings beforehand I hope I am entitled to ready indulgence as well as to careful correction of my mistakes. To the objection that may be raised that I have borrowed parts of this work from authorities which some condemn as apocryphal, I would answer that I have erred through ignorance, not through presumption. When I started, timidly enough, on the 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 master, I, without any assistance but that given by the merciful grace of Heaven (in which I have trusted, rather than in my own strength), have attempted in this book to sing in dactyls. I was eager that the talent given me by Heaven should not grow rusty from neglect, and remain silent in my heart from apathy, but under the hammer of assiduous devotion should sound a chord of divine praise. If I have achieved nothing else, this alone should make my work of some value. Wherefore, reader, whosoever you may be, I beg you, if you think it right before God, to help me by not sparing censure of such pages as are poor and lack the skill of a master. If, on the contrary, you find some that stand the test of criticism, give the credit to God, ascribing all defects to my shortcomings. Do this in an indulgent rather than in a censorious spirit, for the critic forfeits the right to be severe when the writer acknowledges defects with humility.

I present this little book, which may not have much beauty to it but has been put together with considerable care, for the review of all those knowledgeable individuals who don’t take pleasure in a writer's mistakes but are eager to correct them. I know that in my earlier works, I made many errors, not just in rhythm but in literary style as well, and there's likely much to criticize in this book. By admitting my shortcomings upfront, I hope to earn some leniency as well as constructive feedback on my mistakes. To any objections that I have borrowed parts of this work from sources that some consider questionable, I would respond that my errors came from ignorance, not arrogance. When I first started putting this together, I was unaware that the authenticity of my material was being doubted. Upon finding this out, I chose not to discard it, as it’s often the case that what is deemed false can actually be true. Given this situation, I will need as much help in standing up for this work as I do in improving it. It’s important to remember that when I started, I wasn't fully qualified, being young both in age and knowledge. To this point, I haven't shown my work to any experts, even though I desperately needed their guidance, for fear that their feedback on my rough style would discourage me so much that I might stop writing altogether. Unbeknownst to those around me, I have worked in secret, often discarding what I felt was poorly written and rewriting it. I have done my best to build on phrases collected from sacred texts in our convent in Gandersheim. I first learned from our most knowledgeable and kind novice-mistress Rikkarda and others. Later, I received much kindness and support from a royal figure, Gerberga, under whose leadership I currently reside. Although she is younger than me, she, as the niece of an Emperor, is far more advanced in learning and kindly introduced me to the works of authors she learned about from esteemed scholars. While mastering rhythm may seem a challenging art for a woman, I, with only the help of divine grace (which I trust more than my own strength), have attempted in this book to write in dactyls. I was eager for the talent given to me by Heaven not to become dull from neglect or remain silent in my heart from indifference, but rather to resonate with a note of divine praise through diligent effort. If I have accomplished nothing else, this alone should give my work some value. Therefore, reader, whoever you are, I ask you, if you think it right before God, to help me by openly criticizing any sections that are poor and lack masterful skill. If, on the other hand, you find some that hold up against scrutiny, please credit God for them, attributing all deficiencies to my shortcomings. Do this in a forgiving rather than critical spirit, as the critic loses the right to be harsh when the writer humbly acknowledges their flaws.

To Gerberg

Illustrious Abbess, venerated no less for uprightness and honesty than for the high distinction of a royal and noble race, Roswitha of Gandersheim, the last of the least of those fighting under your ladyship’s rule, desires to give you all that a servant owes her mistress.

Illustrious Abbess, respected not only for your integrity and honesty but also for your noble lineage, Roswitha of Gandersheim, the least of those serving under your leadership, wants to offer you everything a servant owes to her mistress.

O my Lady, bright with the varied jewels of spiritual wisdom, your maternal kindness will not let you hesitate to read what, as you know, was written at your command! It was you who gave me the task of chronicling in verse the deeds of the Emperor, and you know that it was impossible to collect them together from hearsay. You can imagine the difficulties which my ignorance put in my way while I was toiling over this work. There were things of which I could not find any written record, nor could I elicit information by word of mouth which seemed sufficiently reliable. I was like a person in a strange land wandering without a guide through a forest where the path is concealed by dense snow. In vain he tries to follow the directions of those who have shown the way. He wanders from the path, now by chance strikes it again, until at last, penetrating the thickness of the wood, he reaches a place where he may take a long-desired rest, and sitting down there, does not proceed further until someone overtakes him, or he discovers the footprints of one who has gone before. Even so have I, obeying the command to undertake a complete chronicle of great deeds, gone on my way, trembling, hesitating, and vacillating, so great was the difficulty of finding a path in the forest of these royal achievements.

Oh my Lady, shining with the diverse jewels of spiritual wisdom, your nurturing kindness won’t let you hesitate to read what, as you know, was written at your request! It was you who assigned me the task of putting into verse the deeds of the Emperor, and you know it was impossible to gather them from hearsay. You can imagine the challenges my ignorance created while I was working on this. There were things that I couldn’t find written down, and I couldn’t get reliable information through conversation either. I felt like someone lost in a foreign land, wandering without a guide through a forest where the path is hidden under thick snow. In vain, I tried to follow the instructions of those who had shown the way. I strayed from the path, occasionally stumbling back onto it, until finally, making my way through the dense woods, I reached a spot where I could take the long-desired rest. Sitting there, I didn’t move again until someone caught up with me, or I found the footprints of someone who had gone before. Likewise, in obeying the command to create a full record of great deeds, I have proceeded with trembling, uncertainty, and hesitation, so challenging was it to find my way through the forest of these royal achievements.

And now, worn out by the journey, I am holding my peace and resting in a suitable place. I do not propose to go further without better guidance. If I could be inspired by the eloquent words of learned folk (either already set down or to be set down in the future) I might perhaps find a means of glozing my uncouth workmanship. At present I am defenceless at every point, because I am not supported by any authority. I also fear I shall be accused of temerity in presuming to describe in my humble uncultured way matters which ought to be set forth with all the ceremony of great learning. Yet if my work is examined by those who know how to weigh things fairly, I shall be more easily pardoned on account of my sex and my inferior knowledge, especially as I did not undertake it of my own will but at your command. Why should I fear the judgment of others, since if there are mistakes I should fall only under your censure, and why should I not escape reproof seeing that I was anxious to keep silence? I should deserve blame if I sought to withhold my work. In any case I leave the decision to you and your friend, Archbishop William, to whom you have thought fit to show these unpolished lines.

And now, tired from the journey, I’m taking a moment to rest in a comfortable spot. I don’t plan to go any further without better guidance. If I could be inspired by the articulate words of knowledgeable people (whether they’re already written or still to come), I might find a way to refine my rough work. Right now, I’m completely vulnerable because I don’t have any authority backing me. I’m also worried I’ll be accused of being bold for trying to describe in my simple, unrefined way things that should be expressed with great scholarly formality. Yet, if my work is judged by those who know how to assess it fairly, I hope to be more easily forgiven because of my gender and limited knowledge, especially since I didn’t take this on by choice but at your request. Why should I be afraid of others’ judgment, when if there are mistakes, it is only you who will critique me? And why shouldn’t I avoid criticism, considering that I preferred to keep quiet? I would deserve blame if I tried to hide my work. In any case, I leave the decision to you and your friend, Archbishop William, to whom you have shown these unrefined lines.

Roswitha’s Preface to the Complete Works

I found all the material I have used in this book in various ancient works by authors of reputation, with the exception of the story of the martyrdom of St. Pelagius, which has been told here in verse. The details of this were supplied to me by an inhabitant of the town where the Saint was put to death. This truthful stranger assured me that he had not only seen Pelagius, whom he described as the most beautiful of men, face to face, but had been a witness of his end. If anything has crept into my other compositions, the accuracy of which can be challenged, it is not my fault, unless it be a fault to have reproduced the statements of unreliable authorities.

I found all the information I used in this book in various respected ancient works, except for the story of the martyrdom of St. Pelagius, which I've told in verse. The details were shared with me by a local resident from the town where the Saint was executed. This honest stranger assured me that he had not only seen Pelagius, whom he described as the most handsome of men, in person, but had also witnessed his death. If there’s anything in my other writings that can be questioned for accuracy, that’s not on me, unless it's a fault to have repeated what unreliable sources have said.

Gallicanus

Argument

The conversion of Gallicanus, Commander-in-Chief. On the eve of his departure for a campaign against the Scythians, Gallicanus is betrothed to the Emperor Constantine’s daughter, Constance, a consecrated virgin.

The conversion of Gallicanus, Commander-in-Chief. On the night before he leaves for a campaign against the Scythians, Gallicanus is engaged to the Emperor Constantine’s daughter, Constance, a vowed virgin.

When threatened with defeat in battle, Gallicanus is converted by John and Paul, Grand Almoners to Constance. He is immediately baptized and takes a vow of celibacy.

When faced with the possibility of losing in battle, Gallicanus is converted by John and Paul, the Grand Almoners to Constance. He gets baptized right away and vows to remain celibate.

Later he is exiled by order of Julian the Apostate, and receives the crown of martyrdom. John and Paul are put to death by the same prince and buried secretly in their own house. Not long after, the son of their executioner becomes possessed by a devil. He is cured after confessing the crime committed by his father. He bears witness to the merits of the martyrs, and is baptized, together with his father.

Later, he is exiled by Julian the Apostate's command and becomes a martyr. John and Paul are killed by the same ruler and secretly buried in their own home. Not long after, the son of their executioner becomes possessed by a demon. He is healed after confessing his father's crime. He testifies to the martyrs' virtues and gets baptized, along with his father.

Characters in Part I

  • THE EMPEROR CONSTANTINE.
  • GALLICANUS.
  • CONSTANCE (Daughter of Constantine).
  • ARTEMIA (Daughter of Gallicanus).
  • ATTICA (Daughter of Gallicanus).
  • JOHN (Grand Almoner to Constance).
  • PAUL (Grand Almoner to Constance).
  • LORDS OF THE COURT.
  • BRADAN (King of the Scythians).
  • TRIBUNES.
  • ROMAN SOLDIERS.
  • SCYTHIAN SOLDIERS.
  • HELENA (Mother of Constantine).

Characters in Part II

  • JULIAN (The Apostate).
  • GALLICANUS.
  • TERENTIANUS.
  • JOHN.
  • PAUL.
  • CONSULS.
  • CHRISTIANS.
  • SOLDIERS.

Gallicanus—Part I

Scene I

CONSTANTINE. Gallicanus, this tries my patience. You have delayed the offensive against the Scythians too long. The only nation which boldly resists our power and refuses to make peace with Rome! You know well enough that you were chosen because of your energy in your country’s service.

CONSTANTINE. Gallicanus, this tests my patience. You’ve postponed the attack against the Scythians for too long. They are the only nation that boldly stands against our power and refuses to make peace with Rome! You know very well that you were selected because of your dedication to your country.

GALLICANUS. Most noble Constantine, I have served you hand and foot, ungrudgingly, devotedly, and have always striven to repay your trust in me with deeds. I have never shirked any task.

GALLICANUS. Most noble Constantine, I have served you wholeheartedly, without complaint, and I have always tried to repay your trust in me with my actions. I have never avoided any task.

CONSTANTINE. Is there any need to remind me? As if your great services were not always in mind! I spoke, not to reproach you, but to urge you to act quickly.

CONSTANTINE. Do I really need to remind you? It’s not like I’m not always thinking about your amazing contributions! I spoke, not to blame you, but to encourage you to take action quickly.

GALLICANUS. I will set out at once.

GALLICANUS. I’ll head out now.

CONSTANTINE. I am rejoiced to hear it.

CONSTANTINE. I'm really happy to hear that.

GALLICANUS. I am ready to obey your orders if it costs me my life.

GALLICANUS. I'm ready to follow your orders, even if it costs me my life.

CONSTANTINE. Your zeal pleases me. I appreciate your devotion.

CONSTANTINE. I’m impressed by your enthusiasm. I value your commitment.

GALLICANUS. As both are immense should they not be rewarded on the same scale?

GALLICANUS. Since both are great, shouldn’t they be rewarded equally?

CONSTANTINE. That is only fair.

CONSTANTINE. That’s only fair.

GALLICANUS. It is easier for a man to undertake a difficult enterprise when he is sustained by the knowledge that his reward is sure.

GALLICANUS. It's easier for someone to take on a challenging task when they know for sure that they will be rewarded.

CONSTANTINE. Naturally.

CONSTANTINE. Of course.

GALLICANUS. I beg you then to promise me now my prize for this dangerous undertaking. In hard and strenuous fighting, when it seems as if I must be defeated, the thought of this reward will give me new strength.

GALLICANUS. I ask you to promise me my reward for this risky mission. In tough and intense battles, when it feels like I might be losing, thinking about this prize will give me extra strength.

CONSTANTINE. The reward deemed by the Senate the most glorious a man can desire has never been withheld from you, and never shall be. You enjoy the freedom of my court, and the highest honour among those who surround me.

CONSTANTINE. The honor that the Senate considers the most glorious a person can wish for has always been given to you, and it always will be. You have the freedom of my court and the highest respect among those around me.

GALLICANUS. I know, but I am not thinking of that.

GALLICANUS. I get that, but that's not on my mind right now.

CONSTANTINE. If you have other ambitions, you must tell me.

CONSTANTINE. If you have different goals, you need to let me know.

GALLICANUS. I have.

GALLICANUS. I do.

CONSTANTINE. What are they?

What are they?

GALLICANUS. Dare I tell you?

GALLICANUS. Should I tell you?

CONSTANTINE. Of course!

CONSTANTINE. Absolutely!

GALLICANUS. You will be angry.

GALLICANUS. You're going to be angry.

CONSTANTINE. Not at all!

CONSTANTINE. Not really!

GALLICANUS. You are sure?

GALLICANUS. Are you sure?

CONSTANTINE. Quite sure.

CONSTANTINE. Absolutely certain.

GALLICANUS. We shall see. I say you will be indignant.

GALLICANUS. We'll see. I say you're going to be upset.

CONSTANTINE. Your fears are groundless. Come! Speak!

CONSTANTINE. Your fears are unfounded. Come on! Speak up!

GALLICANUS. Since you command me, I will. I love Constance. I love your daughter.

GALLICANUS. Since you’re telling me to, I will. I love Constance. I love your daughter.

CONSTANTINE. That is well. You do right to love the daughter of your sovereign. Your love honours her.

CONSTANTINE. That's good. You should love the daughter of your ruler. Your love brings her honor.

GALLICANUS. You say this to cut me short.

GALLICANUS. You're saying this to interrupt me.

CONSTANTINE. Not so.

CONSTANTINE. Nope.

GALLICANUS. I wish to marry her. Will you give your consent?

GALLICANUS. I want to marry her. Will you agree?

CONSTANTINE. He asks no small thing, my lords. This is an honour of which none of you have ever dreamed.

CONSTANTINE. He's asking for no small favor, my lords. This is an honor none of you have ever imagined.

GALLICANUS. Alas! I foresaw this. He scorns me. (To the Lords) Intercede for me, I implore you.

GALLICANUS. Oh no! I saw this coming. He looks down on me. (To the Lords) Please, I beg you to help me.

THE LORDS. Most illustrious Emperor, we beg you to be generous. Remember his services, and do not turn a deaf ear to his request.

THE LORDS. Most esteemed Emperor, we kindly ask you to be generous. Remember his contributions and do not ignore his request.

CONSTANTINE. I have not done so, but it is my duty first to make sure that my daughter consents.

CONSTANTINE. I haven’t done that, but it’s my responsibility to ensure that my daughter agrees first.

THE LORDS. That is only reasonable.

THE LORDS. That makes sense.

CONSTANTINE. I will go to her, and, if such is your wish, Gallicanus, I will lay the project before her.

CONSTANTINE. I'll go to her, and if that's what you want, Gallicanus, I’ll present the idea to her.

GALLICANUS. It is my wish.

GALLICANUS. I want it.

Scene II

CONSTANCE. Our Lord the Emperor approaches. He looks strangely grave and sad. What can it mean?

CONSTANCE. The Emperor is coming. He seems unusually serious and unhappy. What could that mean?

CONSTANTINE. Constance, my child, come nearer. I wish to speak to you.

CONSTANTINE. Constance, my dear, come closer. I need to talk to you.

CONSTANCE. I am here, my lord. Command me.

CONSTANCE. I'm here, my lord. What do you need?

CONSTANTINE. I am in great distress of mind. My heart is heavy.

CONSTANTINE. I'm really troubled. My heart feels so heavy.

CONSTANCE. As you came in I saw that you were sad, and without knowing the reason I was troubled.

CONSTANCE. When you walked in, I noticed you looked sad, and even though I didn't know why, it worried me.

CONSTANTINE. It is on your account.

CONSTANTINE. You're the reason.

CONSTANCE. On my account?

CONSTANCE. For my sake?

CONSTANTINE. Yes.

CONSTANTINE. Yeah.

CONSTANCE. You frighten me. What is it, my lord?

CONSTANCE. You scare me. What’s wrong, my lord?

CONSTANTINE. The fear of grieving you ties my tongue.

CONSTANTINE. The fear of losing you makes it hard for me to speak.

CONSTANCE. You will grieve me more by keeping silence.

CONSTANCE. You will hurt me more by staying silent.

CONSTANTINE. Gallicanus, my General, whose victories have won him the first place among the princes of my realm—Gallicanus, whose sword is necessary for the defence of the Empire—Gallicanus—

CONSTANTINE. Gallicanus, my General, whose victories have earned him the top spot among the princes of my realm—Gallicanus, whose sword is essential for the defense of the Empire—Gallicanus—

CONSTANCE. What of him?

CONSTANCE. What about him?

CONSTANTINE. He wants to make you his wife.

CONSTANTINE. He wants to make you his wife.

CONSTANCE. Me?

Me?

CONSTANTINE. Yes.

CONSTANTINE. Yeah.

CONSTANCE. I would rather die.

CONSTANCE. I'd rather die.

CONSTANTINE. I knew that would be your answer.

CONSTANTINE. I knew you'd say that.

CONSTANCE. It cannot surprise you, as it was with your consent and approval that I consecrated myself to God.

CONSTANCE. You can't be surprised, since it was with your consent and approval that I dedicated myself to God.

CONSTANTINE. I have not forgotten.

CONSTANTINE. I remember.

CONSTANCE. I will keep my vow inviolate. Nothing can ever force me to break it.

CONSTANCE. I will keep my promise unbroken. Nothing can ever make me go back on it.

CONSTANTINE. I know you are right, and the greater my difficulty. For if, as is my duty as your father, I permit you to be faithful to your vow, as a sovereign I shall suffer for it. Yet were I to oppose your resolution—which God forbid!—I should deserve eternal punishment.

CONSTANTINE. I know you're right, and the harder it gets for me. Because if, as your father, I let you keep your promise, I'll suffer as a leader. But if I try to go against your decision—which I hope to avoid!—I would deserve eternal punishment.

CONSTANCE. If I despaired of divine help I should be more wretched than you.

CONSTANCE. If I lost hope in divine help, I'd be even more miserable than you.

CONSTANTINE. That is true.

CONSTANTINE. That's true.

CONSTANCE. But a heart which trusts in God’s goodness is armed against sorrow.

CONSTANCE. But a heart that trusts in God's goodness is protected from sorrow.

CONSTANTINE. You speak well, my Constance.

CONSTANTINE. You articulate your thoughts beautifully, my Constance.

CONSTANCE. My lord, if you will deign to listen to my advice, I can show you how to escape this double danger.

CONSTANCE. My lord, if you would be willing to hear my advice, I can show you how to get out of this double danger.

CONSTANTINE. Oh, that you could!

CONSTANTINE. I wish you could!

CONSTANCE. You must pretend that you are willing to grant Gallicanus what he asks when the war has been won. Make him believe that I agree. Persuade him to leave with me during his absence at the war his two daughters, Attica and Anemia, as pledges of the bond of love which is to unite us. Tell him that in return I will send with him on his expedition my two Almoners, John and Paul.

CONSTANCE. You have to act like you’re okay with giving Gallicanus what he wants once the war is over. Make him think that I’m on board with it. Convince him to leave his two daughters, Attica and Anemia, with me while he’s away at war as a sign of our bond. Let him know that in exchange, I’ll send my two Almoners, John and Paul, with him on his trip.

CONSTANTINE. And if he should return victorious? What then?

CONSTANTINE. And what if he comes back a winner? What happens then?

CONSTANCE. We must pray the Father of us all that he will change his mind.

CONSTANCE. We should pray to our Father that He will change His mind.

CONSTANTINE. My daughter, my daughter! Your sweet words have softened the harshness of your father’s grief! Henceforth I will not give way to anxiety.

CONSTANTINE. My daughter, my daughter! Your kind words have eased the pain of your father’s sorrow! From now on, I won’t let worry take over.

CONSTANCE. There is no need.

CONSTANCE. No need for that.

CONSTANTINE. I will return to Gallicanus and satisfy him with this promise.

CONSTANTINE. I’ll go back to Gallicanus and give him what I promised.

CONSTANCE. Go in peace, my lord.

CONSTANCE. Go in peace, my lord.

Scene III

GALLICANUS. O princes, I die of impatience to learn what has come of this long conference between our august sovereign and his daughter.

GALLICANUS. Oh princes, I can’t wait to find out what happened during this long meeting between our great ruler and his daughter.

THE LORDS. He promised to plead your cause.

THE LORDS. He said he would support you.

GALLICANUS. Oh, that his arguments may prevail!

GALLICANUS. Oh, I hope his arguments win!

THE LORDS. Maybe they will.

THE LORDS. Maybe they will.

GALLICANUS. Peace! Silence all of you! The Emperor comes. His face is not anxious as when he left us, but serene and glad.

GALLICANUS. Quiet! Everyone, be silent! The Emperor is here. He looks calmer and happier than when he left us.

THE LORDS. A good omen!

The Lords. A positive sign!

GALLICANUS. It is said that the face is the mirror of the soul. If this be true, the calm joy in his reflects a kindly mood.

GALLICANUS. They say the face is a reflection of the soul. If that’s true, the peaceful happiness on his face shows a kind spirit.

THE LORDS. We trust so.

THE LORDS. We hope so.

Scene IV

CONSTANTINE. Gallicanus!

CONSTANTINE. Gallicanus!

GALLICANUS. What did he say?

GALLICANUS. What did he mean?

THE LORDS. Forward, forward. He is asking for you.

THE LORDS. Move ahead, move ahead. He’s looking for you.

GALLICANUS. Now the good gods help me!

GALLICANUS. Now may the good gods help me!

CONSTANTINE. Gallicanus, set out for the war with an easy mind. On your return you shall receive the reward you covet.

CONSTANTINE. Gallicanus, you went into battle with a calm mind. When you come back, you'll get the reward you desire.

GALLICANUS. This is not a jest?

GALLICANUS. Is this for real?

CONSTANTINE. How can you ask?

CONSTANTINE. How can you ask that?

GALLICANUS. I should be happy indeed if I could know one thing.

GALLICANUS. I would be really happy if I could know one thing.

CONSTANTINE. What may that be?

CONSTANTINE. What could that be?

GALLICANUS. Her answer.

GALLICANUS. Her response.

CONSTANTINE. My daughter’s answer?

CONSTANTINE. What did my daughter say?

GALLICANUS. Yes. What did she say?

GALLICANUS. Yeah. What did she say?

CONSTANTINE. It is unreasonable to expect a young maid to answer in so many words. Events will prove that she consents.

CONSTANTINE. It's unrealistic to expect a young woman to respond with so many words. Time will show that she agrees.

GALLICANUS. If I could be assured of that, I should trouble little about the manner of her answer.

GALLICANUS. If I could be sure of that, I wouldn't worry much about how she responds.

CONSTANTINE. You want proof?

CONSTANTINE. Need proof?

GALLICANUS. I hunger for it.

GALLICANUS. I'm craving it.

CONSTANTINE. Then listen. She has given orders that her Almoners, John and Paul, shall stay with you until the day of your nuptials.

CONSTANTINE. Then listen. She has instructed that her Almoners, John and Paul, will stay with you until your wedding day.

GALLICANUS. And her reason?

GALLICANUS. What's her reasoning?

CONSTANTINE. That by constant intercourse with them you may learn to know how she lives—her habits and her tastes.

CONSTANTINE. By regularly hanging out with them, you can get to know how she lives—what she likes and her daily routines.

GALLICANUS. An excellent plan, and one that pleases me beyond measure.

GALLICANUS. That's a great idea, and I couldn't be more pleased.

CONSTANTINE. She would like you in return to allow your two young daughters to live with her for the same period. She thinks she can learn from them how to please you.

CONSTANTINE. She would like you to agree to let your two young daughters stay with her for the same amount of time. She believes she can learn from them how to make you happy.

GALLICANUS. Oh, joy, joy! All things are falling out as I wished.

GALLICANUS. Oh, what joy! Everything is turning out just the way I wanted.

CONSTANTINE. Send for your daughters without delay.

CONSTANTINE. Call your daughters now.

GALLICANUS. Are my soldiers still there? Come, fellows, hasten! Run to my daughters and bring them to their sovereign’s presence.

GALLICANUS. Are my soldiers still around? Come on, guys, hurry up! Run to my daughters and bring them to their ruler’s presence.

Scene V

SOLDIERS. Most noble Constance, the illustrious daughters of Gallicanus are here. They are beautiful, wise and virtuous, and in every way worthy of your friendship.

SOLDIERS. Most noble Constance, the renowned daughters of Gallicanus are here. They are beautiful, intelligent, and virtuous, and in every way deserving of your friendship.

CONSTANCE. They are welcome. (They are introduced with ceremony.)6 O Christ, lover of virginity and fount of chastity! Thou Who through the intercession of Thy holy martyr Agnes hast preserved my body from stain and my mind from pagan errors! Thou Who hast shown me as an example Thy Mother’s virgin bed where Thou didst manifest Thyself true God! Thou Who before time began wast born of God the Father, and in the fullness of time wast born again true man, of a mother’s womb—I implore Thee, true Wisdom, co-eternal with the Father, the Creator, Upholder and Governor of the Universe, to grant my prayer! May Gallicanus, who seeks to gain the love which I can give only to Thee, be turned from his unlawful purpose. Take his daughters to Thyself, and pour the sweetness of Thy love into their hearts that they may despise all carnal bonds, and be admitted to the blessed company of virgins who are consecrated to Thee!

CONSTANCE. They're welcome. (They're introduced with ceremony.)6 O Christ, lover of purity and source of chastity! You Who, through the intercession of Your holy martyr Agnes, have kept my body untainted and my mind free from pagan errors! You Who showed me as an example Your Mother’s virgin bed where You revealed Yourself as the true God! You Who, before time began, were born of God the Father, and in the fullness of time were born again as true man, from a mother’s womb—I ask You, true Wisdom, co-eternal with the Father, the Creator, Sustainer, and Ruler of the Universe, to grant my prayer! May Gallicanus, who seeks to receive the love that I can give only to You, be turned from his wrongful desire. Take his daughters to Yourself, and fill their hearts with the sweetness of Your love so that they may reject all earthly attachments and join the blessed company of virgins who are dedicated to You!

ARTEMIA. Hail, most noble Constance! Imperial highness, hail!

ARTEMIA. Hello, most noble Constance! Your royal highness, hello!

CONSTANCE. Greeting, my sisters, Artemia and Attica. Stand up, stand up! No, do not kneel. Salute me rather with a loving kiss.

CONSTANCE. Hey, sisters, Artemia and Attica. Get up, get up! No, don't kneel. Instead, greet me with a loving kiss.

ARTEMIA. We come joyfully to offer you our homage, lady. We are ready to serve you with our whole hearts, and we seek no reward but your love.

ARTEMIA. We happily come to pay our respects to you, lady. We're ready to serve you with all our hearts, and we don't seek any reward other than your love.

CONSTANCE. We have one Lord Who is in heaven. He alone should be served like that. We owe Him a love and fidelity which must be shown not only with whole hearts but with whole bodies. That is if we would enter His kingdom with the virgin’s palm.

CONSTANCE. We have one Lord who is in heaven. He alone deserves to be served in that way. We owe Him love and loyalty that must be demonstrated not just with our hearts but with our entire selves. That's if we want to enter His kingdom with the virgin’s palm.

ARTEMIA. We do not question this. You will find us eager to obey you in all things, but never so eager as when you exhort us to confess our faith and keep our vow of purity.

ARTEMIA. We don’t question this. You’ll find us ready to follow you in everything, but never more so than when you urge us to confess our faith and uphold our promise of purity.

CONSTANCE. That is a good answer, and one worthy of a noble mind. I see that through divine grace you already have the faith.

CONSTANCE. That’s a good answer, and one that shows a noble mind. I can see that through divine grace you already have the faith.

ARTEMIA. How could we poor idolators have any good thought if light had not been given us from above?

ARTEMIA. How could we poor idolaters have any good thoughts if we hadn't been given light from above?

CONSTANCE. The strength of your faith makes me hope that Gallicanus too will believe some day.

CONSTANCE. Your strong faith gives me hope that Gallicanus will believe someday too.

ARTEMIA. He has only to be taught. Then he must believe.

ARTEMIA. He just needs to learn. Then he has to believe.

CONSTANCE. Send for John and Paul.

CONSTANCE. Get John and Paul.

Scene VI

JOHN. You sent for us, Highness. We are here.

JOHN. You called for us, Your Highness. We’re here.

CONSTANCE. Go at once to Gallicanus and attach yourselves to his person. Instruct him little by little in the mysteries of our faith. Perhaps God means to make us the instruments of winning him to His service.

CONSTANCE. Go immediately to Gallicanus and stick close to him. Gradually teach him the secrets of our faith. Maybe God intends for us to be the means of bringing him into His service.

PAUL. God give us success! We shall do all we can.

PAUL. May God give us success! We'll do everything we can.

Scene VII

GALLICANUS. You are welcome, John—and you, Paul. I have awaited your coming with impatience.

GALLICANUS. Welcome, John—and you too, Paul. I've been eagerly waiting for you to arrive.

JOHN. As soon as we received our lady’s commands we hastened at once to put ourselves at your service.

JOHN. As soon as we got our lady's instructions, we immediately rushed to be at your service.

GALLICANUS. Your offer to serve me gives me a pleasure that nothing else could give.

GALLICANUS. Your offer to serve me brings me a joy that nothing else could provide.

PAUL. That is natural, for, as the saying goes, “The friends of our friends are our friends.”

PAUL. That's only natural, because as the saying goes, “The friends of our friends are our friends.”

GALLICANUS. A true saying.

GALLICANUS. A true statement.

JOHN. The love our lady bears you assures us of your goodwill.

JOHN. The love our lady has for you assures us of your good intentions.

GALLICANUS. You can rely on it. Come, tribunes and centurions, assemble the troops. Soldiers in my command, I present to you John and Paul, for whose arrival our departure has been delayed.

GALLICANUS. You can count on it. Come on, tribunes and centurions, gather the troops. Soldiers under my command, I introduce you to John and Paul, whose arrival has held us up.

TRIBUNES. Lead us on. (The tribunes gather round Gallicanus.)7

TRIBUNES. Lead us on. (The tribunes gather around Gallicanus.)7

GALLICANUS. We must first go to the Capitol, and visit the temples to propitiate the gods with the customary sacrifices. That is the way to obtain success for our arms.

GALLICANUS. We need to first head to the Capitol and visit the temples to win the favor of the gods with the usual sacrifices. That's how we'll secure success for our troops.

TRIBUNES. That is certain.

COURTS. That is certain.

JOHN. Let us withdraw for a time.

JOHN. Let's step back for a bit.

PAUL. We cannot do otherwise.

PAUL. We have no other choice.

Scene VIII

JOHN. The General is leaving the temple. Let us mount our horses and ride to meet him.

JOHN. The General is leaving the temple. Let's get on our horses and go meet him.

PAUL. This moment.

PAUL. Right now.

GALLICANUS. I noticed you were not with us. Where have you been?

GALLICANUS. I saw you weren't with us. Where have you been?

JOHN. We were seeing to our baggage. We have sent it on ahead that we may ride with you unencumbered.

JOHN. We were taking care of our luggage. We've sent it ahead so we can ride with you without any heavy load.

GALLICANUS. Well planned!

GALLICANUS. Nicely done!

Scene IX

GALLICANUS. By Jupiter, tribunes, I see the legions of an immense army advancing! The diversity of their arms is enough to make the stoutest heart tremble.

GALLICANUS. By Jupiter, tribunes, I see the legions of a huge army coming our way! The variety of their weapons is enough to make even the bravest person tremble.

TRIBUNES. By Hercules, the enemy!

TRIBUNES. By Hercules, the foe!

GALLICANUS. Let us resist with courage, and show them we are men!

GALLICANUS. Let's stand firm and show them we're strong!

TRIBUNES. It is useless to attempt resistance to such a host.

TRIBUNES. It's pointless to try to resist such a large group.

GALLICANUS. What, then, do you propose?

GALLICANUS. So, what do you suggest?

TRIBUNES. Surrender.

TRIBUNES. Give up.

GALLICANUS. Apollo forbid!

Apollo forbid!

TRIBUNES. By Pollux, we must surrender! See, we are surrounded on every side—we are being mown down—we perish!

TRIBUNES. By Pollux, we have to give up! Look, we're surrounded on all sides—we're being cut down—we're doomed!

GALLICANUS. Ye gods! What will happen if the tribunes refuse to obey me, and surrender?

GALLICANUS. Oh no! What will happen if the tribunes don’t listen to me and give up?

JOHN. Promise you will become a Christian, and you will conquer.

JOHN. Promise that you will become a Christian, and you will succeed.

GALLICANUS. I swear! And I will keep my vow.

GALLICANUS. I swear! And I’ll stick to my promise.

ONE OF THE ENEMY. Woe to us, King Bradan! Fortune, who but now promised us victory, was mocking us. Our men are weakening, their strength is exhausted—they have lost heart and are giving up the struggle.

ONE OF THE ENEMY. Woe to us, King Bradan! Fortune, who just a moment ago promised us victory, is now mocking us. Our men are weakening, their strength is drained—they have lost heart and are giving up the fight.

BRADAN. I am uncertain what to do. A strange faintheartedness has seized me also. There is but one course—we must surrender.

BRADAN. I'm not sure what to do. A strange fear has taken hold of me too. There's only one option—we have to give up.

THE ENEMY. There is nothing else to do.

THE ENEMY. There’s nothing more to do.

BRADAN. Gallicanus, do not destroy us! Be merciful! Spare our lives and do with us what you will.

BRADAN. Gallicanus, please don't destroy us! Have mercy! Save our lives and do whatever you want with us.

GALLICANUS. Have no fear. There is no need to tremble. Give me hostages, acknowledge yourselves tributaries of the Emperor, and you shall live happy under a Roman peace.

GALLICANUS. Don’t be afraid. There’s no reason to shake with fear. Give me hostages, acknowledge that you are subjects of the Emperor, and you will live happily under Roman peace.

BRADAN. You have only to name the number and rank of the hostages, and the tribute to be exacted.

BRADAN. Just tell me the number and rank of the hostages, and the tribute to be paid.

GALLICANUS. Soldiers, lay down arms. Slay no one, wound no one, but embrace as friends these men whom you had to fight as enemies of the Empire.

GALLICANUS. Soldiers, put down your weapons. Don't kill anyone, don't hurt anyone, but welcome these men as friends whom you were supposed to fight as enemies of the Empire.

JOHN. How much more powerful is one fervent prayer than all the pride of man!

JOHN. How much more powerful is one heartfelt prayer than all the arrogance of humanity!

GALLICANUS. That is true indeed.

GALLICANUS. That's true, indeed.

PAUL. What mighty succour God in His mercy sends to those who humbly trust in Him!

PAUL. What amazing help God sends in His mercy to those who humbly trust in Him!

GALLICANUS. I have had good proof of it.

GALLICANUS. I've seen enough evidence of it.

JOHN. But the promise made when the storm was raging must be kept now it is calm.

JOHN. But the promise we made when the storm was raging has to be kept now that it's calm.

GALLICANUS. I agree. It is my wish to be baptized as soon as possible, and to devote the rest of my life to the service of God.

GALLICANUS. I agree. I want to get baptized as soon as I can and dedicate the rest of my life to serving God.

PAUL. You are right.

PAUL. You’re right.

Scene X

GALLICANUS. Look! That vast crowd of citizens has gathered to see our entry into Rome! See how they flock to acclaim us, bearing according to custom the symbols of victory!

GALLICANUS. Look! That huge crowd of citizens has come together to witness our arrival in Rome! See how they gather to cheer us on, carrying the traditional symbols of victory!

JOHN. It is only natural.

JOHN. It's only natural.

GALLICANUS. Yet the glorious victory was not won by my valour nor by the help of their gods.

GALLICANUS. But the glorious victory wasn't achieved through my bravery or the support of their gods.

JOHN. No, assuredly; the glory belongs to the one true God.

JOHN. No, definitely; the glory belongs to the one true God.

GALLICANUS. That being so, we must pass the temples without going in.

GALLICANUS. Since that's the case, we should walk past the temples without entering.

JOHN. A wise decision.

JOHN. A smart choice.

GALLICANUS. And instead make a humble confession of faith in the Church of the Apostles.

GALLICANUS. Instead, let's make a sincere confession of faith in the Church of the Apostles.

PAUL. O happy man! And most happy thought! In this you show yourself a true Christian.

PAUL. Oh, what a happy man! And what a wonderful thought! In this, you really show yourself to be a true Christian.

Scene XI

CONSTANTINE. I am greatly astonished, soldiers, that Gallicanus should be so long in presenting himself before his sovereign.

CONSTANTINE. I am really surprised, soldiers, that Gallicanus is taking so long to appear before his ruler.

SOLDIERS. The moment he arrived in Rome he went to the Church of Saint Peter, and, prostrating himself on the ground, gave thanks to the Almighty for giving him the victory.

SOLDIERS. As soon as he arrived in Rome, he went to the Church of Saint Peter and, kneeling on the ground, thanked the Almighty for giving him the victory.

CONSTANTINE. Gallicanus?

CONSTANTINE. Gallicanus?

SOLDIERS. It is true.

SOLDIERS. It's true.

CONSTANTINE. Impossible!

CONSTANTINE. No way!

SOLDIERS. Here he comes. You can ask him yourself.

SOLDIERS. Here he comes. You can ask him yourself.

Scene XII

CONSTANTINE. Welcome, Gallicanus! I have awaited your arrival with impatience. I long to hear from your own lips how the battle went and how it ended.

CONSTANTINE. Welcome, Gallicanus! I've been eagerly waiting for you to arrive. I can't wait to hear from you how the battle went and how it turned out.

GALLICANUS. I will tell you the whole story.

GALLICANUS. I'll share the entire story with you.

CONSTANTINE. Wait a moment, for even the battle is of small importance compared with the one thing which I want most to hear.

CONSTANTINE. Hold on a second, because even the fight is less important than the one thing I really want to hear.

GALLICANUS. What may that be?

GALLICANUS. What could that be?

CONSTANTINE. On your departure for the war you visited the temple of the gods; on your return you went to the Church of the Apostles. Why?

CONSTANTINE. Before you left for war, you visited the temple of the gods; when you got back, you went to the Church of the Apostles. Why?

GALLICANUS. You ask that?

GALLICANUS. You asking that?

CONSTANTINE. Have I not told you, man, that I wish to know above all things!

CONSTANTINE. Haven't I told you, man, that I want to know more than anything else!

GALLICANUS. I will explain.

GALLICANUS. Let me explain.

CONSTANTINE. Proceed, I beg you.

Constantine. Please go ahead.

GALLICANUS. Most Sacred Emperor, I confess I visited the temples on my departure, as you have said, and humbly sought the help of gods and demons.

GALLICANUS. Most Sacred Emperor, I admit that I went to the temples when I left, as you said, and sincerely asked for the help of gods and demons.

CONSTANTINE. According to the old Roman custom.

CONSTANTINE. According to the traditional Roman practice.

GALLICANUS. To my thinking, a bad custom.

GALLICANUS. I think it’s a bad habit.

CONSTANTINE. I am of the same mind.

CONSTANTINE. I feel the same way.

GALLICANUS. Then the tribunes arrived with their legions and we began our march.

GALLICANUS. Then the tribunes showed up with their legions and we started our march.

CONSTANTINE. You set out from Rome with great pomp.

CONSTANTINE. You left Rome with a lot of fanfare.

GALLICANUS. We pushed on, met the enemy, engaged them, and were defeated.

GALLICANUS. We kept moving forward, encountered the enemy, fought them, and lost.

CONSTANTINE. Romans defeated!

CONSTANTINE. Romans are defeated!

GALLICANUS. Routed.

GALLICANUS. Defeated.

CONSTANTINE. When was such a disaster ever known in our history!

CONSTANTINE. When has such a disaster ever happened in our history!

GALLICANUS. Once again I offered those hideous sacrifices, but what god came to my help? The fury of the enemy redoubled, and great numbers of my men were slain.

GALLICANUS. Once again I made those terrible sacrifices, but what god came to my aid? The enemy's fury increased, and many of my men were killed.

CONSTANTINE. I am amazed.

CONSTANTINE. I'm amazed.

GALLICANUS. It was then that the tribunes, disregarding my orders, began to surrender.

GALLICANUS. That was when the tribunes, ignoring my orders, started to give up.

CONSTANTINE. To the enemy?

CONSTANTINE. To the foe?

GALLICANUS. To the enemy.

GALLICANUS. To the foe.

CONSTANTINE. And what did you do?

CONSTANTINE. So, what did you do?

GALLICANUS. What could I do but take to flight?

GALLICANUS. What else could I do but run away?

CONSTANTINE. Impossible!

CONSTANTINE. No way!

GALLICANUS. It is true.

GALLICANUS. That's true.

CONSTANTINE. What anguish for a man of your courage!

CONSTANTINE. What suffering for someone as brave as you!

GALLICANUS. The sharpest.

GALLICANUS. The sharpest one.

CONSTANTINE. And how did you escape?

CONSTANTINE. So, how did you get away?

GALLICANUS. My faithful companions, John and Paul, advised me to make a vow to the Creator.

GALLICANUS. My loyal friends, John and Paul, encouraged me to make a promise to the Creator.

CONSTANTINE. Good advice.

CONSTANTINE. Great advice.

GALLICANUS. I found it so. Hardly had I opened my lips to make the vow than I received help from heaven.

GALLICANUS. I found that to be true. As soon as I opened my mouth to make the vow, I got help from above.

CONSTANTINE. How?

CONSTANTINE. How's that?

GALLICANUS. A young man of immense stature appeared before me carrying a cross on his shoulder. He bade me follow him sword in hand.

GALLICANUS. A young man of huge stature approached me, carrying a cross on his shoulder. He told me to follow him, sword in hand.

CONSTANTINE. This young man, whoever he was, was sent from heaven.

CONSTANTINE. This young man, whoever he is, was sent from heaven.

GALLICANUS. So it proved. At the same moment I saw at my side some soldiers whose faces were strange to me. They promised me their help.

GALLICANUS. It turned out that way. At the same time, I noticed some soldiers next to me whose faces I didn’t recognize. They assured me they would help.

CONSTANTINE. The host of Heaven!

CONSTANTINE. The heavenly host!

GALLICANUS. I am sure of it. Following in the steps of my guide, I advanced fearlessly into the midst of the enemy until I came face to face with their King, by name Bradan. Suddenly overcome by the strangest terror he threw himself at my feet, surrendered with his whole army, and promised to pay tribute in perpetuity to the ruler of the Roman world.

GALLICANUS. I'm certain of it. Following my guide's lead, I boldly moved right into the heart of the enemy until I confronted their King, named Bradan. Suddenly struck by an overwhelming fear, he fell to my feet, surrendered along with his entire army, and pledged to pay tribute forever to the ruler of the Roman world.

CONSTANTINE. Now praise be to Him Who gave us this victory. Those who put their trust in Him will never be confounded.

CONSTANTINE. Now praise be to Him Who gave us this victory. Those who trust in Him will never be disappointed.

GALLICANUS. My experience witnesses to it.

GALLICANUS. My experience shows it.

CONSTANTINE. And now I should like to know what became of the treacherous tribunes?

CONSTANTINE. Now I want to know what happened to the traitorous tribunes?

GALLICANUS. They hastened to implore my forgiveness.

GALLICANUS. They rushed to ask for my forgiveness.

CONSTANTINE. And you showed them mercy?

CONSTANTINE. So you showed them mercy?

GALLICANUS. I show mercy to men who had abandoned me in the hour of peril and surrendered to the enemy against my orders! No, assuredly!

GALLICANUS. I show mercy to people who turned their backs on me when things got tough and gave in to the enemy despite my orders! Absolutely not!

CONSTANTINE. What did you do?

CONSTANTINE. What did you do?

GALLICANUS. I offered to pardon them on one condition.

GALLICANUS. I offered to forgive them on one condition.

CONSTANTINE. What condition?

What condition are you in?

GALLICANUS. I told them that those who consented to become Christians would be allowed to retain their rank, and might even receive fresh honours, but that those who refused would not be pardoned, and would be degraded.

GALLICANUS. I informed them that those who agreed to become Christians would be allowed to keep their status and might even earn new honors, but that those who refused would not be forgiven and would be demoted.

CONSTANTINE. A fair proposition, and honourable to the leader who made it.

CONSTANTINE. A good proposal, and respectful to the leader who offered it.

GALLICANUS. For my own part, purified in the waters of baptism, I have surrendered myself completely to the will of God. I am ready to renounce even your daughter, whom I love more than anything in the world. I wish to abstain from marriage that I may devote myself wholly to the service of the Virgin’s Son.

GALLICANUS. As for me, after being cleansed in the waters of baptism, I have entirely given myself to God's will. I’m prepared to give up even your daughter, whom I love more than anything else in the world. I want to avoid marriage so that I can fully dedicate myself to the service of the Virgin’s Son.

CONSTANTINE. Come near, nearer yet, and let me fold you in my arms! Now, Gallicanus, the time has come for me to tell you what up to now I have been obliged to keep secret.

CONSTANTINE. Come closer, even closer, and let me hold you in my arms! Now, Gallicanus, the moment has arrived for me to share with you what I've had to keep hidden until now.

GALLICANUS. What is it?

GALLICANUS. What's that?

CONSTANTINE. My daughter, and your own two also, have chosen the same holy path which you yourself wish to follow.

CONSTANTINE. My daughter and your two have chosen the same sacred path that you want to follow yourself.

GALLICANUS. I rejoice to hear it.

GALLICANUS. I'm glad to hear that.

CONSTANTINE. Their desire to keep their vow of virginity is so ardent that neither entreaties nor threats can alter their resolution.

CONSTANTINE. Their commitment to remaining virgins is so strong that neither pleas nor threats can change their minds.

GALLICANUS. God help them to persevere!

GALLICANUS. May God help them to keep going!

CONSTANTINE. Come, let us go to their apartments.

CONSTANTINE. Come on, let’s head to their place.

GALLICANUS. Lead on. I will follow.

GALLICANUS. Go ahead. I’ll be right behind you.

CONSTANTINE. They are coming here. Look, they hasten to greet us, and my glorious mother, noble Helena, is with them. They all weep for joy.

CONSTANTINE. They're coming here. Look, they're rushing to greet us, and my wonderful mother, noble Helena, is with them. They're all crying with joy.

Scene XIII

GALLICANUS. Be at peace, most holy virgins. Persevere in the fear of God, and preserve untouched the treasure of your virginity. Then you will be worthy of the embraces of the eternal King.

GALLICANUS. Stay at peace, most holy virgins. Continue to honor God, and keep the treasure of your virginity intact. Then you will be deserving of the embraces of the eternal King.

CONSTANCE. We shall keep our vows with more joy now we know that you are on our side.

CONSTANCE. We'll hold onto our promises with greater happiness now that we know you're with us.

GALLICANUS. Have no fear that I shall put any obstacle in your way. Far from it! I consent gladly, and desire nothing better than to see you fulfil your vow, my Constance, you, for whom I was eager to risk life itself.

GALLICANUS. Don’t worry, I won’t stand in your way. On the contrary! I’m more than happy to agree, and I want nothing more than to see you keep your promise, my Constance, the one for whom I was ready to risk my life.

CONSTANCE. I see the hand of the Most High in this change in you.

CONSTANCE. I can see the influence of the Almighty in this change within you.

GALLICANUS. If I had not changed, and for the better, I could never have consented to renounce you.

GALLICANUS. If I hadn't changed, and for the better, I could never have agreed to let you go.

CONSTANCE. The Lover of virginal purity and the Author of all good resolutions made you renounce me because He had already claimed me for His own. May He Who has separated us in the body on earth unite us in the joys of eternity.

CONSTANCE. The Lover of pure innocence and the Author of all good intentions made you give me up because He had already chosen me for Himself. May He Who has separated us in the physical world unite us in the joys of eternity.

GALLICANUS. So be it! So be it!

Alright then! Alright then!

CONSTANTINE. And now, since we are united in the bond of Christ’s love, you shall live with us in our palace, and be treated with as much honour as though you were our own son.

CONSTANTINE. And now, since we are united in Christ’s love, you will live with us in our palace and be treated with as much honor as if you were our own son.

GALLICANUS. What temptation is to be feared more than the lust of the eyes?

GALLICANUS. What temptation is more dangerous than the lust of the eyes?

CONSTANTINE. None, I know.

CONSTANTINE. None, I get it.

GALLICANUS. Then is it right that I should see her too often? As you know, I love her more than my own kin, more than my life, more than my soul!

GALLICANUS. So is it okay for me to see her too frequently? As you know, I love her more than my own family, more than my life, more than my very being!

CONSTANTINE. You must do what you think best.

CONSTANTINE. You should do what you think is best.

GALLICANUS. Thanks to our Lord Christ and to my labours, your army was never so strong as now. Give me leave, then, to transfer my service to that Emperor through Whose power I have returned victorious, and to Whom I owe any success I have won in life.

GALLICANUS. Thanks to our Lord Christ and my efforts, your army has never been as strong as it is now. So, let me switch my allegiance to that Emperor, through whose power I have come back victorious, and to whom I owe all my success in life.

CONSTANTINE. To Him be praise and glory. All creatures should serve Him.

CONSTANTINE. Praise and glory be to Him. All creatures should serve Him.

GALLICANUS. Above all those whom He has generously helped in time of need.

GALLICANUS. Above all those whom He has kindly supported in their time of need.

CONSTANTINE. That is true.

CONSTANTINE. That's true.

GALLICANUS. I am giving to my daughters the portion of my property which is theirs by right. Another I am devoting to the support of pilgrims. With the remainder I propose to enrich my slaves—whom I have freed—and to relieve the poor.

GALLICANUS. I am giving my daughters the share of my property that rightfully belongs to them. I am dedicating another part to support pilgrims. With the rest, I plan to enrich my freed slaves and help the poor.

CONSTANTINE. You are disposing of your wealth wisely, and you will be rewarded.

CONSTANTINE. You're managing your wealth wisely, and you’ll be rewarded.

GALLICANUS. As for me, I long to go to Ostia and become the disciple of the holy man, Hilarion. In his brotherhood I hope to spend the rest of my life praising God and helping the poor.

GALLICANUS. For me, I really want to go to Ostia and become a follower of the holy man, Hilarion. In his community, I hope to spend the rest of my life worshiping God and helping those in need.

CONSTANTINE. May the Divine Being to Whom all things are possible bring your plans to a happy issue! May you always do the will of Him Who lives and reigns in the Unity of the Trinity, and at last attain eternal joy!

CONSTANTINE. May the Divine Being to Whom all things are possible bring your plans to a successful conclusion! May you always follow the will of Him Who lives and reigns in the Unity of the Trinity, and ultimately find eternal joy!

GALLICANUS. Amen.

GALLICANUS. Amen.

Gallicanus—Part II

Scene I

JULIAN. The cause of the unrest in our Empire is clear enough. These Christians enjoy too much liberty. Their claim that they obey laws made in the time of Constantine is false.

JULIAN. The reason for the unrest in our Empire is pretty obvious. These Christians have too much freedom. Their assertion that they follow laws established during Constantine's rule is untrue.

CONSULS. It would be a disgrace to tolerate it.

CONSULS. It would be shameful to put up with it.

JULIAN. I do not intend to tolerate it.

JULIAN. I'm not going to put up with it.

CONSULS. Those words are worthy of you.

CONSULS. Those words suit you well.

JULIAN. Soldiers, arm yourselves and strip the Christians of all they possess. Remind them of these words of their Christ:—“He who does not renounce all that he possesses for my sake cannot be my disciple.”

JULIAN. Soldiers, get ready and take everything the Christians have. Remind them of these words from their Christ:—“Anyone who doesn't give up everything they own for my sake cannot be my disciple.”

SOLDIERS. We will carry out your orders instantly.

SOLDIERS. We will follow your orders right away.

Scene II

CONSULS. The soldiers have returned.

CONSULS. The troops are back.

JULIAN. Is all well?

JULIAN. Is everything okay?

SOLDIERS. Well indeed.

SOLDIERS. Absolutely.

JULIAN. Why have you returned so soon?

JULIAN. Why are you back so soon?

SOLDIERS. We will tell you. We had planned to seize Gallicanus’s castle and occupy it in your name. But no sooner did one of us set foot on the threshold than he was straightway stricken with leprosy or madness.

SOLDIERS. We'll tell you. We had planned to take Gallicanus’s castle and hold it in your name. But as soon as one of us stepped foot on the threshold, he was immediately struck with leprosy or madness.

JULIAN. Return and force Gallicanus to quit the realm or sacrifice to the gods.

JULIAN. Go back and make Gallicanus leave the realm or make him offer sacrifices to the gods.

Scene III

GALLICANUS. Do not waste your breath, fellows. Your advice is useless. I hold all that exists beneath the sun as nothing compared with eternal life. Banished for Christ’s sake, I shall retire to Alexandria, where I hope to win the martyr’s crown.

GALLICANUS. Don’t waste your time, guys. Your advice doesn’t matter. I see everything in this world as nothing compared to eternal life. Banned for Christ, I’m heading to Alexandria, where I hope to earn the martyr’s crown.

Scene IV

SOLDIERS. Gallicanus, exiled by your orders, fled to Alexandria. He was arrested in that city by the Governor, Ratianus, and has perished by the sword.

SOLDIERS. Gallicanus, exiled by your orders, escaped to Alexandria. He was captured in that city by the Governor, Ratianus, and has died by the sword.

JULIAN. That is well.

JULIAN. That's good.

SOLDIERS. But John and Paul still defy you.

SOLDIERS. But John and Paul still stand against you.

JULIAN. What are they doing?

JULIAN. What are they up to?

SOLDIERS. Travelling up and down the country giving away the fortune Constance left them.

SOLDIERS. Traveling all over the country giving away the fortune Constance left them.

JULIAN. Bring them before me.

JULIAN. Bring them to me.

SOLDIERS. They are here.

SOLDIERS. They’re here.

Scene V

JULIAN. John and Paul, from the cradle you have been attached to the Emperor’s household. You served my predecessor.

JULIAN. John and Paul, you've been part of the Emperor’s household since you were born. You served my predecessor.

JOHN. That is so.

JOHN. That's true.

JULIAN. Then what could be more fitting than that you should serve me also in this palace where you were brought up?

JULIAN. So what could be more appropriate than for you to serve me in this palace where you grew up?

PAUL. We will not serve you.

PAUL. We can't serve you.

JULIAN. You refuse?

JULIAN. You saying no?

JOHN. We have said it.

JOHN. We’ve said it.

JULIAN. Do you deny that I am Augustus?

JULIAN. Do you deny that I’m Augustus?

PAUL. No, but we say you are Augustus with a difference.

PAUL. No, but we say you’re Augustus with a twist.

JULIAN. How do I differ from my predecessors?

JULIAN. How am I different from those who came before me?

JOHN. In your religion and your virtue.

JOHN. In your beliefs and your morals.

JULIAN. What do you mean?

JULIAN. What do you mean?

PAUL. We mean that those most famous and glorious princes, Constantine, Constantius and Constance, whom we served, were very Christian rulers who were zealous in the service of God.

PAUL. We mean that those renowned and esteemed princes, Constantine, Constantius, and Constance, whom we served, were devout Christian leaders who were passionate about serving God.

JULIAN. I know, but in this I do not choose to follow their example.

JULIAN. I get that, but I don't want to follow their lead in this.

PAUL. You follow worse examples. They frequented the churches and, laying their diadems on the ground, adored Jesus Christ on their knees.

PAUL. You follow even worse examples. They used to go to church and, putting their crowns on the ground, worshiped Jesus Christ on their knees.

JULIAN. And you think that I should imitate them?

JULIAN. So you think I should copy them?

JOHN. You are not made of the same stuff.

JOHN. You're not made of the same kind of stuff.

PAUL. By doing homage to the Creator they elevated the Imperial dignity—yes, they transfigured it with the splendour of their virtue and their holy lives. So they deserved the success which crowned their enterprises.

PAUL. By honoring the Creator, they raised the dignity of the Empire—yes, they transformed it with the brilliance of their virtuous actions and their holy lives. They earned the success that rewarded their efforts.

JULIAN. As I do.

JULIAN. Same here.

JOHN. In a very different way, for the divine grace was with them.

JOHN. In a completely different way, because they had divine grace with them.

JULIAN. Absurd! Once I too was fool enough to believe in these meaningless practices. I was a priest of your Church.

JULIAN. Ridiculous! I used to be foolish enough to believe in these pointless rituals. I was a priest in your Church.

JOHN. Do you hear, Paul? How do you like this priest?

JOHN. Hey, Paul? What do you think of this priest?

PAUL. Very well—as the devil’s chaplain.

PAUL. Alright—like the devil's advocate.

JULIAN. But when I found that there was nothing to be gained from it, I turned to the worship of the true Roman gods, thanks to whom I have been raised to the highest pinnacle of power.

JULIAN. But when I realized there was nothing to be gained from it, I turned to the worship of the true Roman gods, who have elevated me to the highest pinnacle of power.

JOHN. You cut us short with this boast to avoid hearing the righteous praised.

JOHN. You cut us off with this brag to avoid hearing the righteous praised.

JULIAN. What is it to me?

JULIAN. What does it matter to me?

PAUL. Nothing; but we would add something which does concern you. When the world was no longer worthy of those princes, they were summoned to the choir of angels, and this unhappy realm fell under your power.

PAUL. Nothing; but we want to add something that does affect you. When the world was no longer deserving of those princes, they were called to the choir of angels, and this unfortunate realm came under your control.

JULIAN. Why unhappy?

JULIAN. Why so unhappy?

JOHN. Because of the character of its ruler.

JOHN. Because of the nature of its ruler.

PAUL. Have you not renounced the true religion and adopted the superstitions of idolatry? Because of this we have shunned you and your court.

PAUL. Haven't you rejected the true faith and embraced the superstitions of idol worship? Because of this, we have distanced ourselves from you and your court.

JULIAN. You show yourselves greatly wanting in the respect due to me, yet I am ready to pardon your presumption and raise you to the highest office in my palace.

JULIAN. You clearly lack the respect you owe me, yet I’m willing to overlook your arrogance and promote you to the highest position in my palace.

JOHN. You waste your breath, apostate! We shall yield neither to blandishments nor threats.

JOHN. You're wasting your breath, traitor! We won’t give in to flattery or threats.

JULIAN. I will give you ten days’ grace, in the hope that you will come to your senses and repent. If you do, you will regain our Imperial favour. If not, I shall do what I have to do. You shall not make a mock of me.

JULIAN. I’ll give you ten days to think it over, hoping you’ll see reason and change your mind. If you do, you’ll earn back our Imperial favor. If not, I’ll take the necessary actions. You won’t make a fool of me.

PAUL. What you have to do, do now, for you can never make us return either to your court, your service, or your gods.

PAUL. Do what you need to do now, because you'll never be able to get us back to your court, your service, or your gods.

JULIAN. You are dismissed. Leave me, but heed my warning.

JULIAN. You’re dismissed. Go away, but listen to my warning.

JOHN. We willingly accept the respite you have granted us, but only that we may spend the time consecrating all our faculties to heaven, and commending ourselves to God in prayer and fasting.

JOHN. We gladly accept the break you've given us, but only so we can dedicate that time to heaven, focusing all our energies on prayer and fasting to commend ourselves to God.

PAUL. This is all we have to do now.

PAUL. This is all we need to do now.

Scene VI

JULIAN. Go, Terentianus. Take with you a few trusted soldiers and compel John and Paul to sacrifice to Jupiter. If they persist in their refusal, let them be put to death, not publicly, but with the greatest possible secrecy, since they once held office in this palace.

JULIAN. Go, Terentianus. Take a few trusted soldiers with you and force John and Paul to sacrifice to Jupiter. If they continue to refuse, have them killed, but do it secretly, not publicly, since they once held office in this palace.

Scene VII

TERENTIANUS. Paul and John, the Emperor Julian, my master, of his clemency sends you this gold statue of Jupiter, and commands you to burn incense before it. Refuse, and you will be put to death.

TERENTIANUS. Paul and John, Emperor Julian, my master, generously sends you this gold statue of Jupiter and orders you to burn incense in front of it. If you refuse, you will be executed.

JOHN. Since Julian is your master, live at peace with him, and enjoy his favour. But we have no master except our Lord Jesus Christ, for Whose love we ardently desire to die that we may the more quickly taste the joys of eternity.

JOHN. Since Julian is your master, get along with him and enjoy his favor. But we have no master except our Lord Jesus Christ, for whose love we passionately wish to die so we can quickly experience the joys of eternity.

TERENTIANUS. Soldiers, why do you delay? Draw your swords and strike these traitors to the gods and to their Emperor. When they have breathed their last bury them secretly in this house and remove every trace of blood.

TERENTIANUS. Soldiers, why are you hesitating? Draw your swords and take down these traitors to the gods and their Emperor. Once they are dead, bury them quietly in this house and clean up all signs of blood.

SOLDIERS. And if questions are asked, what are we to say?

SOLDIERS. And if people ask questions, what should we say?

TERENTIANUS. Say they have been banished.

TERENTIANUS. Let's say they've been exiled.

JOHN. To Thee, O Christ, Who reigneth with the Father and the Holy Ghost, one God, we raise our voices in this dreadful hour! In death as in life we praise Thee.

JOHN. To You, O Christ, Who reigns with the Father and the Holy Spirit, one God, we lift our voices in this dreadful hour! In death as in life, we praise You.

PAUL. O Christ, receive our souls, which for Thy sake are being driven from this dwelling of clay!

PAUL. Oh Christ, take our souls, which are being forced out of this earthly home for Your sake!

Scene VIII

TERENTIANUS. Christians, Christians, what ails my son?

TERENTIANUS. Christians, Christians, what's wrong with my son?

CHRISTIANS. He grinds his teeth, foams at the mouth, and rolls his eyes like a madman. He is sure possessed by a devil.

CHRISTIANS. He grits his teeth, foams at the mouth, and rolls his eyes like a lunatic. He’s definitely possessed by a demon.

TERENTIANUS. Woe to his father! Where was he stricken?

TERENTIANUS. Poor guy’s father! Where was he hurt?

CHRISTIANS. Before the tomb of the martyrs John and Paul. He writhes on the ground, and cries out that they are the cause of his torments.

CHRISTIANS. Before the tomb of the martyrs John and Paul. He rolls on the ground and shouts that they are the reason for his suffering.

TERENTIANUS. Mine the fault! Mine the crime! It was at my command that the wretched boy laid his impious hands on those holy martyrs.

TERENTIANUS. It's my fault! It’s my crime! It was at my command that the unfortunate boy laid his sinful hands on those holy martyrs.

CHRISTIANS. Since you were the partner of his guilt, it is right that you should share his sufferings.

CHRISTIANS. Since you were part of his wrongdoing, it's only fair that you share in his suffering.

TERENTIANUS. I did but obey the wicked commands of my master, the Emperor Julian.

TERENTIANUS. I was just following the wicked orders of my boss, Emperor Julian.

CHRISTIANS. He himself has been struck down by the divine wrath.

CHRISTIANS. He has been hit by divine anger.

TERENTIANUS. I know, and am the more terrified. I see that no enemy of those servants of God can escape punishment.

TERENTIANUS. I know, and it's even more terrifying. I see that no enemy of those servants of God can avoid punishment.

CHRISTIANS. You are right there.

CHRISTIANS. You’re right there.

TERENTIANUS. What if in expiation of my crime I threw myself on my knees before the holy tombs?

TERENTIANUS. What if, as a way to atone for my wrongdoing, I knelt before the sacred tombs?

CHRISTIANS. You would win pardon if you were first cleansed by baptism.

CHRISTIANS. You would be forgiven if you were first cleansed by baptism.

Scene IX

TERENTIANUS. Glorious witnesses of Christ, John and Paul, follow the example and commandment of your Master, and pray for your persecutors. Have compassion on the anguish of a father who fears to lose his child! Have pity on the sufferings of the son! Succour us both, and grant that, purified in the waters of baptism, we may persevere in the faith.

TERENTIANUS. Glorious witnesses of Christ, John and Paul, follow the example and command of your Master, and pray for those who persecute you. Have compassion on the pain of a father who fears losing his child! Have pity on the suffering of the son! Help us both, and grant that, cleansed in the waters of baptism, we may remain steadfast in our faith.

CHRISTIANS. Dry your tears, Terentianus. Here is balm for your anguish. Look! Your son has recovered his health and his reason through the intercession of the martyrs.

CHRISTIANS. Wipe your tears, Terentianus. Here is relief for your suffering. Look! Your son has regained his health and sanity through the help of the martyrs.

TERENTIANUS. Praise to the Eternal King Who covers His servants with such glory! Not only do their souls rejoice in heaven, but in the depths of the sepulchre their lifeless bones work astounding miracles, testifying to their sanctity and to the grace of our Lord Jesus Christ Who liveth and reigneth!

TERENTIANUS. Praise to the Eternal King who cloaks His servants in such glory! Not only do their souls rejoice in heaven, but even in the depths of the grave, their lifeless bones perform remarkable miracles, bearing witness to their holiness and to the grace of our Lord Jesus Christ, who lives and reigns!

Dulcitius

Argument

The martyrdom of the holy virgins Agape, Chionia, and Irena. The Governor Dulcitius seeks them out in the silence of the night with criminal intent, but hardly has he entered their dwelling than he becomes the victim of a delusion, under which he mistakes for the objects of his passion the saucepans and frying-pans in the kitchen. These he embraces and covers with kisses until his face and clothes are black with soot and dirt. Later, by order of Diocletian, he hands the maidens over to the care of Sisinnius, who is charged with their punishment. Sisinnius in his turn is made the sport of the most strange delusions, but at length succeeds in getting Agape and Chionia burnt, and Irena shot to death with arrows.

The martyrdom of the holy virgins Agape, Chionia, and Irena. Governor Dulcitius searches for them in the stillness of the night with bad intentions, but as soon as he enters their home, he falls victim to a bizarre delusion, mistaking the saucepans and frying pans in the kitchen for the objects of his desire. He embraces them and plants kisses on them until his face and clothes are covered in soot and grime. Later, on Diocletian's orders, he hands the maidens over to Sisinnius, who is responsible for their punishment. Sisinnius, in turn, experiences his own odd delusions but eventually manages to have Agape and Chionia burned, while Irena is shot to death with arrows.

Characters

  • THE EMPEROR DIOCLETIAN.
  • AGAPE.
  • CHIONIA.
  • IRENA.
  • DULCITIUS (Governor of Thessalonica).
  • SOLDIERS.
  • SISINNIUS.
  • WIFE TO DULCITIUS.
  • Ushers of the Imperial Palace.
  • Ladies-in-Waiting on the Wife of Dulcitius.

Dulcitius

Scene I

DIOCLETIAN. The pure and famous race to which you belong and your own rare beauty make it fitting that you should be wedded to the highest in our court. Thus we decree, making the condition that you first promise to deny your Christ and sacrifice to the gods.

DIOCLETIAN. The noble and renowned lineage you come from, along with your exceptional beauty, makes it appropriate for you to marry someone of the highest rank in our court. Therefore, we declare this, on the condition that you first agree to renounce your Christ and offer sacrifices to the gods.

AGAPE. We beg you not to concern yourself about us, and it is useless to make preparations for our marriage. Nothing can make us deny that Name which all should confess, or let our purity be stained.

AGAPE. We urge you not to worry about us, and it's pointless to make arrangements for our marriage. Nothing can make us deny that Name which everyone should acknowledge, or tarnish our purity.

DIOCLETIAN. What does this madness mean?

DIOCLETIAN. What is this craziness about?

AGAPE. What sign of madness do you see in us?

AGAPE. What sign of madness do you see in us?

DIOCLETIAN. It is clear enough.

DIOCLETIAN. It's clear enough.

AGAPE. In what way are we mad?

AGAPE. Why are we crazy?

DIOCLETIAN. Is it not madness to give up practising an ancient religion and run after this silly new Christian superstition?

DIOCLETIAN. Isn't it crazy to abandon an ancient religion and chase after this absurd new Christian trend?

AGAPE. You are bold to slander the majesty of Almighty God. It is dangerous.

AGAPE. You are audacious to defame the greatness of Almighty God. This is risky.

DIOCLETIAN. Dangerous? To whom?

DIOCLETIAN. Dangerous? To who?

AGAPE. To you, and to the state you rule.

AGAPE. To you, and to the state you govern.

DIOCLETIAN. The girl raves. Take her away.

DIOCLETIAN. The girl is out of control. Get her out of here.

CHIONIA. My sister does not rave. She is right.

CHIONIA. My sister isn't crazy. She's right.

DIOCLETIAN. This maenad seems even more violent than the other! Remove her also from our presence, and we will question the third.

DIOCLETIAN. This maenad seems even more aggressive than the others! Get her out of our sight too, and we'll question the third one.

IRENA. You will find her as rebellious and as determined to resist.

IRENA. You’ll see her as fiercely independent and just as determined to stand her ground.

DIOCLETIAN. Irena, you are the youngest in years. Show yourself the oldest in dignity.

DIOCLETIAN. Irena, you’re the youngest in age. Prove yourself to be the most dignified.

IRENA. Pray tell me how.

IRENA. Please tell me how.

DIOCLETIAN. Bow your head to the gods, and set an example to your sisters. It may rebuke and save them.

DIOCLETIAN. Bow your head to the gods, and set an example for your sisters. It might correct and save them.

IRENA. Let those who wish to provoke the wrath of the Most High prostrate themselves before idols! I will not dishonour this head which has been anointed with heavenly oil by abasing it at the feet of images.

IRENA. Let those who want to provoke the anger of the Most High bow down before idols! I will not dishonor this head that has been anointed with divine oil by lowering it at the feet of images.

DIOCLETIAN. The worship of the gods does not bring dishonour to those who practise it, but, on the contrary, the greatest honour.

DIOCLETIAN. Worshipping the gods doesn't bring shame to those who do it; instead, it brings the greatest honor.

IRENA. What could be more shameful baseness, what baser shame, than to venerate slaves as if they were lords?

IRENA. What could be more disgraceful than honoring slaves as if they were nobles?

DIOCLETIAN. I do not ask you to worship slaves, but the gods of princes and the rulers of the earth.

DIOCLETIAN. I'm not asking you to worship slaves, but the gods of kings and the rulers of the world.

IRENA. A god who can be bought cheap in the market-place, what is he but a slave?

IRENA. A god who can be easily bought in the marketplace, what is he but a slave?

DIOCLETIAN. Enough of this presumptuous chatter. The rack shall put an end to it!

DIOCLETIAN. Enough of this arrogant talk. The rack will put a stop to it!

IRENA. That is what we desire. We ask nothing better than to suffer the most cruel tortures for the love of Christ.

IRENA. That’s what we want. We wouldn’t ask for anything more than to endure the harshest pains for the love of Christ.

DIOCLETIAN. Let these obstinate women who dare to defy our authority be laden with chains and thrown into a dungeon. Let them be examined by Governor Dulcitius.

DIOCLETIAN. Let these stubborn women who challenge our authority be chained up and thrown into a dungeon. They will be interrogated by Governor Dulcitius.

Scene II

DULCITIUS. Soldiers, produce your prisoners.

DULCITIUS. Soldiers, bring your prisoners out.

SOLDIERS. The ones you wanted to see are in there.

SOLDIERS. The ones you were looking for are inside.

DULCITIUS. Ye Gods, but these girls are beautiful! What grace, what charm!

DULCITIUS. You gods, these girls are stunning! What elegance, what appeal!

SOLDIERS. Perfect!

SOLDIERS. Awesome!

DULCITIUS. I am enraptured!

DULCITIUS. I'm ecstatic!

SOLDIERS. No wonder!

SOLDIERS. No surprise!

DULCITIUS. I’m in love! Do you think they will fall in love with me?

DULCITIUS. I'm in love! Do you think they'll love me back?

SOLDIERS. From what we know, you will have little success.

SOLDIERS. Based on what we know, you won't have much success.

DULCITIUS. Why?

DULCITIUS. Why?

SOLDIERS. Their faith is too strong.

SOLDIERS. Their faith is way too strong.

DULCITIUS. A few sweet words will work wonders!

DULCITIUS. A few nice words can do amazing things!

SOLDIERS. They despise flattery.

SOLDIERS. They hate flattery.

DULCITIUS. Then I shall woo in another fashion—with torture!

DULCITIUS. Then I’ll try a different approach—through torture!

SOLDIERS. They would not care.

SOLDIERS. They wouldn't care.

DULCITIUS. What’s to be done, then?

DULCITIUS. So, what should we do?

SOLDIERS. That is for you to find out.

SOLDIERS. That's for you to discover.

DULCITIUS. Lock them in the inner room—the one leading out of the passage where the pots and pans are kept.

DULCITIUS. Lock them in the inner room—the one that connects to the hallway where the pots and pans are stored.

SOLDIERS. Why there?

SOLDIERS. Why are they there?

DULCITIUS. I can visit them oftener.

DULCITIUS. I can visit them more often.

SOLDIERS. It shall be done.

SOLDIERS. It will be done.

Scene III

DULCITIUS. What can the prisoners be doing at this hour of night?

DULCITIUS. What could the prisoners be doing at this time of night?

SOLDIERS. They pass the time singing hymns.

SOLDIERS. They spend their time singing songs.

DULCITIUS. Let us approach.

DULCITIUS. Let’s go.

SOLDIERS. Now you can hear their silver-sweet voices in the distance.

SOLDIERS. Now you can hear their sweet voices in the distance.

DULCITIUS. Take your torches, and guard the doors. I will go in and enjoy myself in those lovely arms!

DULCITIUS. Grab your torches and watch the doors. I'm going in to have a good time in those beautiful arms!

SOLDIERS. Enter. We will wait for you here.

SOLDIERS. Come in. We'll wait for you here.

Scene IV

AGAPE. What noise is that outside the door?

AGAPE. What noise is coming from outside the door?

IRENA. It is that wretch Dulcitius.

It's that awful Dulcitius.

CHIONIA. Now may God protect us!

CHIONIA. Now may God watch over us!

AGAPE. Amen.

AGAPE. Amen.

CHIONIA. There is more noise! It sounds like the clashing of pots and pans and fire-irons.

CHIONIA. There’s more noise! It sounds like pots and pans banging and fire pokers clanging.

IRENA. I will go and look. Come quick and peep through the crack of the door!

IRENA. I'll go check. Come quickly and peek through the crack in the door!

AGAPE. What is it?

AGAPE. What’s that?

IRENA. Oh, look! He must be out of his senses! I believe he thinks that he is kissing us.

IRENA. Oh, look! He must be out of his mind! I think he believes he's kissing us.

AGAPE. What is he doing?

AGAPE. What’s he doing?

IRENA. Now he presses the saucepans tenderly to his breast, now the kettles and frying-pans! He is kissing them hard!

IRENA. Now he holds the saucepans close to his chest, and now the kettles and frying pans! He’s kissing them passionately!

CHIONIA. How absurd!

CHIONIA. That's ridiculous!

IRENA. His face, his hands, his clothes! They are all as black as soot. He looks like an Ethiope.

IRENA. His face, his hands, his clothes! They’re all as black as soot. He looks like he’s from Ethiopia.

AGAPE. I am glad. His body should turn black—to match his soul, which is possessed of a devil.

AGAPE. I’m glad. His body should turn black—to match his soul, which is possessed by a devil.

IRENA. Look! He is going now. Let us watch the soldiers and see what they do when he goes out.

IRENA. Look! He’s leaving now. Let’s watch the soldiers and see what they do when he goes out.

Scene V

SOLDIERS. What’s this? Either one possessed by the devil, or the devil himself. Let’s be off!

SOLDIERS. What’s going on? Either someone is possessed by the devil, or it's the devil himself. Let’s get out of here!

DULCITIUS. Soldiers, soldiers! Why do you hurry away? Stay, wait! Light me to my house with your torches.

DULCITIUS. Soldiers, soldiers! Why are you rushing off? Stay, wait! Lead me to my house with your torches.

SOLDIERS. The voice is our master’s voice, but the face is a devil’s. Come, let’s take to our heels! This devil means us no good.

SOLDIERS. The voice is our master's voice, but the face is that of a devil. Come on, let's get out of here! This devil doesn't mean us any good.

DULCITIUS. I will hasten to the palace. I will tell the whole court how I have been insulted.

DULCITIUS. I will rush to the palace. I will inform the entire court about how I was insulted.

Scene VI

DULCITIUS. Ushers, admit me at once. I have important business with the Emperor.

DULCITIUS. Ushers, let me in right away. I have something important to discuss with the Emperor.

USHERS. Who is this fearsome, horrid monster? Coming here in these filthy rags! Come, let us beat him and throw him down the steps. Stop him from coming further.

USHERS. Who is this terrifying, awful creature? Coming here in such dirty clothes! Come on, let’s hit him and throw him down the stairs. Stop him from coming any closer.

DULCITIUS. Ye gods, what has happened to me? Am I not dressed in my best? Am I not clean and fine in my person? And yet everyone who meets me expresses disgust at the sight of me and treats me as if I were some foul monster! I will go to my wife. She will tell me the truth. But here she comes. Her looks are wild, her hair unbound, and all her household follow her weeping.

DULCITIUS. Oh my gods, what’s happened to me? Am I not wearing my best clothes? Am I not clean and looking sharp? And yet everyone I encounter reacts with disgust at the sight of me and treats me like I’m some hideous monster! I’ll go to my wife. She’ll tell me the truth. But here she comes. She looks wild, her hair’s a mess, and all of her household is following her, crying.

Scene VII

WIFE OF DULCITIUS. My lord, my lord, what evil has come on you? Have you lost your reason, Dulcitius? Have the Christ-worshippers put a spell on you?

WIFE OF DULCITIUS. My lord, my lord, what has happened to you? Have you lost your mind, Dulcitius? Have the Christians cast a spell on you?

DULCITIUS. Now at last I know! Those artful women have made an ass of me!

DULCITIUS. Finally, I get it! Those clever women have made a fool out of me!

WIFE OF DULCITIUS. What troubled me most, and made my heart ache, was that you should not know there was anything amiss with you.

WIFE OF DULCITIUS. What upset me the most, and made my heart hurt, was that you should be unaware that something was wrong with you.

DULCITIUS. Those impudent wenches shall be stripped and exposed naked in public. They shall have a taste of the outrage to which I have been subjected!

DULCITIUS. Those bold girls will be stripped and exposed naked in public. They will experience the humiliation that I have faced!

Scene VIII

SOLDIERS. Here we are sweating like pigs and what’s the use? Their clothes cling to their bodies like their own skin. What’s more, our chief, who ordered us to strip them, sits there snoring, and there’s no way of waking him. We will go to the Emperor and tell him all that has passed.

SOLDIERS. Here we are sweating like crazy and for what? Their clothes stick to them like a second skin. On top of that, our leader, who told us to take their clothes off, is sitting there snoring, and there's no way to wake him up. We should go to the Emperor and tell him everything that’s happened.

Scene IX

DIOCLETIAN. I grieve to hear of the outrageous way in which the Governor Dulcitius has been insulted and hoaxed! But these girls shall not boast of having blasphemed our gods with impunity, or of having made a mock of those who worship them. I will entrust the execution of my vengeance to Count Sisinnius.

DIOCLETIAN. I’m deeply pained to hear about the horrible way Governor Dulcitius has been disrespected and tricked! But these girls won’t get away with insulting our gods or mocking those who worship them. I’ll hand over the execution of my revenge to Count Sisinnius.

Scene X

SISINNIUS. Soldiers, where are these impudent hussies who are to be put to the torture?

SISINNIUS. Soldiers, where are these shameless girls who are about to be tortured?

SOLDIERS. In there.

SOLDIERS. In here.

SISINNIUS. Keep Irena back, and bring the others here.

SISINNIUS. Hold Irena back, and bring the others over here.

SOLDIERS. Why is one to be treated differently?

SOLDIERS. Why should one person be treated differently?

SISINNIUS. She is young, and besides she may be more easily influenced when not intimidated by her sisters.

SISINNIUS. She's young, and she might be easier to sway when her sisters aren't around to pressure her.

SOLDIERS. That may be so.

SOLDIERS. That could be true.

Scene XI

SOLDIERS. We have brought the girls you asked for.

SOLDIERS. We have brought the girls you requested.

SISINNIUS. Agape, and you, Chionia, take my advice.

SISINNIUS. Listen to me, Agape, and you too, Chionia. Take my advice.

AGAPE. And if we do, what then?

AGAPE. And if we do, what happens next?

SISINNIUS. You will sacrifice to the gods.

SISINNIUS. You will make an offering to the gods.

AGAPE. We offer a perpetual sacrifice of praise to the true God, the eternal Father, to His Son, co-eternal, and to the Holy Ghost.

AGAPE. We continuously give thanks and praise to the one true God, the eternal Father, to His Son, who is eternal alongside Him, and to the Holy Spirit.

SISINNIUS. I do not speak of that sacrifice. That is prohibited on pain of the most severe penalties.

SISINNIUS. I'm not talking about that sacrifice. That's not allowed, and the penalties for it are extremely serious.

AGAPE. You have no power over us, and can never compel us to sacrifice to demons.

AGAPE. You have no control over us, and you can never force us to worship demons.

SISINNIUS. Do not be obstinate. Sacrifice to the gods, or by order of the Emperor Diocletian I must put you to death.

SISINNIUS. Don’t be stubborn. Sacrifice to the gods, or as ordered by Emperor Diocletian, I have to execute you.

CHIONIA. Your Emperor has ordered you to put us to death, and you must obey, as we scorn his decree. If you were to spare us out of pity, you also would die.

CHIONIA. Your Emperor has commanded you to execute us, and you must comply, as we defy his order. If you were to save us out of compassion, you would also face death.

SISINNIUS. Come, soldiers! Seize these blasphemers and fling them alive into the flames.

SISINNIUS. Come on, soldiers! Grab these offenders and throw them alive into the fire.

SOLDIERS. We will build a pyre at once. The fierceness of the fire will soon put an end to their insolence.

SOLDIERS. Let's build a pyre right away. The intensity of the fire will quickly put a stop to their disrespect.

AGAPE. O Lord, we know Thy power! It would not be anything strange or new if the fire forgot its nature and obeyed Thee. But we are weary of this world, and we implore Thee to break the bonds that chain our souls, and to let our bodies be consumed that we may rejoice with Thee in heaven.

AGAPE. O Lord, we know Your power! It wouldn't be anything strange or new if the fire forgot its nature and obeyed You. But we are tired of this world, and we ask You to break the chains that bind our souls, and to let our bodies be consumed so that we may rejoice with You in heaven.

SOLDIERS. O wonderful, most wonderful! Their spirits have left their bodies, but there is no sign of any hurt. Neither their hair, nor their garments, much less their bodies, have been touched by the flames!

SOLDIERS. Oh, amazing, truly amazing! Their spirits have left their bodies, yet there’s no trace of any injury. Neither their hair nor their clothes, let alone their bodies, have been affected by the flames!

SISINNIUS. Bring Irena here.

SISINNIUS. Bring Irena over.

SOLDIERS. There she is.

SOLDIERS. There she is.

Scene XII

SISINNIUS. Irena, take warning from the fate of your sisters, and tremble, for if you follow their example you will perish.

SISINNIUS. Irena, learn from what happened to your sisters and be scared, because if you imitate them, you will be doomed.

IRENA. I long to follow their example, and to die, that I may share their eternal joy.

IRENA. I wish to follow their example and die so that I can experience their eternal joy.

SISINNIUS. Yield, yield!

SISINNIUS. Give in, give in!

IRENA. I will yield to no man who persuades me to sin.

IRENA. I won’t give in to anyone who tries to convince me to do something wrong.

SISINNIUS. If you persist in your refusal, I shall not grant you a swift death. I shall eke it out and every day I shall increase and renew your torments.

SISINNIUS. If you keep refusing, I won't give you a quick death. I'll stretch it out, and every day I'll intensify and refresh your suffering.

IRENA. The greater my pain, the greater my glory!

IRENA. The more I hurt, the more I shine!

SISINNIUS. You are not afraid of being tortured, I know, but I can use another means that will be abhorrent to you.

SISINNIUS. I know you're not scared of being tortured, but I can use a different method that will disgust you.

IRENA. By Christ’s help I shall escape from all you can devise against me.

IRENA. With Christ’s help, I will break free from everything you plan against me.

SISINNIUS. I can send you to a house of ill-fame, where your body will be abominably defiled.

SISINNIUS. I can send you to a house of ill-repute, where your body will be terribly degraded.

IRENA. Better far that my body should suffer outrage than my soul.

IRENA. It’s much better for my body to endure harm than my soul.

SISINNIUS. When you are dishonoured and forced to live among harlots, you can no longer be numbered among the virgins.

SISINNIUS. When you’ve lost your honor and have to live among prostitutes, you can no longer be counted among the virgins.

IRENA. The wage of sin is death; the wage of suffering a crown. If the soul does not consent, there is not guilt.

IRENA. The price of sin is death; the price of suffering is a crown. If the soul doesn’t agree, there’s no guilt.

SISINNIUS. In vain I try to spare her, and show pity to her youth!

SISINNIUS. It's pointless for me to try to protect her and feel sorry for her youth!

SOLDIERS. We could have told you as much. She is not to be frightened, and nothing can make her worship the gods.

SOLDIERS. We could have told you that. She isn't someone to be scared, and nothing will make her believe in the gods.

SISINNIUS. I will show her no more mercy.

SISINNIUS. I'm done showing her mercy.

SOLDIERS. That is the only way to deal with her.

SOLDIERS. That's the only way to handle her.

SISINNIUS. Have no pity. Be rough with her, and drag her to the lowest brothel you can find.

SISINNIUS. Don't show any mercy. Be hard on her, and take her to the worst brothel you can find.

IRENA. They will never take me there.

IRENA. They will never take me there.

SISINNIUS. Indeed! What can prevent them?

SISINNIUS. Seriously! What could stop them?

IRENA. The power that rules the world.

IRENA. The force that governs the world.

SISINNIUS. We shall see.

SISINNIUS. We'll see.

IRENA. Yes! Sooner than you will like!

IRENA. Yes! Sooner than you’d prefer!

SISINNIUS. Soldiers, do not let the absurd prophecies of this woman interfere with your duty.

SISINNIUS. Soldiers, don’t let the ridiculous prophecies of this woman distract you from your duty.

SOLDIERS. We are not likely to be frightened by a slip of a girl! We will carry out your orders at once.

SOLDIERS. We're not going to be scared by a little girl! We'll follow your orders right away.

Scene XIII

SISINNIUS. Who are these men hurrying towards us? They cannot be the soldiers who took away Irena. Yet they resemble them. Yes, these are the men! Why have you returned so suddenly? Why are you panting for breath?

SISINNIUS. Who are these guys rushing towards us? They can't be the soldiers who took Irena away. But they look like them. Yes, these are the guys! Why have you come back so suddenly? Why are you out of breath?

SOLDIERS. We ran back to find you.

SOLDIERS. We rushed back to find you.

SISINNIUS. Where is the girl?

SISINNIUS. Where's the girl?

SOLDIERS. On the crest of the mountain.

SOLDIERS. At the top of the mountain.

SISINNIUS. What mountain?

SISINNIUS. Which mountain?

SOLDIERS. The mountain yonder, nearest this place.

SOLDIERS. The mountain over there, closest to this location.

SISINNIUS. O fools, madmen! Have you lost your senses?

SISINNIUS. Oh, fools, crazy people! Have you lost your minds?

SOLDIERS. What’s the matter? Why do you look at us so threateningly, and speak with such anger?

SOLDIERS. What’s wrong? Why are you looking at us like that and talking with so much anger?

SISINNIUS. May the gods crush you with their thunder!

SISINNIUS. May the gods strike you down with their lightning!

SOLDIERS. What have we done? How have we offended? We have only obeyed your orders.

SOLDIERS. What have we done? How have we upset you? We were just following your orders.

SISINNIUS. Fools! Did I not tell you to take this rebellious girl to a brothel?

SISINNIUS. Idiots! Didn’t I tell you to take this defiant girl to a brothel?

SOLDIERS. That is so, but while we were on the way up came two young strangers and told us you had sent them to take Irena to the summit of the mountain.

SOLDIERS. That's true, but while we were on our way, two young strangers approached us and said you had sent them to take Irena to the top of the mountain.

SISINNIUS. I learn this for the first time from you.

SISINNIUS. I'm hearing this for the first time from you.

SOLDIERS. So we see.

SOLDIERS. Got it.

SISINNIUS. What were these strangers like?

SISINNIUS. What were these strangers like?

SOLDIERS. They were gorgeously dressed and looked like people of rank.

SOLDIERS. They were elegantly dressed and seemed like people of high status.

SISINNIUS. Did you not follow them?

SISINNIUS. Didn’t you track them?

SOLDIERS. Yes, we followed them.

SOLDIERS. Yes, we followed.

SISINNIUS. What did they do?

SISINNIUS. What did they do?

SOLDIERS. They placed themselves one on each side of Irena, and told us to hasten and tell you what we had seen.

SOLDIERS. They positioned themselves on either side of Irena and instructed us to hurry and inform you about what we had witnessed.

SISINNIUS. Then there is nothing to do but for me to mount my horse and ride to the mountain to discover who has dared to play us this trick.

SISINNIUS. Then there’s nothing else to do but for me to get on my horse and ride up to the mountain to find out who has had the audacity to pull this stunt on us.

SOLDIERS. We will come too.

SOLDIERS. We’re coming too.

Scene XIV

SISINNIUS. What has happened to me? These Christians have bewitched me. I wander blindly round this hill, and when I stumble on a path I can neither follow it nor return upon my steps.

SISINNIUS. What’s happened to me? These Christians have put a spell on me. I wander aimlessly around this hill, and when I find a path, I can't follow it or go back the way I came.

SOLDIERS. We are all the sport of some strange enchantment. We are exhausted. If you let this madwoman live an hour longer it will be the death of us all.

SOLDIERS. We’re all caught up in some weird magic. We’re worn out. If you let this crazy woman live another hour, it will lead to our downfall.

SISINNIUS. Take a bow one of you, bend it as far as you can, and loose a shaft that shall pierce this devilish witch.

SISINNIUS. Take a bow, one of you, bend it as far as you can, and shoot an arrow that will hit this wicked witch.

SOLDIERS. That’s the way!

SOLDIERS. That's the spirit!

IRENA. You wretched Sisinnius! Do you not blush for your shameful defeat? Are you not ashamed that you could not overcome the resolution of a little child without resorting to force of arms?

IRENA. You miserable Sisinnius! Don’t you feel embarrassed by your disgraceful defeat? Aren’t you ashamed that you couldn’t beat the determination of a child without using violence?

SISINNIUS. I accept the shame gladly, since now I am sure of your death.

SISINNIUS. I gladly accept the shame, because now I know for sure that you will die.

IRENA. To me my death means joy, but to you calamity. For your cruelty you will be damned in Tartarus. But I shall receive the martyr’s palm, and, adorned with the crown of virginity, I shall enter the azure palace of the Eternal King, to Whom be glory and honour for ever and ever!

To me, my death means joy, but to you, it’s a disaster. Because of your cruelty, you’ll be damned in Tartarus. But I will receive the martyr’s palm, and, wearing the crown of virginity, I’ll enter the blue palace of the Eternal King, to whom be glory and honor forever and ever!

Callimachus

Argument

The resurrection of Drusiana and Callimachus.

The revival of Drusiana and Callimachus.

Callimachus cherishes a guilty passion for Drusiana, not only while she is alive but after she has died in the Lord. He dies from the bite of a serpent, but, thanks to the prayers of Saint John the Apostle, he is restored to life, together with Drusiana, and is born again in Christ.

Callimachus harbors a forbidden love for Drusiana, both during her life and after her death in the Lord. He dies from a snake bite, but thanks to the prayers of Saint John the Apostle, he comes back to life, alongside Drusiana, and is reborn in Christ.

Characters

  • CALLIMACHUS.
  • FRIENDS TO CALLIMACHUS.
  • DRUSIANA.
  • ANDRONICUS.
  • FORTUNATUS.
  • THE APOSTLE JOHN.

Callimachus

Scene I

CALLIMACHUS. My friends, a word with you.

CALLIMACHUS. Hey, friends, can I talk to you for a minute?

FRIENDS. We are at your service as long as you please.

FRIENDS. We are here to help you for as long as you need.

CALLIMACHUS. I should prefer to speak with you apart from the crowd.

CALLIMACHUS. I'd rather talk to you away from the crowd.

FRIENDS. What pleases you, pleases us.

FRIENDS. What makes you happy, makes us happy.

CALLIMACHUS. Then we will go to some quieter place where no one will interrupt us.

CALLIMACHUS. Then we’ll go somewhere quieter where no one will bother us.

FRIENDS. Just as you like.

FRIENDS. Exactly how you want.

Scene II

CALLIMACHUS. For a long time now I have been in great trouble. I hope that by confiding in you I shall find relief.

CALLIMACHUS. I've been in a lot of trouble for quite a while now. I hope that by sharing this with you I can find some relief.

FRIENDS. When a man tells his friends of his sufferings it is only fair that they should try to share them.

FRIENDS. When a man shares his struggles with his friends, it's only right that they try to carry some of that burden with him.

CALLIMACHUS. I would to heaven that you could lighten this load upon my heart!

CALLIMACHUS. I wish you could help take this weight off my heart!

FRIENDS. Well, tell us precisely what is wrong. We will grieve with you, if we must. If not, we can do our best to distract your mind.

FRIENDS. So, tell us exactly what’s bothering you. We’ll share your sorrow if we need to. If not, we can do our best to help take your mind off it.

CALLIMACHUS. I love—

CALLIMACHUS. I'm in love—

FRIENDS. What do you love?

FRIENDS. What do you enjoy?

CALLIMACHUS. A thing of beauty, a thing of grace!

CALLIMACHUS. A beautiful thing, a graceful thing!

FRIENDS. That is too vague! How can we tell from this what is the object of your love?

FRIENDS. That's too vague! How can we tell from this what or who you love?

CALLIMACHUS. Woman.

CALLIMACHUS. Female.

FRIENDS. Ah, now you say “woman” we all understand!

FRIENDS. Ah, now that you say "woman," we all get it!

CALLIMACHUS. By woman, I mean a woman.

CALLIMACHUS. When I say woman, I mean a woman.

FRIENDS. Clearer still! But it is impossible to give an opinion on a subject until the subject is defined. So name the woman.

FRIENDS. Even clearer! But it’s impossible to form an opinion on a topic until that topic is defined. So, name the woman.

CALLIMACHUS. Drusiana.

CALLIMACHUS. Drusiana.

FRIENDS. What? The wife of Prince Andronicus?

FRIENDS. What? The wife of Prince Andronicus?

CALLIMACHUS. Yes.

CALLIMACHUS. Yep.

FRIENDS. Nothing can come of that. She has been baptized.

FRIENDS. That won't lead anywhere. She has been baptized.

CALLIMACHUS. What do I care, if I can win her love?

CALLIMACHUS. What do I care, as long as I can win her love?

FRIENDS. You cannot.

FRIENDS. You can't.

CALLIMACHUS. What makes you say so?

CALLIMACHUS. Why do you say that?

FRIENDS. You are crying for the moon.

FRIENDS. You are wishing for something impossible.

CALLIMACHUS. Am I the first to do so? Have I not the example of many others to encourage me?

CALLIMACHUS. Am I the first person to do this? Aren't there plenty of others who inspire me?

FRIENDS. Now listen. This woman you sigh for is a follower of the holy Apostle John, and has devoted herself entirely to God. They say she will not even go to the bed of Andronicus although he is a devout Christian. Is it likely that she will listen to you?

FRIENDS. Now listen. This woman you’re longing for is a follower of the holy Apostle John and has completely dedicated herself to God. They say she won’t even go to bed with Andronicus, even though he’s a devout Christian. Do you really think she will listen to you?

CALLIMACHUS. I came to you for consolation, and instead you drive me to despair!

CALLIMACHUS. I came to you for comfort, and instead you push me to hopelessness!

FRIENDS. We should be poor friends if we consoled and flattered you at the expense of the truth.

FRIENDS. We would be bad friends if we comforted and flattered you at the cost of being honest.

CALLIMACHUS. Since you refuse to advise me, I will go to her and pour out my soul in words that would melt a heart of stone!

CALLIMACHUS. Since you won't help me, I'm going to go to her and share my feelings in a way that could soften even a heart of stone!

FRIENDS. Fool! it is hopeless!

FRIENDS. Fool! It’s pointless!

CALLIMACHUS. I defy the stars!

CALLIMACHUS. I challenge the stars!

FRIENDS. We shall see.

FRIENDS. We'll see.

Scene III

CALLIMACHUS. Drusiana, listen to me! Drusiana, my deepest heart’s love!

CALLIMACHUS. Drusiana, pay attention! Drusiana, my sincerest love!

DRUSIANA. Your words amaze me, Callimachus. What can you want of me?

DRUSIANA. Your words surprise me, Callimachus. What do you need from me?

CALLIMACHUS. You are amazed?

CALLIMACHUS. Are you surprised?

DRUSIANA. I am astounded.

DRUSIANA. I’m amazed.

CALLIMACHUS. First I want to speak of love!

CALLIMACHUS. First, I want to talk about love!

DRUSIANA. Love! What love?

DRUSIANA. Love? What is love?

CALLIMACHUS. That love with which I love you above all created things.

CALLIMACHUS. That love I have for you that surpasses all other things created.

DRUSIANA. Why should you love me? You are not of my kin. There is no legal bond between us.

DRUSIANA. Why should you love me? We're not related. There’s no legal connection between us.

CALLIMACHUS. It is your beauty.

CALLIMACHUS. It's your beauty.

DRUSIANA. My beauty?

My looks?

CALLIMACHUS. Yes.

CALLIMACHUS. Yup.

DRUSIANA. What is my beauty to you?

DRUSIANA. What does my beauty mean to you?

CALLIMACHUS. But little now—it is that which tortures me—but I hope that it may be much before long.

CALLIMACHUS. It's not much right now—that's what tortures me—but I hope it will be a lot soon.

DRUSIANA. Not a word more. Leave me at once, for it is a sin to listen to you now that I understand your devilish meaning.

DRUSIANA. Not another word. Leave me now, because it's wrong to listen to you now that I see your wicked intentions.

CALLIMACHUS. My Drusiana, do not kill me with your looks. Do not drive away one who worships you, but give back love for love.

CALLIMACHUS. My Drusiana, please don’t put me through this with your looks. Don’t push away someone who adores you; instead, return love for love.

DRUSIANA. Wicked, insidious words! They fall on deaf ears. Your love disgusts me. Understand I despise you!

DRUSIANA. Those are cruel and sneaky words! They go unheard. Your love repulses me. Just know that I can't stand you!

CALLIMACHUS. You cannot make me angry, because I know that you would own my passion moves you if you were not ashamed.

CALLIMACHUS. You can't make me mad because I know my feelings affect you if you weren't too embarrassed to show it.

DRUSIANA. It moves me to indignation, nothing else.

DRUSIANA. It just makes me angry, nothing more.

CALLIMACHUS. That feeling will not last.

CALLIMACHUS. That feeling won't last long.

DRUSIANA. I shall not change, be sure of that.

DRUSIANA. I won't change, that's for sure.

CALLIMACHUS. I would not be too sure.

CALLIMACHUS. I wouldn't be so sure.

DRUSIANA. You frantic, foolish man! Do not deceive yourself! Why delude yourself with vain hopes? What madness leads you to think that I shall yield? I have renounced even what is lawful—my husband’s bed!

DRUSIANA. You crazy, foolish man! Don’t fool yourself! Why are you deceiving yourself with empty hopes? What insanity makes you believe that I will give in? I have even turned my back on what is lawful—my husband’s bed!

CALLIMACHUS. I call heaven and earth to witness that if you do not yield I will never rest from the fight for you. I will be as cunning as the serpent. I will use all my skill and strength to trap you.

CALLIMACHUS. I call heaven and earth to witness that if you don’t give in, I will never stop fighting for you. I’ll be as clever as a snake. I’ll use all my skill and strength to trap you.

Scene IV

DRUSIANA. O Lord Jesus, what use is my vow of chastity? My beauty has all the same made this man love me. Pity my fears, O Lord. Pity the grief which has seized me. I know not what to do. If I tell anyone what has happened, there will be disorder in the city on my account; if I keep silence, only Thy grace can protect me from falling into the net spread for me. O Christ, take me to Thyself. Let me die swiftly. Save me from being the ruin of a soul!

DRUSIANA. O Lord Jesus, what good is my vow of chastity? My beauty has still made this man love me. Have mercy on my fears, O Lord. Have mercy on the sorrow that has overtaken me. I don’t know what to do. If I tell anyone what’s happened, it will cause chaos in the city because of me; if I stay silent, only Your grace can keep me from falling into the trap set for me. O Christ, take me to Yourself. Let me die quickly. Save me from causing someone to be lost!

ANDRONICUS. Drusiana, Drusiana! Christ, what blow has fallen on me! Drusiana is dead. Run one of you and fetch the holy man John.

ANDRONICUS. Drusiana, Drusiana! Oh my God, what has happened to me! Drusiana is dead. Somebody go get the holy man John.

Scene V

JOHN. Why do you weep, my son?

JOHN. Why are you crying, my son?

ANDRONICUS. Oh, horrible! O Lord, that life should suddenly become so hateful!

ANDRONICUS. Oh, how awful! O Lord, how could life become so unbearable all at once!

JOHN. What troubles you?

JOHN. What's bothering you?

ANDRONICUS. Drusiana, your disciple, Drusiana—

ANDRONICUS. Drusiana, your student, Drusiana—

JOHN. She has passed from the sight of men?

JOHN. Has she disappeared from everyone's view?

ANDRONICUS. Yes. And I am desolate.

ANDRONICUS. Yes. And I am heartbroken.

JOHN. It is not right to mourn so bitterly for those whose souls we know rejoice in peace.

JOHN. It’s not right to grieve so heavily for those whose spirits we know are at peace.

ANDRONICUS. God knows I do not doubt that her soul is in eternal joy, and that her incorrupt body will rise again. What grieves me so sorely is that in my presence just now she prayed for death. She begged she might die.

ANDRONICUS. God knows I don’t doubt that her soul is in eternal happiness, and that her pure body will rise again. What hurts me so deeply is that just now, in my presence, she prayed for death. She pleaded to die.

JOHN. You know her reason?

JOHN. Do you know why?

ANDRONICUS. I know it, and will tell you when I am less sick with grief.

ANDRONICUS. I know it, and I'll tell you when I'm feeling less overwhelmed with sadness.

JOHN. Come. We must celebrate the funeral rites with proper ceremony.

JOHN. Come on. We need to hold the funeral rites with the right ceremony.

ANDRONICUS. There is a marble tomb near here in which the body shall be laid, and our steward Fortunatus shall guard her grave.

ANDRONICUS. There's a marble tomb nearby where the body will be placed, and our steward Fortunatus will watch over her grave.

JOHN. It is right that she should be interred with honour. God rest her soul in peace.

JOHN. It’s only fitting that she should be buried with respect. May she rest in peace.

Scene VI

CALLIMACHUS. Fortunatus, Fortunatus, what is to become of me? Death itself cannot quench my love for Drusiana!

CALLIMACHUS. Fortunatus, Fortunatus, what’s going to happen to me? Not even death can put out my love for Drusiana!

FORTUNATUS. Poor wretch!

FORTUNATUS. Poor thing!

CALLIMACHUS. I shall die if you do not help me.

CALLIMACHUS. I'll die if you don't help me.

FORTUNATUS. How can I help you?

FORTUNATUS. How can I assist you?

CALLIMACHUS. In this. You can let me look on her, dead.

CALLIMACHUS. In this. You can let me see her, dead.

FORTUNATUS. Up to now the body is sound and whole, I reckon because it was not wasted with disease. As you know she was taken in a moment by a fever.

FORTUNATUS. So far, the body is healthy and intact, probably because it hasn't been weakened by illness. As you know, she was suddenly struck by a fever.

CALLIMACHUS. Oh, how happy I should be if I might see for myself.

CALLIMACHUS. Oh, how happy I would be if I could see it for myself.

FORTUNATUS. If you are willing to pay me well, you can do what you like.

FORTUNATUS. If you're ready to pay me generously, you can do whatever you want.

CALLIMACHUS. Here, take all I have with me, and be sure that I will give you more, much more, later.

CALLIMACHUS. Here, take everything I've got with me, and know that I will give you even more, a lot more, later.

FORTUNATUS. Quick, then! We’ll go to the tomb.

FORTUNATUS. Quick, then! Let’s head to the tomb.

CALLIMACHUS. You cannot go quickly enough for me.

CALLIMACHUS. You can't get here fast enough for me.

Scene VII

FORTUNATUS. There lies the body. The face is not like the face of a corpse. The limbs show no sign of decay. You can take her to your heart.

FORTUNATUS. There lies the body. The face doesn’t look like a corpse's face. The limbs show no sign of decay. You can hold her close to your heart.

CALLIMACHUS. O Drusiana, Drusiana, I worshipped you with my whole soul! I yearned from my very bowels to embrace you! And you repulsed me, and thwarted my desire. Now you are in my power, now I can wound you with my kisses, and pour out my love on you.

CALLIMACHUS. Oh Drusiana, Drusiana, I adored you with all my heart! I longed deeply to hold you! And you turned me away, blocking my every wish. Now you're at my mercy, and I can shower you with my kisses and express my love for you.

FORTUNATUS. Take care! A monstrous serpent! It is coming towards us!

FORTUNATUS. Watch out! A huge snake! It’s coming right at us!

CALLIMACHUS. A curse on me! And on you, Fortunatus, who led me on and urged me to this infamy. Wretch, may you die from the serpent’s bite! Terror and remorse are killing me.

CALLIMACHUS. Curse me! And curse you, Fortunatus, for leading me on and pushing me into this disgrace. You wretch, may you die from a snake's bite! Fear and regret are killing me.

Scene VIII

JOHN. Come, Andronicus, let us go to Drusiana’s tomb, and commend her soul to Christ in prayer.

JOHN. Come on, Andronicus, let's go to Drusiana’s tomb and pray for her soul in Christ.

ANDRONICUS. It is like your holiness not to forget one who trusted in you.

ANDRONICUS. It's like you not to forget someone who had faith in you.

JOHN. Behold! The invisible God appears to us, made visible in the form of a beautiful youth.

JOHN. Look! The invisible God is now visible to us, taking the form of a beautiful young man.

ANDRONICUS (To the Spectators). Tremble.8

ANDRONICUS (To the Audience). Tremble.__A_TAG_PLACEHOLDER_0__

JOHN. Lord Jesus, why hast Thou deigned to manifest Thyself to Thy servants in this place?

JOHN. Lord Jesus, why have You chosen to reveal Yourself to Your servants here?

GOD. To raise Drusiana from the dead, and with her him who lies outside her tomb, have I come, that in them My Name may be glorified.

GOD. I've come to bring Drusiana back to life, along with the one who lies outside her tomb, so that through them My Name may be honored.

ANDRONICUS. How swiftly He was caught up again into heaven!

ANDRONICUS. How quickly He was taken back up to heaven!

JOHN. I cannot altogether understand what this means.

JOHN. I can't fully grasp what this means.

ANDRONICUS. Let us go on to the tomb. It may be that there what is now obscure will become clear.

ANDRONICUS. Let's head to the tomb. Maybe what’s unclear now will become clear there.

Scene IX

JOHN. In Christ’s name, what miracle is this? The sepulchre is open, and Drusiana’s body has been cast forth. And near it lie two other corpses enlaced in a serpent’s coils.

JOHN. In Christ's name, what miracle is this? The tomb is open, and Drusiana's body has been thrown out. And next to it lie two other corpses entangled in a serpent's coils.

ANDRONICUS. I begin to understand. This is Callimachus, who while he lived was consumed with an unholy passion for Drusiana. It troubled her greatly and her distress brought on a fever. She prayed that she might die.

ANDRONICUS. I'm starting to get it. This is Callimachus, who, when he was alive, was consumed by a forbidden love for Drusiana. It troubled her a lot, and her distress caused her to fall ill. She prayed that she would die.

JOHN. Such was her love of chastity.

JOHN. That was how much she valued her purity.

ANDRONICUS. After her death the wretched man, crazed with love, and stung by the defeat of his wicked plan, was still more inflamed by desire.

ANDRONICUS. After her death, the miserable man, driven mad by love and burned by the failure of his evil scheme, was even more consumed by desire.

JOHN. Pitiable creature!

JOHN. Poor thing!

ANDRONICUS. I have no doubt that he bribed this unworthy servant to give him the opportunity for committing a detestable crime.

ANDRONICUS. I'm sure he bribed this worthless servant to give him the chance to commit a terrible crime.

JOHN. It is not to be believed!

JOHN: I can't believe this!

ANDRONICUS. But death struck both of them down before the deed was accomplished.

ANDRONICUS. But death took them both before they could finish the job.

JOHN. They met their deserts.

JOHN. They faced their consequences.

ANDRONICUS. What astonishes me most is that the Divine Voice should have promised the resurrection of him who planned the crime, and not of him who was only an accomplice. Maybe it is because the one, blinded by the passion of the flesh, knew not what he did, while the other sinned of deliberate malice.

ANDRONICUS. What amazes me the most is that the Divine Voice promised the resurrection of the one who orchestrated the crime, not the one who was just an accomplice. Perhaps it's because the former, blinded by fleshly desire, didn’t know what he was doing, while the latter sinned with full intent.

JOHN. With what wonderful exactness the Supreme Judge examines the deeds of men! How even the scales in which He weighs the merits of each individual man! None can understand, none explain. Human wisdom cannot grasp the subtlety of the divine judgment.

JOHN. How wonderfully precise the Supreme Judge is when examining the actions of humans! And how carefully He measures the merits of each person! No one can understand or explain it. Human wisdom can't comprehend the intricacies of divine judgment.

ANDRONICUS. So we should be content to marvel at it, as it is not in our power to attain a precise knowledge of the causes of things.

ANDRONICUS. So we should just admire it, since we can’t really know the exact reasons behind things.

JOHN. Often the sequel teaches us to understand better.

JOHN. Often the follow-up helps us understand better.

ANDRONICUS. Then, blessed John, do now what you were told to do. Raise Callimachus to life, and the knot of our perplexity may be untied.

ANDRONICUS. Then, blessed John, go ahead and do what you were instructed to do. Bring Callimachus back to life, and we might solve our confusion.

JOHN. First I must invoke the name of Christ to drive away the serpent. Then Callimachus shall be raised.

JOHN. First, I need to call on the name of Christ to banish the serpent. Then Callimachus will be brought back.

ANDRONICUS. You are right; else the venom of the creature might do him fresh injury.

ANDRONICUS. You’re right; otherwise, the creature's poison could hurt him again.

JOHN. Hence, savage monster! Away from this man, for now he is to serve Christ.

JOHN. Get away from him, you savage monster! This man is here to serve Christ now.

ANDRONICUS. Although the beast has no reason, it heeds your command.

ANDRONICUS. Even though the beast lacks reasoning, it responds to your command.

JOHN. Not through my power, but through Christ’s, it obeys me.

JOHN. It’s not my power, but Christ’s, that makes it obey me.

ANDRONICUS. Look! As swift as thought it has vanished!

ANDRONICUS. Look! It’s gone, just like that!

JOHN. O God, the world cannot contain nor the mind of man comprehend the wonders of Thy incalculable unity, Thou Who alone art what Thou art! O Thou Who by mingling different elements canst create man, and by separating those elements again canst dissolve him, grant that the spirit and the body of this Callimachus may be joined once more, and that he may rise again wholly as he was, so that all looking on him may praise Thee, Who alone canst work miracles!

JOHN. Oh God, the world cannot hold nor can the human mind understand the wonders of Your infinite unity, You Who are what You are! Oh You Who can create man by mixing different elements, and can dissolve him by separating those elements again, grant that the spirit and body of this Callimachus may be reunited, and that he may rise again fully as he was, so that all who see him may praise You, Who alone can perform miracles!

ANDRONICUS. Look! The breath of life stirs in him again, but he does not move.

ANDRONICUS. Look! He’s starting to breathe again, but he’s still not moving.

JOHN. Calhmachus! In the name of Christ, arise, and confess your sin! Do not keep back the smallest grain of the truth.

JOHN. Calhmachus! In the name of Christ, stand up and confess your sin! Don’t hold back even the tiniest part of the truth.

CALLIMACHUS. I cannot deny that I came here for an evil purpose, but the pangs of love consumed me. I was beside myself.

CALLIMACHUS. I can’t deny that I came here with bad intentions, but the agony of love overwhelmed me. I was out of my mind.

JOHN. What mad folly possessed you? That you should dare think of such a shameful outrage to the chaste dead!

JOHN. What crazy idea got into your head? How could you even think of such a disgraceful act against the pure dead!

CALLIMACHUS. Yes, I was mad; but this knave Fortunatus led me on.

CALLIMACHUS. Yes, I was foolish; but this trickster Fortunatus got me into it.

JOHN. And now, most miserable man, confess! Were you so vile as to do what you desired?

JOHN. And now, most miserable man, confess! Were you so despicable as to do what you wanted?

CALLIMACHUS. No! I could think of it, but I could not do it.

CALLIMACHUS. No! I could imagine it, but I couldn't make it happen.

JOHN. What prevented you?

What stopped you?

CALLIMACHUS. I had hardly touched the lifeless body—I had hardly drawn aside the shroud, when that fellow there, who has been the spark to my fire, died from the serpent’s poison.

CALLIMACHUS. I had barely touched the lifeless body—I had just pulled back the shroud when that guy over there, who has been the spark to my fire, died from the serpent’s poison.

ANDRONICUS. A good riddance!

ANDRONICUS. Good riddance!

CALLIMACHUS. At the same moment there appeared to me a young man, beautiful yet terrible, who reverently covered the corpse again. From his flaming face and breast burning coals flew out, and one of them, falling on me, touched my face. I heard a voice say, “Callimachus, die to live!” It was then I breathed my last.

CALLIMACHUS. At that moment, I saw a young man, stunning yet fearsome, who gently covered the corpse again. From his fiery face and chest, burning embers shot out, and one of them landed on me, singeing my face. I heard a voice say, “Callimachus, die to live!” That was when I took my last breath.

JOHN. Oh, heavenly grace! God delights not in the damnation of the wicked.

JOHN. Oh, heavenly grace! God does not take pleasure in the punishment of the wicked.

CALLIMACHUS. You have heard the dreadful tale of my temptation. I beg you not to delay the merciful remedy.

CALLIMACHUS. You’ve heard the horrible story of my temptation. I urge you not to put off the gracious solution.

JOHN. I will not delay it.

JOHN. I won't hold it up.

CALLIMACHUS. I am overwhelmed by the thought of my abominable crime. I repent with my whole heart, and bewail my sin.

CALLIMACHUS. I’m consumed by guilt over my terrible crime. I regret it completely and mourn for my wrongdoing.

JOHN. That is but right, for a great fault must be atoned for by a great repentance.

JOHN. That’s only fair, because a major mistake should be followed by a sincere apology.

CALLIMACHUS. Oh, if I could lay bare my heart and show you the bitter anguish I suffer, you would pity me!

CALLIMACHUS. Oh, if I could open my heart and show you the deep pain I'm feeling, you would feel sorry for me!

JOHN. Not so. Rather does your suffering fill me with joy, for I know that it will be your salvation.

JOHN. Not at all. Instead, your suffering brings me joy because I know it will lead to your salvation.

CALLIMACHUS. I loathe the delights of the flesh, and all the sins of my past life.

CALLIMACHUS. I despise the pleasures of the body and all the wrongs of my former life.

JOHN. That is well.

JOHN. That’s good.

CALLIMACHUS. I truly repent my foul deed.

CALLIMACHUS. I really regret my terrible action.

JOHN. Again that is well.

JOHN. That's good again.

CALLIMACHUS. I am filled with such remorse that I have no desire to live unless I can be born again in Christ and changed.

CALLIMACHUS. I'm so overwhelmed with remorse that I don't want to live unless I can be reborn in Christ and transformed.

JOHN. I do not doubt that heavenly grace is at work in you.

JOHN. I have no doubt that divine grace is at work in you.

CALLIMACHUS. Oh, hasten then to help a man in dire need! Give me some comfort! Help me to throw off the grief which crushes me! Show me how a Pagan may change into a Christian, a fornicator into a chaste man! Oh, set my feet on the way of truth! Teach me to live mindful of the divine promises!

CALLIMACHUS. Oh, hurry to help a man in desperate need! Give me some comfort! Help me shake off the grief that weighs me down! Show me how a Pagan can become a Christian, a sinner can become pure! Oh, guide me on the path of truth! Teach me to live aware of the divine promises!

JOHN. Now blessed be the only Son of God, Who made Himself partaker of our frailty, and showed you mercy, my son Callimachus, by striking you down with the death which has brought you to the true life. So has He saved the creature He made in His own image from the death of the soul.

JOHN. Now praise the only Son of God, Who joined us in our weakness and showed you mercy, my son Callimachus, by bringing you down with the death that has led you to true life. In this way, He has saved the creature He made in His own image from the death of the soul.

ANDRONICUS. Most strange, most wonderful miracle!

ANDRONICUS. Such a strange, amazing miracle!

JOHN. O Christ, redemption of the world, and sinners’ atonement, I have no words to praise Thee! The sweetness of Thy compassion amazes me. Now Thou dost win the sinner with gentleness, now Thou dost chastise him with just severity, and callest on him to do penance.

JOHN. Oh Christ, redeemer of the world and atonement for sinners, I have no words to praise You! The kindness of Your compassion amazes me. Sometimes You win over the sinner with gentleness, and sometimes You discipline him with rightful severity, calling him to repent.

ANDRONICUS. Glory to His divine goodness!

ANDRONICUS. Glory to His divine goodness!

JOHN. Who would have presumed to hope that a man like this, intent on a wicked deed when death overtook him, would be raised to life again, and given the chance of making reparation! Blessed be Thy name for ever and ever, O Thou Who alone canst do these wondrous things!

JOHN. Who would have thought that a man like him, focused on doing something evil when death caught up with him, would be brought back to life and given the chance to make amends! Blessed be Your name forever and ever, O You Who alone can do these amazing things!

ANDRONICUS. Holy John, give me some comfort too. The love I bear my dead wife will not let me rest until I have seen her also called back from the dead.

ANDRONICUS. Holy John, give me some comfort too. The love I have for my deceased wife won't let me rest until I see her brought back from the dead as well.

JOHN. Drusiana, our Lord Jesus Christ calls you back to life!

JOHN. Drusiana, our Lord Jesus Christ is bringing you back to life!

DRUSIANA. Glory and praise to Thee, O Lord, Who hast made me live again!

DRUSIANA. Glory and praise to You, O Lord, Who have brought me back to life!

CALLIMACHUS. Thanks be to that merciful power, my Drusiana, through which you, who left this life in such sorrow, rise again in joy!

CALLIMACHUS. Thank goodness for that compassionate force, my Drusiana, through which you, who departed this life in such sadness, rise again in happiness!

DRUSIANA. Venerable father John, you have restored to life Callimachus, who loved me sinfully. Should you not also raise from the dead the man who betrayed my buried body?

DRUSIANA. Respectful father John, you have brought Callimachus back to life, who loved me wrongly. Shouldn't you also revive the man who betrayed my buried body?

CALLIMACHUS. Apostle of Christ, do not believe it! Will you release from the fetters of death this evil creature, this traitor, who led me away and persuaded me to venture on that horrible deed?

CALLIMACHUS. Apostle of Christ, don’t believe it! Will you set free from the chains of death this wicked being, this traitor, who led me astray and convinced me to commit that terrible act?

JOHN. You should not wish to deprive him of divine mercy, my son.

JOHN. You shouldn’t want to deny him of divine mercy, my son.

CALLIMACHUS. He tried to ruin me! He is not worthy of resurrection!

CALLIMACHUS. He tried to destroy me! He doesn't deserve to come back to life!

JOHN. We are taught by our faith that man must forgive his fellow-man if he would be forgiven by God.

JOHN. Our faith teaches us that we must forgive others if we want to be forgiven by God.

ANDRONICUS. That is true.

ANDRONICUS. That's true.

JOHN. Remember that when the only Son of God, the Virgin’s first-born, the one man born without a stain, came into this world, He found us all bowed under the heavy weight of sin.

JOHN. Remember that when the only Son of God, the Virgin’s first-born, the one man born without sin, came into this world, He found us all weighed down by the burden of sin.

ANDRONICUS. True again.

ANDRONICUS. True again.

JOHN. And though not one of us was guiltless, He deprived no one of His mercy, but offered Himself for all, and for all laid down His life in love.

JOHN. And even though none of us were without fault, He didn't deny anyone His mercy, but gave Himself for everyone and laid down His life out of love for all.

ANDRONICUS. Had the Innocent One not been slain, none of us would have been saved.

ANDRONICUS. If the Innocent One hadn't been killed, none of us would have been saved.

JOHN. He cannot rejoice in the damnation of those whom He bought with His blood.

JOHN. He cannot take pleasure in the damnation of those He purchased with His blood.

ANDRONICUS. To Him be praise!

ANDRONICUS. Praise Him!

JOHN. This is why we must not grudge the grace of God to anyone. It is no merit of ours if it abounds in ourselves.

JOHN. This is why we shouldn't resent God's grace given to anyone. It's not an achievement of ours if it flows abundantly within us.

CALLIMACHUS. Your rebuke makes me ashamed.

CALLIMACHUS. Your criticism makes me feel embarrassed.

JOHN. Yet it is not for me to oppose you. Drusiana, inspired by God Himself shall raise this man.

JOHN. Still, I can't go against you. Drusiana, guided by God Himself, will bring this man back to life.

DRUSIANA. Divine Essence without material form, Who hast made man in Thine own image and breathed into this clay the spirit of life, bring back the vital heat to the body of Fortunatus, that our triple resurrection may glorify the adorable Trinity.

DRUSIANA. Divine Essence without physical form, You who created man in Your own image and breathed life into this clay, restore the warm spirit to Fortunatus’s body, so that our triple resurrection may honor the beloved Trinity.

JOHN. Amen.

JOHN. Agreed.

DRUSIANA. Fortunatus, awake, and in the name of Christ burst the bonds of death.

DRUSIANA. Fortunatus, wake up, and in the name of Christ, break free from the bonds of death.

FORTUNATUS. Who wakes me? Who takes my hand? Who calls me back to life?

FORTUNATUS. Who's waking me up? Who's holding my hand? Who's bringing me back to life?

JOHN. Drusiana.

JOHN. Drusiana.

FORTUNATUS. How can that be? Only a few days since she died.

FORTUNATUS. How is that possible? It was only a few days ago that she died.

JOHN. Yes, but now, through the power of Christ, she lives again.

JOHN. Yes, but now, thanks to the power of Christ, she is alive again.

FORTUNATUS. And is that Callimachus who stands there? By his sober and pious look one would think he is no longer dying of love for his Drusiana!

FORTUNATUS. Is that Callimachus over there? With his serious and pious expression, you'd think he's finally stopped suffering from his love for Drusiana!

JOHN. All that is changed. Now he loves and serves Christ.

JOHN. Everything has changed. Now he loves and serves Christ.

FORTUNATUS. No!

No way!

JOHN. It is true.

JOHN. It's true.

FORTUNATUS. If it is as you say, if Drusiana has restored me to life and Callimachus believes in Christ, I reject life and choose death. I would rather not exist than see them swelling with grace and virtue!

FORTUNATUS. If it's true what you say, that Drusiana brought me back to life and Callimachus believes in Christ, I'd rather not live and choose death. I’d prefer to not exist than watch them flourish with grace and virtue!

JOHN. Oh, incredible envy of the devil! Oh, malice of the old serpent, who since he made our first parents taste death has never ceased to writhe at the glory of the righteous! Oh, Fortunatus, brimful of Satan’s bitter gall, how much do you resemble the rotten tree that, bearing only bad fruit, must be cut down and cast into the fire! To the fire you must go, where, deprived of the society of those who fear God, you will be tormented without respite for ever.

JOHN. Oh, the unbelievable envy of the devil! Oh, the malice of the old serpent, who since making our first parents face death has never stopped twisting in rage at the glory of the righteous! Oh, Fortunatus, filled with Satan’s bitter poison, how much you resemble the rotten tree that, bearing only bad fruit, must be cut down and thrown into the fire! Into the fire you must go, where, cut off from the company of those who fear God, you will be tormented endlessly.

ANDRONICUS. Look! Oh, look! His wounds have opened again. He has been taken at his word. He is dying.

ANDRONICUS. Look! Oh, look! His wounds have opened up again. He took what he said literally. He’s dying.

JOHN. Let him die and go down to hell, who through envious spite rejected the gift of life.

JOHN. Let him die and go to hell, who out of envy refused the gift of life.

ANDRONICUS. A terrible fate.

ANDRONICUS. A terrible fate.

JOHN. Nothing is more terrible than envy, nothing more evil than pride.

JOHN. There’s nothing worse than envy, nothing more harmful than pride.

ANDRONICUS. Both are vile.

ANDRONICUS. Both are terrible.

JOHN. The man who is the victim of one is the victim of the other, for they have no separate existence.

JOHN. The person who suffers from one is also suffering from the other, because they don't exist separately.

ANDRONICUS. Please explain.

ANDRONICUS. Please clarify.

JOHN. The proud are envious, and the envious are proud. A jealous man cannot endure to hear others praised, and seeks to belittle those who are more perfect. He disdains to take a lower place, and arrogantly seeks to be put above his equals.

JOHN. The proud feel envy, and the envious feel pride. A jealous person can’t stand to hear others being praised and tries to bring down those who are better than him. He refuses to accept a lower position and arrogantly tries to elevate himself above his peers.

ANDRONICUS. That is clear.

ANDRONICUS. That’s clear.

JOHN. This wretched man’s pride was wounded. He could not endure the humiliation of recognizing his inferiority to these two in whom he could not deny God had made more grace to shine.

JOHN. This miserable man's pride was hurt. He couldn't stand the humiliation of admitting he was inferior to these two, in whom he couldn't deny God had given more grace to shine.

ANDRONICUS. I understand now why his resurrection was not spoken of. It was known he would die again.

ANDRONICUS. I get why no one talked about his resurrection. Everyone knew he would die again.

JOHN. He deserved to die twice, for to his crime of profaning the sacred grave entrusted to him, he added hatred and envy of those who had been restored to life.

JOHN. He deserved to die twice because, besides committing the crime of desecrating the holy grave entrusted to him, he also felt hatred and envy toward those who had been brought back to life.

ANDRONICUS. The wretched creature is dead now.

ANDRONICUS. The poor thing is dead now.

JOHN. Come, let us go—Satan must have his own. This day shall be kept as a festival in thanksgiving for the wonderful conversion of Callimachus. Men shall long speak of it, and of his resurrection from the dead, and of Drusiana, on whom his love brought misery. Let us give thanks to God, that just and penetrating Judge Who alone can search the heart and reins and reward or punish fairly. To Him alone be honour, strength, glory, praise, and blessing, world without end. Amen.

JOHN. Come on, let’s go—Satan will have his due. This day will be celebrated as a festival to give thanks for the incredible transformation of Callimachus. People will talk about it for a long time, along with his rising from the dead, and of Drusiana, who suffered because of his love. Let’s thank God, the just and insightful Judge Who alone can see into our hearts and minds and reward or punish fairly. To Him alone be honor, strength, glory, praise, and blessings, now and forever. Amen.

Abraham

Argument

The fall and repentance of Mary, the niece of the hermit Abraham, who, after she has spent twenty years in the religious life as a solitary, abandons it in despair, and, returning to the world, does not shrink from becoming a harlot. But two years later Abraham, in the disguise of a lover, seeks her out and reclaims her. For twenty years she does penance for her sins with many tears, fastings, vigils, and prayers.

The fall and repentance of Mary, the niece of the hermit Abraham, who, after spending twenty years living a solitary religious life, abandons it in despair and returns to the world, even becoming a prostitute. But two years later, Abraham, disguised as a lover, finds her and brings her back. For twenty years, she atones for her sins with countless tears, fasting, sleepless nights, and prayers.

Characters

  • ABRAHAM.
  • EPHREM.
  • MARY.
  • A FRIEND TO ABRAHAM.
  • AN INN-KEEPER.

Abraham

Scene I

ABRAHAM. Brother Ephrem, my dear comrade in the hermit life, may I speak to you now, or shall I wait until you have finished your divine praises?

ABRAHAM. Brother Ephrem, my dear friend in the hermit life, can I talk to you now, or should I wait until you're done with your prayers?

EPHREM. And what can you have to say to me which is not praise of Him Who said: “Where two or three are gathered together in My Name, I am with them”?

EPHREM. What could you possibly say to me that isn't praise for Him Who said: “Where two or three are gathered together in My Name, I am with them”?

ABRAHAM. I have not come to speak of anything which He would not like to hear.

ABRAHAM. I haven't come to talk about anything He wouldn't want to hear.

EPHREM. I am sure of it. So speak at once.

EPHREM. I'm sure of it. So go ahead and speak.

ABRAHAM. It concerns a decision I have to make. I long for your approval.

ABRAHAM. It's about a decision I need to make. I really want your approval.

EPHREM. We have one heart and one soul. We ought to agree.

EPHREM. We’re united in heart and soul. We should be on the same page.

ABRAHAM. I have a little niece of tender years. She has lost both her parents, and my affection for her has been deepened by compassion for her lonely state. I am in constant anxiety on her account.

ABRAHAM. I have a young niece. She has lost both her parents, and my love for her has grown because I feel sorry for her lonely situation. I am constantly worried about her.

EPHREM. Ought you who have triumphed over the world to be vexed by its cares!

EPHREM. Should you, who have conquered the world, really be troubled by its worries!

ABRAHAM. My only care is her radiant beauty! What if it should one day be dimmed by sin.

ABRAHAM. My only concern is her stunning beauty! What if one day it gets tarnished by sin?

EPHREM. No one can blame you for being anxious.

EPHREM. No one can fault you for being worried.

ABRAHAM. I hope not.

ABRAHAM. I really hope not.

EPHREM. How old is she?

EPHREM. How old is she now?

ABRAHAM. At the end of this year she will be eight.

ABRAHAM. By the end of this year, she will be eight.

EPHREM. She is very young.

EPHREM. She's really young.

ABRAHAM. That does not lessen my anxiety.

ABRAHAM. That doesn’t reduce my anxiety.

EPHREM. Where does she live?

EPHREM. Where does she stay?

ABRAHAM. At my hermitage now; for at the request of her other kinsfolk I have undertaken to bring her up. The fortune left her ought, I think, to be given to the poor.

ABRAHAM. I'm at my hermitage now; because her other relatives asked me, I've taken on the responsibility of raising her. I believe the fortune she inherited should be given to the poor.

EPHREM. A mind taught so early to despise temporal things should be fixed on heaven.

EPHREM. A mind trained early to disregard worldly things should focus on heaven.

ABRAHAM. I desire with all my heart to see her the spouse of Christ and devoted entirely to His service.

ABRAHAM. I truly want to see her as the bride of Christ and fully dedicated to His service.

EPHREM. A praiseworthy wish.

Ephrem. A commendable wish.

ABRAHAM. I was inspired by her name.

ABRAHAM. Her name motivated me.

EPHREM. What is she called?

EPHREM. What’s her name?

ABRAHAM. Mary.

ABRAHAM. Mary.

EPHREM. Mary! Such a name ought to be adorned with the crown of virginity.

EPHREM. Mary! A name like that should be honored with the crown of virginity.

ABRAHAM. I have no fear that she will be unwilling, but we must be gentle.

ABRAHAM. I'm not worried that she will refuse, but we need to be gentle.

EPHREM. Come, let us go, and impress on her that no life is so sweet and secure as the religious one.

EPHREM. Come on, let’s go and let her know that no life is as sweet and secure as the religious life.

Scene II

ABRAHAM. Mary, my child by adoption, whom I love as my own soul! Listen to my advice as to a father’s, and to Brother Ephrem’s as that of a very wise man. Strive to imitate the chastity of the holy Virgin whose name you bear.

ABRAHAM. Mary, my adopted child, whom I love like my own! Listen to my advice as if it were coming from a father, and to Brother Ephrem’s as advice from a very wise man. Aim to imitate the purity of the holy Virgin whose name you carry.

EPHREM. Child, would it not be a shame if you, who through the mystery of your name are called to mount to the stars where Mary the mother of God reigns, chose instead the low pleasures of the earth?

EPHREM. Child, wouldn’t it be a shame if you, who are named for the divine and are called to rise to the stars where Mary, the mother of God, reigns, chose instead the petty pleasures of this world?

MARY. I know nothing about the mystery of my name, so how can I tell what you mean?

MARY. I don't know anything about the mystery of my name, so how can I understand what you're talking about?

EPHREM. Mary, my child, means “star of the sea”—that star which rules the world and all the peoples in the world.

EPHREM. Mary, my child, means “star of the sea”—that star that governs the world and all its people.

MARY. Why is it called the star of the sea?

MARY. Why is it called the Star of the Sea?

EPHREM. Because it never sets, but shines always in the heavens to show mariners their right course.

EPHREM. Because it never goes down, but always shines in the sky to guide sailors on their correct path.

MARY. And how can such a poor thing as I am—made out of slime, as my uncle says—shine like my name?

MARY. And how can someone as poor as I am—made of mud, as my uncle says—shine like my name?

EPHREM. By keeping your body unspotted, and your mind pure and holy.

EPHREM. By keeping your body clean and your mind pure and holy.

MARY. It would be too great an honour for any human being to become like the stars.

MARY. It would be too great an honor for any human to become like the stars.

EPHREM. If you choose you can be as the angels of God, and when at last you cast off the burden of this mortal body they will be near you. With them you will pass through the air, and walk on the sky. With them you will sweep round the zodiac, and never slacken your steps until the Virgin’s Son takes you in His arms in His mother’s dazzling bridal room!

EPHREM. If you want, you can be like the angels of God, and when you finally let go of this mortal body, they will be with you. With them, you'll soar through the air and walk across the sky. Together, you'll circle the zodiac and never stop moving until the Virgin’s Son embraces you in His mother's stunning bridal chamber!

MARY. Who but an ass would think little of such happiness! So I choose to despise the things of earth, and deny myself now that I may enjoy it!

MARY. Who but a fool would underestimate such happiness! So I choose to disregard the things of this world and deny myself now so that I can enjoy it later!

EPHREM. Out of the mouths of babes and sucklings! A childish heart, but a mature mind!

EPHREM. From the lips of children and infants! A youthful heart, but a wise mind!

ABRAHAM. God be thanked for it!

ABRAHAM. Thank goodness for it!

EPHREM. Amen to that.

EPHREM. Amen.

ABRAHAM. But though by God’s grace she has been given the light, at her tender age she must be taught how to use it.

ABRAHAM. But even though God has given her the light by His grace, at her young age she needs to be taught how to use it.

EPHREM. You are right.

Ephrem. You're right.

ABRAHAM. I will build her a little cell with a narrow entrance near my hermitage. I can visit her there often, and through the window instruct her in the psalter and other pages of the divine law.

ABRAHAM. I will create a small room with a narrow entrance close to my hermitage. I can visit her there frequently, and through the window, teach her the psalms and other parts of the divine law.

EPHREM. That is a good plan.

EPHREM. That's a solid plan.

MARY. I put myself under your direction, Father Ephrem.

MARY. I'm putting myself in your hands, Father Ephrem.

EPHREM. My daughter! May the Heavenly Bridegroom to Whom you have given yourself in the tender bud of your youth shield you from the wiles of the devil!

EPHREM. My daughter! May the Heavenly Bridegroom to whom you have committed yourself in the early blossom of your youth protect you from the tricks of the devil!

Scene III

ABRAHAM. Brother Ephrem, Brother Ephrem! When anything happens, good or bad, it is to you I turn. It is your counsel I seek. Do not turn your face away, brother—do not be impatient, but help me.

ABRAHAM. Brother Ephrem, Brother Ephrem! Whenever something happens, whether good or bad, I come to you. I seek your advice. Please don’t look away, brother—don’t be impatient, but help me.

EPHREM. Abraham, Abraham, what has come to you? What is the cause of this immoderate grief? Ought a hermit to weep and groan after the manner of the world?

EPHREM. Abraham, Abraham, what’s wrong? Why are you feeling such overwhelming sadness? Shouldn't a hermit be above weeping and groaning like everyone else?

ABRAHAM. Was any hermit ever so stricken? I cannot bear my sorrow.

ABRAHAM. Has any hermit ever felt such pain? I can't handle my sorrow.

EPHREM. Brother, no more of this. To the point; what has happened?

EPHREM. Brother, enough of this. Just get to the point; what’s happened?

ABRAHAM. Mary! Mary! my adopted child! Mary, whom I cared for so lovingly and taught with all my skill for ten years! Mary—

ABRAHAM. Mary! Mary! my adopted child! Mary, whom I took care of so lovingly and taught with all my skills for ten years! Mary—

EPHREM. Well, what is it?

EPHREM. So, what’s up?

ABRAHAM. Oh God! She is lost!

ABRAHAM. Oh God! She's gone!

EPHREM. Lost? What do you mean?

EPHREM. Lost? What are you talking about?

ABRAHAM. Most miserably. Afterwards she ran away.

ABRAHAM. It was really miserable. Later, she ran away.

EPHREM. But by what wiles did the ancient enemy bring about her undoing?

EPHREM. But how did the old enemy trick her into falling apart?

ABRAHAM. By the wiles of false love. Dressed in a monk’s habit, the hypocrite went to see her often. He succeeded in making the poor ignorant child love him. She leapt from the window of her cell for an evil deed.

ABRAHAM. Through the tricks of fake love. Dressed in a monk's robe, the hypocrite visited her frequently. He managed to make the poor, naive girl fall in love with him. She jumped from the window of her room to commit a wicked act.

EPHREM. I shudder as I listen to you.

EPHREM. I feel chills as I hear you.

ABRAHAM. When the unhappy girl knew that she was ruined, she beat her breast and dug her nails into her face. She tore her garments, pulled out her hair. Her despairing cries were terrible to hear.

ABRAHAM. When the devastated girl realized that her life was ruined, she pounded her chest and scratched her face. She ripped her clothes and pulled out her hair. Her anguished screams were horrifying to hear.

EPHREM. I am not surprised. For such a fall a whole fountain of tears should rise.

EPHREM. I'm not surprised. Such a fall should bring up a whole fountain of tears.

ABRAHAM. She moaned out that she could never be the same—

ABRAHAM. She sighed that she could never be the same—

EPHREM. Poor, miserable girl!

Ephrem. Poor, miserable girl!

ABRAHAM. And reproached herself for having forgotten our warning.

ABRAHAM. And she scolded herself for having ignored our warning.

EPHREM. She might well do so.

EPHREM. She could definitely do that.

ABRAHAM. She cried that all her vigils, prayers, and fasts had been thrown away.

ABRAHAM. She said that all her watchful nights, prayers, and fasting had been for nothing.

EPHREM. If she perseveres in this penitence she will be saved.

EPHREM. If she continues with this repentance, she will be saved.

ABRAHAM. She has not persevered. She has added worse to her evil deed.

ABRAHAM. She hasn't kept at it. She's made her wrongdoing even worse.

EPHREM. Oh, this moves me to the depths of my heart!

EPHREM. Oh, this touches me deeply!

ABRAHAM. After all these tears and lamentations she was overcome by remorse, and fell headlong into the abyss of despair.

ABRAHAM. After all these tears and sadness, she was overcome with regret and plunged straight into a deep pit of despair.

EPHREM. A bitter business!

Ephrem. A tough situation!

ABRAHAM. She despaired of being able to win pardon, and resolved to go back to the world and its vanities.

ABRAHAM. She gave up hope of being forgiven and decided to return to the world and its distractions.

EPHREM. I cannot remember when the devil could boast of such a triumph over the hermits.

EPHREM. I can't recall a time when the devil had such a victory over the hermits.

ABRAHAM. Now we are at the mercy of the demons.

ABRAHAM. Now we are at the mercy of the demons.

EPHREM. I marvel that she could have escaped without your knowledge.

EPHREM. I’m amazed that she could have gotten away without you knowing.

ABRAHAM. If I had not been so blind! I ought to have paid more heed to that terrible vision. Yes, I see now that it was sent to warn me.

ABRAHAM. If I hadn't been so blind! I should have paid more attention to that awful vision. Yes, I see now that it was meant to warn me.

EPHREM. What vision?

EPHREM. Which vision?

ABRAHAM. I dreamed I was standing at the door of my cell, and that a huge dragon with a loathsome stench rushed violently towards me. I saw that the creature was attracted by a little white dove at my side. It pounced on the dove, devoured it, and vanished.

ABRAHAM. I dreamt I was standing at the door of my cell, and a massive dragon with a disgusting smell came rushing towards me. I noticed that the creature was drawn to a small white dove beside me. It lunged at the dove, gobbled it up, and then disappeared.

EPHREM. There is no doubt what this vision meant.

EPHREM. There's no doubt about what this vision meant.

ABRAHAM. When I woke I turned over in my mind what I had seen, and took it as a sign of some persecution threatening the Church, through which many of the faithful would be drawn into error. I prostrated myself in prayer, and implored Him Who knows the future to enlighten me.

ABRAHAM. When I woke up, I thought about what I had seen and took it as a warning of some trouble coming to the Church, through which many believers might be led astray. I bowed down in prayer and asked Him Who knows the future to help guide me.

EPHREM. You did right.

Ephrem. You did the right thing.

ABRAHAM. On the third night after the vision, when for weariness I had fallen asleep, I saw the beast again, but now it was lying dead at my feet, and the dove was flying heavenwards safe and unhurt.

ABRAHAM. On the third night after the vision, when I had fallen asleep from exhaustion, I saw the beast again, but this time it was lying dead at my feet, and the dove was soaring up to the heavens, safe and unharmed.

EPHREM. I am rejoiced to hear this, for to my thinking it means that some day Mary will return to you.

EPHREM. I'm glad to hear this because I believe it means that one day Mary will come back to you.

ABRAHAM. I was trying to get rid of the uneasiness with which the first vision had filled me by thinking of the second, when my little pupil in her cell came to my mind. I remembered, although at the time I was not alarmed, that for two days I had not heard her chanting the divine praises.

ABRAHAM. I was trying to shake off the anxiety that the first vision had caused me by focusing on the second, when my little student in her cell popped into my thoughts. I recalled, though I wasn't worried at the moment, that for two days I hadn't heard her singing the divine praises.

EPHREM. You were too tardy in noticing this.

EPHREM. You were too late in noticing this.

ABRAHAM. I admit it. I went at once to her cell, and, knocking at the window, I called her again and again, “Mary! My child! Mary!”

ABRAHAM. I admit it. I went straight to her room, and, knocking on the window, I kept calling her, “Mary! My child! Mary!”

EPHREM. You called in vain?

EPHREM. Did you call for nothing?

ABRAHAM. “Mary,” I said. “Mary, my child, what is wrong? Why are you not saying your office?” It was only when I did not hear the faintest sound that I suspected.

ABRAHAM. “Mary,” I said. “Mary, my child, what’s wrong? Why aren’t you saying your office?” It was only when I didn’t hear the slightest sound that I started to suspect.

EPHREM. What did you do then?

EPHREM. What did you do next?

ABRAHAM. When I could no longer doubt that she had gone, I was struck with fear to my very bowels. I trembled in every limb.

ABRAHAM. When I could no longer doubt that she was gone, I was filled with fear deep inside. I shook in every part of my body.

EPHREM. I do not wonder, since I, hearing of it, find myself trembling all over.

EPHREM. I’m not surprised, because just hearing about it makes me shake all over.

ABRAHAM. Then I wept and cried out to the empty air, “What wolf has seized my lamb? What thief has stolen my little daughter?”

ABRAHAM. Then I cried and shouted into the empty air, “What wolf has taken my lamb? Who has stolen my little girl?”

EPHREM. You had good cause to weep! To lose her whom you had cherished so tenderly!

EPHREM. You had every right to cry! Losing someone you cared for so deeply!

ABRAHAM. At last some people came up who knew what had happened. From them I learned that she had gone back to the world.

ABRAHAM. Finally, some people arrived who knew what had happened. From them, I found out that she had returned to the world.

EPHREM. Where is she now?

EPHREM. Where is she at now?

ABRAHAM. No one knows.

ABRAHAM. Nobody knows.

EPHREM. What is to be done?

EPHREM. What should we do now?

ABRAHAM. I have a faithful friend, who is searching all the cities and towns in the country. He says he will never give up until he finds her.

ABRAHAM. I have a loyal friend who is searching through every city and town in the country. He says he won’t stop until he finds her.

EPHREM. And if he finds her—what then?

EPHREM. And if he finds her—then what?

ABRAHAM. Then I shall change these clothes, and in the guise of a worldling seek her out. It may be that she will heed what I say, and even after this shipwreck turn again to the harbour of her innocence and peace.

ABRAHAM. Then I'll change these clothes and, pretending to be a regular person, I'll look for her. Maybe she'll listen to what I say and, even after this disaster, find her way back to the safety and tranquility of her innocence.

EPHREM. And suppose that in the world they offer you flesh meat and wine?

EPHREM. What if they offer you meat and wine in the world?

ABRAHAM. If they do, I shall not refuse; otherwise I might be recognized.

ABRAHAM. If they do, I won’t say no; otherwise, I might be identified.

EPHREM. No one will blame you, brother. It will be but praiseworthy discretion on your part to loosen the bridle of strict observance for the sake of bringing back a soul.

EPHREM. No one will blame you, brother. It will be commendable for you to relax the rules a bit in order to bring back a soul.

ABRAHAM. I am the more eager to try now I know you approve.

ABRAHAM. I'm even more excited to give it a shot now that I know you support it.

EPHREM. He Who knows the secret places of the heart can tell with what motive every action is done. That scrupulous and fair Judge will not condemn a man for relaxing our strict rule for a time and descending to the level of weaker mortals if by so doing he can make more sure of rescuing an errant soul.

EPHREM. The one who understands the hidden places of the heart can determine the motive behind every action. That meticulous and just Judge won’t condemn a person for temporarily easing our strict rules and relating to weaker individuals if it helps ensure the rescue of a lost soul.

ABRAHAM. Help me with your prayers. Pray that I may not be caught in the snares of the devil.

ABRAHAM. Please pray for me. Pray that I don't get caught in the traps of the devil.

EPHREM. May He Who is supreme good itself, without Whom no good thing can be done, bless your enterprise and bring it to a happy end!

EPHREM. May He who is the ultimate good, without whom nothing good can be accomplished, bless your efforts and lead them to a successful conclusion!

Scene IV

ABRAHAM. Can that be my friend who two years ago went to search for Mary? Yes, it is he!

ABRAHAM. Is that my friend who went to look for Mary two years ago? Yes, it is him!

FRIEND. Good-day, venerable father.

FRIEND. Good day, respected father.

ABRAHAM. Good-day, dear friend. I have waited so long for you. Of late I had begun to despair.

ABRAHAM. Good day, dear friend. I've been waiting for you for so long. Lately, I had started to lose hope.

FRIEND. Forgive me, father. I delayed my return because I did not wish to mock you with doubtful and unreliable news. As soon as I had discovered the truth I lost no time.

FRIEND. I'm sorry, father. I delayed coming back because I didn’t want to tease you with uncertain and unreliable news. As soon as I found out the truth, I acted immediately.

ABRAHAM. You have seen Mary?

ABRAHAM. Have you seen Mary?

FRIEND. I have seen her.

FRIEND. I've seen her.

ABRAHAM. Where is she? Come, sir, speak! Tell me where.

ABRAHAM. Where is she? Come on, man, talk! Tell me where she is.

FRIEND. It goes to my heart to tell you.

FRIEND. It pains me to say this.

ABRAHAM. Speak—I implore you.

Abraham. Please, speak—I beg you.

FRIEND. She lives in the house of a man who trades in the love of young girls like her. A profitable business, for every day he makes a large sum of money out of her lovers.

FRIEND. She lives in the home of a man who profits from the affection of young girls like her. It's a lucrative operation, as he makes a significant amount of money every day from her admirers.

ABRAHAM. Her lovers? Mary’s lovers?

ABRAHAM. Her partners? Mary’s partners?

FRIEND. Yes.

FRIEND. Yeah.

ABRAHAM. Who are they?

ABRAHAM. Who are those people?

FRIEND. There are plenty of them.

FRIEND. There are lots of them.

ABRAHAM. Good Jesu, what is this monstrous thing I hear? Do they say that she, whom I brought up to be Thy bride, gives herself to strange lovers?

ABRAHAM. Good Jesus, what is this horrible thing I’m hearing? Are they really saying that she, whom I raised to be Your bride, is giving herself to other men?

FRIEND. It comes naturally to harlots.

FRIEND. It comes easily to hookers.

ABRAHAM. If you are my friend, get me a saddle-horse somewhere and a soldier’s dress. I am going to get into that place as a lover.

ABRAHAM. If you’re my friend, find me a saddle horse and a soldier's uniform. I plan to get into that place as a lover.

FRIEND. Father, mine are at your service.

FRIEND. Father, I'm here to help you.

ABRAHAM. And I must borrow a felt hat to cover my tonsure.

ABRAHAM. And I need to borrow a felt hat to cover my bald spot.

FRIEND. That is most necessary, if you do not want to be recognized.

FRIEND. That is very important if you don’t want to be recognized.

ABRAHAM. I have one gold piece. Should I take it to give this man?

ABRAHAM. I have one gold coin. Should I give it to this man?

FRIEND. You should, for otherwise he will never let you see Mary.

FRIEND. You should, otherwise he will never let you see Mary.

Scene V

ABRAHAM. Good-day, friend.

ABRAHAM. Good day, friend.

INN-KEEPER. Who’s there? Good-day, Sir. Come in!

INN-KEEPER. Who's there? Good day, Sir. Come on in!

ABRAHAM. Have you a bed for a traveller who wants to spend a night here?

ABRAHAM. Do you have a room for a traveler who wants to stay the night?

INN-KEEPER. Why certainly! I never turn anyone away.

INN-KEEPER. Of course! I never refuse anyone.

ABRAHAM. I am glad of it.

ABRAHAM. I'm happy about that.

INN-KEEPER. Come in then, and I will order supper for you.

INN-KEEPER. Come on in, and I'll get dinner ready for you.

ABRAHAM. I owe you thanks for this kind welcome, but I have a greater favour to ask.

ABRAHAM. Thank you for this warm welcome, but I have a bigger favor to ask.

INN-KEEPER. Ask what you like. I will do my best for you.

INN-KEEPER. Ask whatever you want. I’ll do my best to help you.

ABRAHAM. Accept this small present. May the beautiful girl who, I am told, lives here, have supper with me?

ABRAHAM. Please accept this small gift. Can the beautiful girl who, I've heard, lives here, have dinner with me?

INN-KEEPER. Why should you wish to see her?

INN-KEEPER: Why do you want to see her?

ABRAHAM. It would give me much pleasure. I have heard so much talk of her beauty.

ABRAHAM. It would make me very happy. I've heard so much about her beauty.

INN-KEEPER. Whoever has spoken to you of her has told only the truth. It would be hard to find a finer wench.

INN-KEEPER. Whoever talked to you about her has only told the truth. It would be tough to find a better girl.

ABRAHAM. I am in love with her already.

ABRAHAM. I'm already in love with her.

INN-KEEPER. It’s queer that an old man like you should dangle after a young girl.

INN-KEEPER. It’s strange that an old man like you would chase after a young girl.

ABRAHAM. I swear I came here on purpose to feast my eyes on her.

ABRAHAM. I swear I came here specifically to see her.

Scene VI

INN-KEEPER. Mary, come here! Come along now and show off your charms to this young innocent!

INN-KEEPER. Mary, come here! Hurry up and show your charms to this young innocent!

MARY. I am coming.

MARY. I'm coming.

ABRAHAM. Oh, mind, be constant! Tears, do not fall! Must I look on her whom I brought up in the desert, decked out with a harlot’s face? Yes, I must hide what is in my heart. I must strive not to weep, and smile though my heart is breaking.

ABRAHAM. Oh, mind, stay steady! Tears, don’t fall! Do I really have to look at her, the one I raised in the desert, now wearing a face like that? Yes, I have to conceal what I feel inside. I need to fight against crying and put on a smile, even though my heart is shattering.

INN-KEEPER. Luck comes your way, Mary! Not only do young gallants of your own age flock to your arms, but even the wise and venerable!

INN-KEEPER. Good fortune is on your side, Mary! Not only do young men your age come to you, but even the wise and elderly!

MARY. It is all one to me. It is my business to love those who love me.

MARY. It’s all the same to me. My job is to love those who love me.

ABRAHAM. Come nearer, Mary, and give me a kiss.

ABRAHAM. Come closer, Mary, and give me a kiss.

MARY. I will give you more than a kiss. I will take your head in my arms and stroke your neck.

MARY. I will give you more than just a kiss. I'll hold your head in my arms and gently stroke your neck.

ABRAHAM. Yes, like that!

ABRAHAM. Yes, just like that!

MARY. What does this mean? What is this lovely fragrance. So clean, so sweet. It reminds me of the time when I was good.

MARY. What does this mean? What is this beautiful scent? So fresh, so sweet. It takes me back to when I was happy.

ABRAHAM. On with the mask! Chatter, make lewd jests like an idle boy! She must not recognize me, or for very shame she may fly from me.

ABRAHAM. Let's get on with the mask! Go ahead, joke around and make crude comments like a carefree kid! She can’t know it’s me, or out of embarrassment, she might run away from me.

MARY. Wretch that I am! To what have I fallen! In what pit am I sunk!

MARY. What a mess I’m in! How did I end up here? What a dark place I’m in!

ABRAHAM. You forget where you are! Do men come here to see you cry!

ABRAHAM. You’re forgetting where you are! Do guys come here just to watch you cry?

INN-KEEPER. What’s the matter, Lady Mary? Why are you in the dumps? You have lived here two years, and never before have I seen a tear, never heard a sigh or a word of complaint.

INN-KEEPER. What's wrong, Lady Mary? Why are you feeling down? You've been here for two years, and I've never seen you cry, never heard you sigh or complain.

MARY. Oh, that I had died three years ago before I came to this!

MARY. Oh, how I wish I had died three years ago before I ended up in this situation!

ABRAHAM. I came here to make love to you, not to weep with you over your sins.

ABRAHAM. I came here to make love to you, not to cry over your mistakes.

MARY. A little thing moved me, and I spoke foolishly. It is nothing. Come, let us eat and drink and be merry, for, as you say, this is not the place to think of one’s sins.

MARY. A small thing affected me, and I spoke thoughtlessly. It’s nothing. Come, let’s eat and drink and enjoy ourselves, because, as you said, this isn't the time to dwell on one’s sins.

ABRAHAM. I have eaten and drunk enough, thanks to your good table, Sir. Now by your leave I will go to bed. My tired limbs need a rest.

ABRAHAM. I’ve had plenty to eat and drink, thanks to your lovely hospitality, Sir. If you don’t mind, I’m going to bed now. My weary limbs could use some rest.

INN-KEEPER. As you please.

Innkeeper: As you wish.

MARY. Get up my lord. I will take you to bed.

MARY. Get up, my lord. I'll take you to bed.

ABRAHAM. I hope so. I would not go at all unless you came with me.

ABRAHAM. I really hope so. I wouldn't go at all if you didn't come with me.

Scene VII

MARY. Look! How do you like this room? A handsome bed, isn’t it? Those trappings cost a lot of money. Sit down and I will take off your shoes. You seem tired.

MARY. Look! What do you think of this room? It’s a nice bed, right? Those decorations were pretty pricey. Sit down and I'll take off your shoes. You look tired.

ABRAHAM. First bolt the door. Someone may come in.

ABRAHAM. First, lock the door. Someone might come in.

MARY. Have no fear. I have seen to that.

MARY. Don't worry. I've taken care of that.

ABRAHAM. The time has come for me to show my shaven head, and make myself known! Oh, my daughter! Oh, Mary, you who are part of my soul! Look at me. Do you not know me? Do you not know the old man who cherished you with a father’s love, and wedded you to the Son of the King of Heaven?

ABRAHAM. It’s time for me to reveal my shaved head and make myself known! Oh, my daughter! Oh, Mary, you who are a part of my soul! Look at me. Don’t you recognize me? Don’t you remember the old man who loved you like a father and married you to the Son of the King of Heaven?

MARY. God, what shall I do! It is my father and master Abraham!

MARY. Oh no, what should I do! It's my father and master Abraham!

ABRAHAM. What has come to you, daughter?

ABRAHAM. What’s wrong, sweetie?

MARY. Oh, misery!

MARY. Oh, this sucks!

ABRAHAM. Who deceived you? Who led you astray?

ABRAHAM. Who tricked you? Who misled you?

MARY. Who deceived our first parents?

MARY. Who tricked our first parents?

ABRAHAM. Have you forgotten that once you lived like an angel on earth!

ABRAHAM. Have you forgotten that you once lived like an angel on earth!

MARY. All that is over.

MARY. That’s all in the past.

ABRAHAM. What has become of your virginal modesty? Your beautiful purity?

ABRAHAM. What happened to your virgin modesty? Your beautiful innocence?

MARY. Lost. Gone!

MARY. Missing. Vanished!

ABRAHAM. Oh, Mary, think what you have thrown away! Think what a reward you had earned by your fasting, and prayers, and vigils. What can they avail you now! You have hurled yourself from heavenly heights into the depths of hell!

ABRAHAM. Oh, Mary, think about what you’ve given up! Consider the reward you could have received from your fasting, prayers, and sleepless nights. What good are they to you now? You have thrown yourself from heavenly heights into the depths of hell!

MARY. Oh God, I know it!

MARY. Oh God, I know it!

ABRAHAM. Could you not trust me? Why did you desert me? Why did you not tell me of your fall? Then dear brother Ephrem and I could have done a worthy penance.

ABRAHAM. Could you not trust me? Why did you leave me? Why didn't you tell me about your fall? Then dear brother Ephrem and I could have done a meaningful penance.

MARY. Once I had committed that sin, and was defiled, how could I dare come near you who are so holy?

MARY. Once I had sinned and was tainted, how could I even think of coming close to you, who are so pure?

ABRAHAM. Oh, Mary, has anyone ever lived on earth without sin except the Virgin’s Son?

ABRAHAM. Oh, Mary, has anyone ever lived on Earth without sin except for the Virgin's Son?

MARY. No one, I know.

MARY. No one, as far as I know.

ABRAHAM. It is human to sin, but it is devilish to remain in sin. Who can be justly condemned? Not those who fall suddenly, but those who refuse to rise quickly.

ABRAHAM. It’s human to make mistakes, but it’s wrong to stay in those mistakes. Who can truly be judged? Not those who stumble unexpectedly, but those who refuse to get back up.

MARY. Wretched, miserable creature that I am!

MARY. What a wretched, miserable creature I am!

ABRAHAM. Why have you thrown yourself down there? Why do you lie on the ground without moving or speaking? Get up, Mary! Get up, my child, and listen to me!

ABRAHAM. Why have you thrown yourself down there? Why are you lying on the ground without moving or talking? Get up, Mary! Get up, my child, and listen to me!

MARY. No! no! I am afraid. I cannot bear your reproaches.

MARY. No! I can’t! I’m scared. I can’t handle your accusations.

ABRAHAM. Remember how I love you, and you will not be afraid.

ABRAHAM. Just remember how much I love you, and you won’t be afraid.

MARY. It is useless. I cannot.

MARY. It’s useless. I can’t.

ABRAHAM. What but love for you could have made me leave the desert and relax the strict observance of our rule? What but love could have made me, a true hermit, come into the city and mix with the lascivious crowd? It is for your sake that these lips have learned to utter light, foolish words, so that I might not be known! Oh, Mary, why do you turn away your face from me and gaze upon the ground? Why do you scorn to answer and tell me what is in your mind.

ABRAHAM. What else but love for you could have made me leave the desert and ease up on our strict rules? What else but love could have brought me, a genuine hermit, into the city to mingle with the wild crowd? It's for you that I've learned to speak light, silly words, just to stay under the radar! Oh, Mary, why do you turn your face away from me and look at the ground? Why do you refuse to answer and share what's on your mind?

MARY. It is the thought of my sins which crushes me. I dare not look at you; I am not fit to speak to you.

MARY. It's the weight of my sins that overwhelms me. I can't bear to look at you; I'm not worthy to talk to you.

ABRAHAM. My little one, have no fear. Oh, do not despair! Rise from this abyss of desperation and grapple God to your soul!

ABRAHAM. My little one, don’t be afraid. Oh, don’t lose hope! Climb out of this deep pit of despair and hold onto God with all your heart!

MARY. No, no! My sins are too great. They weigh me down.

MARY. No, no! My sins are too heavy. They weigh me down.

ABRAHAM. The mercy of heaven is greater than you or your sins. Let your sadness be dispersed by its glorious beams. Oh, Mary, do not let apathy prevent your seizing the moment for repentance. It matters not how wickedness has flourished. Divine grace can flourish still more abundantly!

ABRAHAM. The mercy of heaven is greater than you or your sins. Let your sadness be lifted by its glorious light. Oh, Mary, don’t let indifference stop you from taking the opportunity to repent. It doesn’t matter how much wickedness has grown. Divine grace can grow even more abundantly!

MARY. If there were the smallest hope of forgiveness, surely I should not shrink from doing penance.

MARY. If there was even the slightest chance of forgiveness, I definitely wouldn't hesitate to do penance.

ABRAHAM. Have you no pity for me? I have sought you out with so much pain and weariness! Oh shake off this despair which we are taught is the most terrible of all sins. Despair of God’s mercy—for that alone there is no forgiveness. Sin can no more embitter His sweet mercy than a spark from a flint can set the ocean on fire.

ABRAHAM. Do you have no compassion for me? I've come to you with so much suffering and exhaustion! Please let go of this despair that we’re told is the worst sin of all. Despairing of God’s mercy—because that’s the only thing there’s no forgiveness for. Sin can't make His sweet mercy any less, just like a spark from a flint can't ignite the ocean.

MARY. I know that God’s mercy is great, but when I think how greatly I have sinned, I cannot believe any penance can make amends.

MARY. I know that God's mercy is vast, but when I think about how much I've sinned, I can't believe that any amount of penance can truly make things right.

ABRAHAM. I will take your sins on me. Only come back and take up your life again as if you had never left it.

ABRAHAM. I'll take your sins upon myself. Just come back and reclaim your life as if you had never left it.

MARY. I do not want to oppose you. What you tell me to do I will do with all my heart.

MARY. I don’t want to go against you. I will do whatever you ask with all my heart.

ABRAHAM. My daughter lives again! I have found my lost lamb and she is dearer to me than ever.

ABRAHAM. My daughter is alive again! I've found my lost sheep, and she means more to me than ever.

MARY. I have a few possessions here—a little gold and some clothes. What ought I to do with them?

MARY. I have a few things here—a bit of gold and some clothes. What should I do with them?

ABRAHAM. What came to you through sin, with sin must be left behind.

ABRAHAM. What came to you through sin, must be left behind with sin.

MARY. Could it not be given to the poor, or sold for an offering at the holy altar?

MARY. Couldn't it be given to the poor or sold as an offering at the holy altar?

ABRAHAM. The price of sin is not an acceptable offering to God.

ABRAHAM. The cost of sin isn't an acceptable gift to God.

MARY. Then I will not trouble any more about my possessions.

MARY. Then I won’t worry about my stuff anymore.

ABRAHAM. Look! The dawn! It is growing light. Let us go.

ABRAHAM. Look! It's dawn! It's getting brighter. Let's go.

MARY. You go first, dearest father, like the good shepherd leading the lost lamb that has been found. The lamb will follow in your steps.

MARY. You go first, dear father, like the good shepherd leading the lost lamb that has been found. The lamb will follow your lead.

ABRAHAM. Not so! I am going on foot, but you—you shall have a horse so that the stony road shall not hurt your delicate feet.

ABRAHAM. Not at all! I'm walking, but you—you'll have a horse so that the rocky road won't hurt your delicate feet.

MARY. Oh, let me never forget this tenderness! Let me try all my life to thank you! I was not worth pity, yet you have shown me no harshness; you have led me to repent not by threats but by gentleness and love.

MARY. Oh, let me never forget this kindness! Let me spend my life trying to thank you! I didn’t deserve pity, yet you’ve shown me no cruelty; you’ve guided me to feel remorse not through threats, but with gentleness and love.

ABRAHAM. I ask only one thing, Mary. Be faithful to God for the rest of your life.

ABRAHAM. I ask just one thing, Mary. Be loyal to God for all your days.

MARY. With all my strength I will persevere, and though my flesh may fail, my spirit never will.

MARY. With all my strength, I will keep going, and even if my body gives out, my spirit never will.

ABRAHAM. You must serve God with as much energy as you have served the world.

ABRAHAM. You should serve God with as much energy as you have used to serve the world.

MARY. If His will is made perfect in me it will be because of your merits.

MARY. If His will is fully realized in me, it will be because of your merits.

ABRAHAM. Come, let us hasten on our way.

ABRAHAM. Come on, let's hurry up and get going.

MARY. Yes, let us set out at once. I would not stay here another moment.

MARY. Yes, let’s leave right away. I don’t want to stay here another minute.

Scene VIII

ABRAHAM. Courage, Mary! You see how swiftly we have made the difficult and toilsome journey.

ABRAHAM. Stay strong, Mary! Look how quickly we've managed this tough and tiring journey.

MARY. Everything is easy when we put our hearts into it.

MARY. Everything is easy when we really commit to it.

ABRAHAM. There is your deserted little cell.

ABRAHAM. There is your empty little cell.

MARY. God help me! It was the witness of my sin. I dare not go there.

MARY. God help me! It was the reminder of my wrongdoing. I can't go there.

ABRAHAM. It is natural you should dread the place where the enemy triumphed.

ABRAHAM. It's understandable that you would fear the place where the enemy won.

MARY. Where, then, am I to do penance?

MARY. So, where am I supposed to do my penance?

ABRAHAM. Go into the inner cell. There you will be safe from the wiles of the serpent.

ABRAHAM. Go into the inner cell. You'll be safe from the tricks of the serpent there.

MARY. Most gladly as it is your wish.

MARY. I'm more than happy to do as you wish.

ABRAHAM. Now I must go to my good friend Ephrem. He alone mourned with me when you were lost, and he must rejoice with me now that you have been found.

ABRAHAM. Now I need to go see my good friend Ephrem. He was the only one who grieved with me when you were missing, and he should celebrate with me now that you’re back.

MARY. Of course.

MARY. Absolutely.

Scene IX

EPHREM. Well, brother! If I am not mistaken, you bring good news.

EPHREM. Well, brother! If I'm not mistaken, you have good news.

ABRAHAM. The best in the world.

ABRAHAM. The greatest in the world.

EPHREM. You have found your lost lamb?

EPHREM. Have you found your lost lamb?

ABRAHAM. I have, and, rejoicing, have brought her back to the fold.

ABRAHAM. I have, and I'm happy to say I've brought her back to the community.

EPHREM. Truly this is the work of divine grace.

EPHREM. This is truly the work of divine grace.

ABRAHAM. That is certain.

ABRAHAM. That’s for sure.

EPHREM. How is she spending her days? I should like to know how you have ordered her life. What does she do?

EPHREM. How is she spending her days? I’d like to know how you’ve arranged her life. What does she do?

ABRAHAM. All that I tell her.

ABRAHAM. Everything I say to her.

EPHREM. That is well.

Ephrem. Sounds good.

ABRAHAM. Nothing is too difficult for her—nothing too hard. She is ready to endure anything.

ABRAHAM. There's nothing too difficult for her—nothing too tough. She's willing to go through anything.

EPHREM. That is better.

EPHREM. That's better.

ABRAHAM. She wears a hair shirt, and subdues her flesh with continual vigils and fasts. She is making the poor frail body obey the spirit by the most rigorous discipline.

ABRAHAM. She wears a hair shirt and disciplines her body with constant watchfulness and fasting. She is forcing the weak body to obey the spirit through the strictest discipline.

EPHREM. Only through such a severe penance can the stains left by the pleasures of the flesh be washed away.

EPHREM. Only through such intense penance can the marks left by earthly pleasures be cleansed.

ABRAHAM. Those who hear her sobs are cut to the heart, and the tale of her repentance has turned many from their sins.

ABRAHAM. Those who hear her crying feel deeply affected, and her story of remorse has led many to change their ways.

EPHREM. It is often so.

EPHREM. It's often like that.

ABRAHAM. She prays continually for the men who through her were tempted to sin, and begs that she who was their ruin may be their salvation.

ABRAHAM. She prays constantly for the men who were tempted to sin because of her, and asks that she, who caused their downfall, may also be their salvation.

EPHREM. It is right that she should do this.

EPHREM. It's only fair that she should do this.

ABRAHAM. She strives to make her life as beautiful as for a time it was hideous.

ABRAHAM. She works hard to make her life as beautiful as it once was ugly.

EPHREM. I rejoice at what you tell me. To the depths of my heart.

EPHREM. I'm really happy to hear that. It means a lot to me.

ABRAHAM. And with us rejoice phalanxes of angels, praising the Lord for the conversion of a sinner.

ABRAHAM. And with us rejoice groups of angels, praising the Lord for the conversion of a sinner.

EPHREM. Over whom, we are told, there is more joy in heaven than over the just man who needs no penance.

EPHREM. We're told that there is greater joy in heaven over someone than over the righteous person who doesn't need to do penance.

ABRAHAM. The more glory to Him, because there seemed no hope on earth that she could be saved.

ABRAHAM. The more glory to Him, because there seemed to be no hope on earth that she could be saved.

EPHREM. Let us sing a song of thanksgiving—let us glorify the only begotten Son of God, Who of His love and mercy will not let them perish whom He redeemed with His holy blood.

EPHREM. Let's sing a song of thanks—let's praise the only Son of God, Who out of His love and mercy will not allow those He redeemed with His holy blood to be lost.

ABRAHAM. To Him be honour, glory, and praise through infinite ages. Amen.

ABRAHAM. May He receive honor, glory, and praise forever. Amen.

Paphnutius

Argument

The conversion of Thais by the hermit Paphnutius. Obedient to a vision, he leaves the desert, and, disguised as a lover, seeks out Thais in Alexandria. She is moved to repent by his exhortations and, renouncing her evil life, consents to be enclosed in a narrow cell, where she does penance for three years. Paphnutius learns from a vision granted to Anthony’s disciple Paul that her humility has won her a place among the blessed in Paradise. He brings her out of her cell and stays by her side until her soul has left her body.

The conversion of Thais by the hermit Paphnutius. Following a vision, he leaves the desert and, disguised as a lover, seeks out Thais in Alexandria. She is touched by his encouragement to repent and, turning away from her sinful life, agrees to be shut away in a small cell, where she does penance for three years. Paphnutius learns from a vision given to Anthony’s disciple Paul that her humility has earned her a spot among the blessed in Paradise. He brings her out of her cell and stays by her side until her soul departs from her body.

Characters

  • PAPHNUTIUS.
  • THAIS.
  • THE ABBESS.
  • LOVERS OF THAIS.
  • DISCIPLES OF PAPHNUTIUS.
  • ANTONY.
  • PAUL.

Paphnutius

Scene I

DISCIPLES.9 Why do you look so gloomy, father Paphnutius? Why do you not smile at us as usual?

DISCIPLES.9 Why do you look so down, Father Paphnutius? Why aren’t you smiling at us like you usually do?

PAPHNUTIUS. When the heart is sad the face clouds over. It is only natural.

PAPHNUTIUS. When the heart is heavy, the face darkens. It's completely understandable.

DISCIPLES. But why are you sad?

DISCIPLES. But why do you look so sad?

PAPHNUTIUS. I grieve over an injury to my Creator.

PAPHNUTIUS. I'm saddened by a wrong done to my Creator.

DISCIPLES. What injury?

DISCIPLES. What happened?

PAPHNUTIUS. The injury His own creatures made in His very image inflict on Him.

PAPHNUTIUS. The harm His own creations cause, as they bear His very image, affects Him.

DISCIPLES. Oh, father, your words fill us with fear! How can such things be?

DISCIPLES. Oh, father, your words scare us! How can this be happening?

PAPHNUTIUS. It is true that the impassible Majesty cannot be hurt by injuries. Nevertheless, speaking in metaphor, and as if God were weak with our weakness, what greater injury can we conceive than this—that while the greater world is obedient, and subject to His rule, the lesser world resists His guidance?

PAPHNUTIUS. It's true that the unchanging Majesty can't be harmed by injuries. However, speaking metaphorically, as if God were vulnerable like we are, what greater injury can we imagine than this—that while the greater world follows His command and is under His rule, the smaller world opposes His direction?

DISCIPLES. What do you mean by the lesser world?

DISCIPLES. What do you mean by the smaller world?

PAPHNUTIUS. Man.

PAPHNUTIUS. Dude.

DISCIPLES. Man?

DISCIPLES. Dude?

PAPHNUTIUS. Yes.

PAPHNUTIUS. Yeah.

DISCIPLES. What man?

DISCIPLES. Which guy?

PAPHNUTIUS. Every man.

PAPHNUTIUS. Every person.

DISCIPLES. How can this be?

DISCIPLES. How is this possible?

PAPHNUTIUS. It has pleased our Creator.

PAPHNUTIUS. It has pleased our Creator.

DISCIPLES. We do not understand.

DISCIPLES. We don't understand.

PAPHNUTIUS. It is not plain to many.

PAPHNUTIUS. It’s not clear to a lot of people.

DISCIPLES. Explain, father.

FOLLOWERS. Explain, dad.

PAPHNUTIUS. Be attentive, then.

PAPHNUTIUS. Pay attention, then.

DISCIPLES. We are eager to learn.

LEARNERS. We want to learn.

PAPHNUTIUS. You know that the greater world is composed of four elements which are contraries, yet by the will of the Creator these contraries are adjusted in harmonious arrangement. Now, man is composed of even more contrary parts.

PAPHNUTIUS. You know that the larger world is made up of four elements that are opposites, yet by the Creator's design, these opposites are arranged in a harmonious way. Now, man is made up of even more conflicting parts.

DISCIPLES. What can be more contrary than the elements?

DISCIPLES. What could be more opposite than the elements?

PAPHNUTIUS. The body and the soul. The soul is not mortal like the body, nor the body spiritual as is the soul.

PAPHNUTIUS. The body and the soul. The soul isn't mortal like the body, nor is the body spiritual like the soul.

DISCIPLES. That is true. But what did you mean, father, when you spoke of “harmonious arrangement”?

DISCIPLES. That’s true. But what did you mean, Dad, when you talked about “harmonious arrangement”?

PAPHNUTIUS. I meant that as low and high sounds harmoniously united produce a certain music, so discordant elements rightly adjusted make one world.

PAPHNUTIUS. I meant that just as low and high sounds come together to create a harmonious music, so too can discordant elements properly aligned form one unified world.

DISCIPLES. It seems strange that discords can become concords.

DISCIPLES. It seems odd that conflicts can turn into harmony.

PAPHNUTIUS. Consider. No thing is composed of “likes”—neither can it be made up of elements which have no proportion among themselves, or which are entirely different in substance and nature.

PAPHNUTIUS. Think about it. Nothing is made up of things that are the same—nor can it consist of parts that have no relation to each other or that are completely different in substance and nature.

DISCIPLES. What is music, master?

DISCIPLES. What’s music, master?

PAPHNUTIUS. One of the branches of the “quadrivium” of philosophy, my son. Arithmetic, geometry, music, and philosophy form the quadrivium.

PAPHNUTIUS. One of the areas of the “quadrivium” of philosophy, my son. Arithmetic, geometry, music, and philosophy make up the quadrivium.

DISCIPLES. I should like to know why they are given that name.

DISCIPLES. I’d like to know why they’re called that.

PAPHNUTIUS. Because just as paths branch out from the quadrivium, the place where four roads meet, so do these subjects lead like roads from one principle of philosophy.

PAPHNUTIUS. Because just like paths split off from the quadrivium, the point where four roads intersect, these subjects also flow like roads from a single principle of philosophy.

DISCIPLES. We had best not question you about the other three, for our slow wits can scarcely follow what you have told us about the first.

DISCIPLES. We shouldn’t ask you about the other three, because our dull minds can hardly keep up with what you’ve told us about the first.

PAPHNUTIUS. It is a difficult subject.

PAPHNUTIUS. It's a difficult topic.

DISCIPLES. Still you might give us a general idea of the nature of music.

DISCIPLES. You could still give us a general idea of what music is like.

PAPHNUTIUS. It is hard to explain to hermits to whom it is an unknown science.

PAPHNUTIUS. It's difficult to explain to hermits, as it's a subject they aren't familiar with.

DISCIPLES. Is there more than one kind of music?

DISCIPLES. Are there different types of music?

PAPHNUTIUS. There are three kinds, my son. The first is celestial, the second human, the third is produced by instruments.

PAPHNUTIUS. There are three types, my son. The first is celestial, the second is human, and the third is made using instruments.

DISCIPLES. In what does the celestial consist?

DISCIPLES. What is the nature of the celestial?

PAPHNUTIUS. In the seven planets and the celestial globe.

PAPHNUTIUS. In the seven planets and the celestial sphere.

DISCIPLES. But how?

FOLLOWERS. But how?

PAPHNUTIUS. Exactly as in instruments. You find the same number of intervals of the same length, and the same concords as in strings.

PAPHNUTIUS. Just like with instruments. You see the same number of intervals that are equal in length, and the same harmonies as with strings.

DISCIPLES. We do not understand what intervals are.

DISCIPLES. We don’t understand what intervals are.

PAPHNUTIUS. The dimensions which are reckoned between planets or between notes.

PAPHNUTIUS. The measurements that are considered between planets or between notes.

DISCIPLES. And what are their lengths?

DISCIPLES. So, what are their lengths?

PAPHNUTIUS. The same as tones.

PAPHNUTIUS. Same as tones.

DISCIPLES. We are none the wiser.

DISCIPLES. We still don't know anything.

PAPHNUTIUS. A tone is composed of two sounds, and bears the ratio of nine to eight.

PAPHNUTIUS. A tone is made up of two sounds and has a ratio of nine to eight.

DISCIPLES. As soon as we get over one difficulty, you place a greater one in our path!

DISCIPLES. Just when we overcome one challenge, you throw an even bigger one our way!

PAPHNUTIUS. That is inevitable in a discussion of this kind.

PAPHNUTIUS. That's unavoidable in a conversation like this.

DISCIPLES. Yet tell us something about concord, so that at least we may know the meaning of the word.

DISCIPLES. Please tell us something about agreement, so that we can at least understand what the word means.

PAPHNUTIUS. Concord, harmony, or symphonia may be defined as a fitting disposition of modulation. It is composed sometimes of three, sometimes of four, sometimes of five sounds.

PAPHNUTIUS. Concord, harmony, or symphony can be described as an appropriate arrangement of musical notes. It is made up of three, four, or sometimes five sounds.

DISCIPLES. As you have given us these three distinctions, we should like to learn the name of each.

DISCIPLES. Since you've shared these three distinctions with us, we would like to know the name of each one.

PAPHNUTIUS. The first is called a fourth, as consisting of four sounds, and it has the proportion of four to three. The second is called a fifth. It consists of five sounds and bears the ratio of one and a half. The third is known as the diapason; it is double and is perfected in eight sounds.

PAPHNUTIUS. The first is called a fourth because it has four notes and has the ratio of four to three. The second is called a fifth. It consists of five notes and has a ratio of one and a half. The third is known as the diapason; it is double and consists of eight notes.

DISCIPLES. And do the spheres and planets produce sounds, since they are compared to notes?

DISCIPLES. So, do the spheres and planets make sounds since they're compared to notes?

PAPHNUTIUS. Undoubtedly they do.

PAPHNUTIUS. Definitely they do.

DISCIPLE. Why is the music not heard?

DISCIPLE. Why can't we hear the music?

DISCIPLES. Yes, why is it not heard?

DISCIPLES. Yeah, why isn't it being heard?

PAPHNUTIUS. Many reasons are given. Some think it is not heard because it is so continuous that men have grown accustomed to it. Others say it is because of the density of the air. Some assert that so enormous a sound could not pass into the mortal ear. Others that the music of the spheres is so pleasant and sweet that if it were heard all men would come together, and, forgetting themselves and all their pursuits, would follow the sounds from east to west.

PAPHNUTIUS. Many reasons are suggested. Some believe it's not heard because it's so constant that people have gotten used to it. Others claim it's due to the thickness of the air. Some argue that such a massive sound can't be perceived by the human ear. Others say the music of the spheres is so beautiful and melodic that if everyone could hear it, all people would gather, forgetting themselves and everything else, and would follow the sounds from east to west.

DISCIPLES. It is well that it is not heard.

DISCIPLES. It's good that it isn't heard.

PAPHNUTIUS. As our Creator foreknew.

PAPHNUTIUS. As our Creator knew.

DISCIPLES. We have heard enough of this kind of music. What of “human” music?

DISCIPLES. We've heard enough of this kind of music. What about "human" music?

PAPHNUTIUS. What do you want to know about that?

PAPHNUTIUS. What do you want to know about that?

DISCIPLES. How is it manifested?

DISCIPLES. How does it show?

PAPHNUTIUS. Not only, as I have already told you, in the combination of body and soul, and in the utterance of the voice, now high, now low, but even in the pulsation of the veins, and in the proportion of our members. Take the finger-joints. In them, if we measure, we find the same proportions as we have already found in concord; for music is said to be a fitting disposition not only of sounds, but of things with no resemblance to sounds.

PAPHNUTIUS. As I’ve mentioned before, it’s not just in the combination of body and soul, or in the way we speak—sometimes high, sometimes low—but also in the pulse of our veins and the proportions of our limbs. Take our finger joints, for example. If we measure them, we find the same proportions as we see in harmony; music is considered to be a proper arrangement not just of sounds, but of things that don’t even sound alike.

DISCIPLES. Had we known the difficulty that such a hard point presents to the ignorant, we would not have asked you about your “lesser world.” It is better to know nothing than to be bewildered.

DISCIPLES. If we had realized how challenging this tough question is for those who don’t know, we wouldn’t have asked you about your “lesser world.” It’s better to know nothing than to be confused.

PAPHNUTIUS. I do not agree. By trying to understand you have learned many things that you did not know before.

PAPHNUTIUS. I disagree. By trying to understand, you've learned a lot of things you didn't know before.

DISCIPLES. That is true.

DISCIPLES. That's true.

DISCIPLE. True it may be, but I am weary of this disputation. We are all weary, because we cannot follow the reasoning of such a philosopher!

DISCIPLE. It may be true, but I'm tired of this argument. We're all tired because we can't follow the logic of such a philosopher!

PAPHNUTIUS. Why do you laugh at me, children? I am no philosopher, but an ignorant man.

PAPHNUTIUS. Why are you laughing at me, kids? I'm not a philosopher; I'm just someone who doesn't know much.

DISCIPLES. Where did you get all this learning with which you have puzzled our heads?

DISCIPLES. Where did you get all this knowledge that has confused us?

PAPHNUTIUS. It is but a little drop from the full deep wells of learning—wells at which I, a chance passerby, have lapped, but never sat down to drain.

PAPHNUTIUS. It’s just a tiny drop from the vast deep wells of knowledge—wells where I, a random passerby, have taken a sip, but never stopped to drink deeply.

DISCIPLE. We are grateful for your patience with us; but I for one cannot forget the warning of the Apostle: “God hath chosen the foolish things of the world to confound the wise.”

DISCIPLE. We appreciate your patience with us; however, I for one can't ignore the Apostle's warning: “God has chosen the foolish things of the world to confound the wise.”

PAPHNUTIUS. Whether a fool or a wise man does wrong, he will be confounded.

PAPHNUTIUS. Whether a fool or a wise person does wrong, they will be confused.

DISCIPLES. True.

DISCIPLES. For real.

PAPHNUTIUS. Nor is God offended by Knowledge of the Knowable, only by undue pride on the part of the Knower.

PAPHNUTIUS. God isn't upset by the Knowledge of the Knowable; it's only the excessive pride of the Knower that bothers Him.

DISCIPLES. That is well said.

DISCIPLES. That's well said.

PAPHNUTIUS. And I would ask you—unto whose praise can the knowledge of the arts be more worthily or more justly turned than to the praise of Him Who made things capable of being known, and gave us the capacity to know them?

PAPHNUTIUS. And I want to ask you—who better deserves praise for the knowledge of the arts than the One who created things that can be understood and gave us the ability to understand them?

DISCIPLES. Truly, to none.

DISCIPLES. Honestly, to no one.

PAPHNUTIUS. The more a man realizes the wonderful way in which God has set all things in number and measure and weight, the more ardent his love.

PAPHNUTIUS. The more a person understands the amazing way in which God has arranged everything in numbers, measures, and weights, the deeper their love grows.

DISCIPLES. That is as it should be.

DISCIPLES. That's how it should be.

PAPHNUTIUS. But I am wrong to dwell on matters which give you so little pleasure.

PAPHNUTIUS. But I'm mistaken to focus on things that bring you so little joy.

DISCIPLES. Tell us the cause of your sadness. Relieve us of the burden of our curiosity.

DISCIPLES. Please tell us why you're sad. Help us with our curiosity.

PAPHNUTIUS. Perhaps you will not find the tale to your liking.

PAPHNUTIUS. You might not enjoy the story.

DISCIPLES. A man is often sadder for having his curiosity satisfied, yet he cannot overcome this tendency to be curious. It is part of our weakness.

DISCIPLES. A man is often sadder after his curiosity is satisfied, yet he can't seem to shake this tendency to be curious. It's part of our nature.

PAPHNUTIUS. Brothers—there is a woman, a shameless woman, living in our neighbourhood.

PAPHNUTIUS. Brothers—there's a woman, an immoral woman, living in our neighborhood.

DISCIPLES. A perilous thing for the people.

DISCIPLES. A dangerous thing for the people.

PAPHNUTIUS. Her beauty is wonderful: her impurity is—horrible.

PAPHNUTIUS. Her beauty is amazing: her corruption is—terrible.

DISCIPLES. What is her wretched name?

DISCIPLES. What is her terrible name?

PAPHNUTIUS. Thais.

PAPHNUTIUS. Thais.

DISCIPLES. Thais! Thais, the harlot!

DISCIPLES. Thais! Thais, the prostitute!

PAPHNUTIUS. Yes—she.

PAPHNUTIUS. Yeah—she.

DISCIPLE. Everyone has heard of her and her wickedness.

DISCIPLE. Everyone knows about her and her evil deeds.

PAPHNUTIUS. It is no wonder, for she is not satisfied to ruin herself with a small band of lovers. She seeks to allure all men through her marvellous beauty, and drag them down with her.

PAPHNUTIUS. It’s not surprising, because she isn't content to ruin herself with just a few lovers. She tries to attract all men with her amazing beauty and pull them down with her.

DISCIPLES. What a woeful thing!

DISCIPLES. What a sad thing!

PAPHNUTIUS. And it is not only fools and wastrels who squander their substance with her. Citizens of high standing and virtue lay precious things at her feet, and enrich her to their own undoing.

PAPHNUTIUS. It's not just fools and wasteful people who throw away their resources on her. Upstanding and virtuous citizens also lay valuable things at her feet, making her richer while ruining themselves.

DISCIPLES. It is terrible to hear of such things.

DISCIPLES. It's awful to hear about things like this.

PAPHNUTIUS. Flocks of lovers crowd to her doors.

PAPHNUTIUS. Groups of lovers gather at her doors.

DISCIPLES. And to their destruction!

DISCIPLES. And to their downfall!

PAPHNUTIUS. They are so crazed with desire that they quarrel and fight for admission to her house.

PAPHNUTIUS. They are so obsessed with wanting to get in that they argue and fight to get into her house.

DISCIPLES. One vice brings another in its train.

DISCIPLES. One bad habit leads to another.

PAPHNUTIUS. They come to blows. Heads are broken, faces bruised, noses smashed; at times they drive each other out with weapons, and the threshold of the vile place is dyed with blood!

PAPHNUTIUS. They start fighting. Heads are smashed, faces are bruised, noses are broken; at times they push each other out with weapons, and the entrance of that disgusting place is stained with blood!

DISCIPLES. Most horrible!

DISCIPLES. That's terrifying!

PAPHNUTIUS. This is the injury to the Creator for which I weep day and night. This is the cause of my sorrow.

PAPHNUTIUS. This is the hurt to the Creator that makes me cry day and night. This is the reason for my sadness.

DISCIPLES. We understand now. You have good reason to be distressed, and I doubt not that the citizens of the heavenly country share your grief.

DISCIPLES. We get it now. You have every right to be upset, and I’m sure the people in the heavenly place feel your sorrow too.

PAPHNUTIUS. Oh, to rescue her from that wicked life! Why should I not try?

PAPHNUTIUS. Oh, to save her from that terrible life! Why shouldn't I give it a shot?

DISCIPLES. God forbid!

DISCIPLES. No way!

PAPHNUTIUS. Brother, our Lord Jesus went among sinners.

PAPHNUTIUS. Brother, our Lord Jesus spent time with sinners.

DISCIPLES. She would not receive a hermit.

DISCIPLES. She wouldn't accept a hermit.

PAPHNUTIUS. What if I were to go in the disguise of a lover?

PAPHNUTIUS. What if I pretended to be a lover?

DISCIPLE. If that thought is from God, God will give you strength to accomplish it.

DISCIPLE. If that thought is from God, He will give you the strength to make it happen.

PAPHNUTIUS. I will set out immediately. I shall need your best prayers. Pray that I may not be overcome by the wiles of the serpent. Pray that I may be able to show this soul the beauty of divine love.

PAPHNUTIUS. I’ll head out right away. I’ll need your best prayers. Pray that I won’t be tricked by the serpent. Pray that I can show this soul the beauty of divine love.

DISCIPLE. May He Who laid low the Prince of Darkness give you the victory over the enemy of the human race.

DISCIPLE. May He who defeated the Prince of Darkness grant you victory over the enemy of humanity.

Scene II

PAPHNUTIUS. I am bewildered in this town. I cannot find my way. Now I shut my eyes, and I am back in the desert. I can hear my children’s voices praising God. Good children, I know you are praying for me! I fear to speak. I fear to ask my way. O God, come to my help! I see some young men in the marketplace. They are coming this way. I will go up to them and ask where she is to be found.

PAPHNUTIUS. I'm so lost in this town. I can't find my way around. Now I close my eyes, and I’m back in the desert. I can hear my kids’ voices praising God. Good kids, I know you’re praying for me! I'm scared to speak. I'm scared to ask for directions. Oh God, please help me! I see some young men in the marketplace. They're coming this way. I'm going to approach them and ask where she can be found.

THE YOUNG MEN. That stranger seems to want to speak to us.

THE YOUNG MEN. That stranger looks like he wants to talk to us.

YOUNG MAN. Let us go and find out.

Let's check it out.

PAPHNUTIUS. Your pardon, gentlemen. Am I speaking to citizens of this town?

PAPHNUTIUS. Excuse me, gentlemen. Am I talking to residents of this town?

YOUNG MAN. You are. Can we do anything for you?

YOUNG MAN. Yes, we can. Is there something we can help you with?

PAPHNUTIUS. My salutations!

PAPHNUTIUS. Hello!

YOUNG MAN. And ours, whether you are a native or a foreigner.

YOUNG MAN. And ours, whether you're a local or a visitor.

PAPHNUTIUS. I am a stranger.

PAPHNUTIUS. I'm a stranger.

YOUNG MAN. What brings you here? Have you come for pleasure, business, or learning? This is a great city for learning. Which is it?

YOUNG MAN. What brings you here? Are you here for fun, work, or to learn? This city is an excellent place for learning. Which one is it?

PAPHNUTIUS. I cannot say.

PAPHNUTIUS. I can't say.

YOUNG MAN. Why?

Dude, why?

PAPHNUTIUS. That is my secret.

PAPHNUTIUS. That's my secret.

YOUNG MAN. It would be wiser to tell us your secret. It will be difficult for you, a stranger, to do your business here without the advice of us citizens.

YOUNG MAN. It would be smarter to share your secret with us. It’s going to be hard for you, a stranger, to operate here without the guidance of us locals.

PAPHNUTIUS. But if I tell you, you may try to hinder me from carrying out my plans.

PAPHNUTIUS. But if I tell you, you might try to stop me from going through with my plans.

YOUNG MAN. You can trust us. We are men of honour!

YOUNG MAN. You can trust us. We're trustworthy guys!

PAPHNUTIUS. I believe it. I will trust in your loyalty and tell you my secret.

PAPHNUTIUS. I believe you. I will rely on your loyalty and share my secret with you.

YOUNG MAN. We are not traitors. No harm shall come to you.

YOUNG MAN. We're not traitors. You're safe with us.

PAPHNUTIUS. I am told that there lives in this town a woman who loves all who love her. She is kind to all men; she’ll not deny them anything.

PAPHNUTIUS. I've heard there’s a woman in this town who loves everyone who loves her. She's nice to all men; she doesn’t deny them anything.

YOUNG MAN. Stranger, you must tell us her name. There are many women of that kind in our city. Do you know her name?

YOUNG MAN. Stranger, you need to tell us her name. There are a lot of women like that in our city. Do you know her name?

PAPHNUTIUS. Yes, I know it.

PAPHNUTIUS. Yeah, I know it.

YOUNG MAN. Who is she?

YOUNG MAN. Who's she?

PAPHNUTIUS. Thais.

PAPHNUTIUS. Thais.

YOUNG MAN. Thais! She is the flame of this land! She sets all hearts on fire.

YOUNG MAN. Thais! She is the spirit of this land! She ignites passion in everyone.

PAPHNUTIUS. They say she is beautiful. The most exquisite woman of her kind in the world!

PAPHNUTIUS. They say she's beautiful. The most stunning woman of her kind in the world!

YOUNG MAN. They have not deceived you.

YOUNG MAN. They haven't lied to you.

PAPHNUTIUS. For her sake I have made a long and difficult journey. I have come here only to see her.

PAPHNUTIUS. I’ve gone on a long and tough journey for her. I came here just to see her.

YOUNG MAN. Well, what should prevent you? You are young and handsome.

YOUNG MAN. Well, what's stopping you? You're young and good-looking.

PAPHNUTIUS. Where does she live?

PAPHNUTIUS. Where does she stay?

YOUNG MAN. Over there. Her house is quite near this place.

YOUNG MAN. Over there. Her house is really close to here.

PAPHNUTIUS. That house?

PAPHNUTIUS. That place?

YOUNG MAN. Yes, to the left of the statue.

YOUNG MAN. Yeah, to the left of the statue.

PAPHNUTIUS. I will go there.

PAPHNUTIUS. I'll go there.

YOUNG MAN. If you like, we will come with you.

YOUNG MAN. If you want, we can go with you.

PAPHNUTIUS. I thank you for the courtesy, but I would rather go alone.

PAPHNUTIUS. I appreciate your kindness, but I’d prefer to go by myself.

YOUNG MAN. We understand. Have you money in your purse, stranger? Thais loves a handsome face, but she loves a full purse more.

YOUNG MAN. We get it. Do you have money in your wallet, stranger? Thais loves a good-looking guy, but she loves a fat wallet even more.

PAPHNUTIUS. Gentlemen, I am rich. I have a rare present to offer her.

PAPHNUTIUS. Gentlemen, I’m wealthy. I have a unique gift for her.

YOUNG MAN. To our next meeting, then! Farewell. May Thais be kind!

YOUNG MAN. See you at our next meeting! Goodbye. Hope Thais is nice!

PAPHNUTIUS. Farewell.

PAPHNUTIUS. Goodbye.

Scene III

PAPHNUTIUS. Thais! Thais!

Thais! Thais!

THAIS. Who is there? I do not know that voice.

THAIS. Who's there? I don't recognize that voice.

PAPHNUTIUS. Thais! Your lover speaks! Thais!

PAPHNUTIUS. Thais! Your boyfriend is calling! Thais!

THAIS. Stranger, who are you?

THAIS. Who are you, stranger?

PAPHNUTIUS. Arise, my love, my beautiful one, and come!

PAPHNUTIUS. Get up, my love, my gorgeous one, and come!

THAIS. Who are you?

THAIS. Who are you?

PAPHNUTIUS. A man who loves you!

PAPHNUTIUS. A guy who loves you!

THAIS. And what do you want with me?

THAIS. What do you want from me?

PAPHNUTIUS. I will show you.

PAPHNUTIUS. I'll show you.

THAIS. You would be my lover?

THAIS. You want to be my lover?

PAPHNUTIUS. I am your lover, Thais, flame of the world!

PAPHNUTIUS. I’m your lover, Thais, the light of my life!

THAIS. Whoever loves me is well paid. He receives as much as he gives.

THAIS. Whoever loves me gets a fair return. They receive as much as they give.

PAPHNUTIUS. Oh, Thais, Thais! If you knew what a long and troublesome journey I have come to speak to you—to see your face!

PAPHNUTIUS. Oh, Thais, Thais! If you knew how far and difficult my journey has been to talk to you—to see your face!

THAIS. Well? Have I refused to speak to you, or to show you my face?

THAIS. So? Have I declined to talk to you or to show you my face?

PAPHNUTIUS. I cannot speak to you here. I must be with you alone. What I have to say is secret. The room must be secret too.

PAPHNUTIUS. I can't talk to you here. I need to be with you alone. What I have to say is confidential. The room has to be private too.

THAIS. How would you like a bedchamber, fragrant with perfumes, adorned as for a marriage? I have such a room. Look!

THAIS. How would you like a bedroom, filled with pleasant fragrances, decorated as for a wedding? I have a room like that. Look!

PAPHNUTIUS. Is there no room still more secret—a room that your lovers do not know? Some room where you and I might hide from all the world?

PAPHNUTIUS. Is there no other secret room—a place your lovers don't know about? Some spot where you and I can hide from everyone?

THAIS. Yes, there is a room like that in this house. No one even knows that it exists except myself, and God.

THAIS. Yes, there’s a room like that in this house. No one even knows it exists except for me and God.

PAPHNUTIUS. God! What God?

PAPHNUTIUS. God! Which God?

THAIS. The true God.

THAIS. The real God.

PAPHNUTIUS. You believe that He exists?

PAPHNUTIUS. Do you believe He exists?

THAIS. I am a Christian.

I'm a Christian.

PAPHNUTIUS. And you believe that He knows what we do?

PAPHNUTIUS. So, you think He knows what we're doing?

THAIS. I believe He knows everything.

THAIS. I think He knows everything.

PAPHNUTIUS. What do you think, then? That He is indifferent to the actions of the sinner, or that He reserves judgment?

PAPHNUTIUS. So what do you think? That He doesn't care about the sinner's actions, or that He is holding off on judgment?

THAIS. I suppose that the merits of each man are weighed in the balance, and that we shall be punished or rewarded according to our deeds.

THAIS. I guess that each person's merits are judged, and that we’ll be punished or rewarded based on what we do.

PAPHNUTIUS. O Christ! How wondrous is Thy patience! How wondrous is Thy love! Even when those who believe in Thee sin deliberately, Thou dost delay their destruction!

PAPHNUTIUS. Oh Christ! How amazing is Your patience! How amazing is Your love! Even when those who believe in You sin on purpose, You hold off their punishment!

THAIS. Why do you tremble? Why do you turn pale? Why do you weep?

THAIS. Why are you shaking? Why are you going pale? Why are you crying?

PAPHNUTIUS. I shudder at your presumption. I weep for your damnation. How, knowing what you know, can you destroy men in this manner and ruin so many souls, all precious and immortal?

PAPHNUTIUS. I can't believe your arrogance. I feel sorry for your damnation. How can you, knowing what you know, hurt people like this and ruin so many souls, all of them valuable and eternal?

THAIS. Your voice pierces my heart! Strange lover—you are cruel. Pity me!

THAIS. Your voice cuts through my heart! What a strange lover—you’re so cruel. Have some pity on me!

PAPHNUTIUS. Let us pity rather those souls whom you have deprived of the sight of God—of the God Whom you confess! Oh, Thais, you have wilfully offended the divine Majesty. That condemns you.

PAPHNUTIUS. Let’s feel sorry for those souls you’ve kept from seeing God—the God you claim to believe in! Oh, Thais, you have intentionally disrespected the divine Majesty. That’s what condemns you.

THAIS. What do you mean? Why do you threaten me like this?

THAIS. What do you mean? Why are you threatening me like this?

PAPHNUTIUS. Because the punishment of hell-fire awaits you if you remain in sin.

PAPHNUTIUS. Because you will face the punishment of hellfire if you stay in sin.

THAIS. Who are you, who rebuke me so sternly? Oh, you have shaken me to the depths of my terrified heart!

THAIS. Who are you to scold me like that? Oh, you've rattled me to the core of my scared heart!

PAPHNUTIUS. I would that you could be shaken with fear to your very bowels! I would like to see your delicate body impregnated with terror in every vein, and every fibre, if that would keep you from yielding to the dangerous delights of the flesh.

PAPHNUTIUS. I wish you could feel fear deep down to your core! I want to see your fragile body filled with terror in every vein and every fiber, if that would stop you from giving in to the tempting pleasures of the flesh.

THAIS. And what zest for pleasure do you think is left now in a heart suddenly awakened to a consciousness of guilt! Remorse has killed everything.

THAIS. And what desire for pleasure do you think remains now in a heart that’s suddenly aware of guilt? Regret has killed everything.

PAPHNUTIUS. I long to see the thorns of vice cut away, and the choked-up fountain of your tears flowing once more. Tears of repentance are precious in the sight of God.

PAPHNUTIUS. I yearn to see the thorns of wrongdoing removed, and the blocked fountain of your tears flowing again. Tears of regret are valuable in the eyes of God.

THAIS. Oh, voice that promises mercy! Do you believe, can you hope that one so vile as I, soiled by thousands and thousands of impurities, can make reparation, can ever by any manner of penance obtain pardon?

THAIS. Oh, voice that promises mercy! Do you really believe, can you seriously hope that someone as terrible as me, stained by countless impurities, can make amends, can ever earn forgiveness through any kind of penance?

PAPHNUTIUS. Thais, no sin is so great, no crime so black, that it cannot be expiated by tears and penitence, provided they are followed up by deeds.

PAPHNUTIUS. Thais, there’s no sin too big, no crime too terrible, that can’t be atoned for with tears and genuine remorse, as long as it’s backed up by actions.

THAIS. Show me, I beg you, my father, what I can do to be reconciled with Him I have offended.

THAIS. Please, my father, tell me what I can do to make amends with Him whom I have offended.

PAPHNUTIUS. Despise the world. Leave your dissolute lovers.

PAPHNUTIUS. Ignore the world. Let go of your reckless lovers.

THAIS. And afterwards? What then?

THAIS. And then? What next?

PAPHNUTIUS. You must retire to some solitary place, where you may learn to know yourself and realize the enormity of your sins.

PAPHNUTIUS. You need to go somewhere quiet, where you can get to know yourself and understand the seriousness of your sins.

THAIS. If you think this will save me, I will not delay a moment.

THAIS. If you think this will save me, I won't hesitate for a second.

PAPHNUTIUS. I have no doubt it will.

PAPHNUTIUS. I’m sure it will.

THAIS. Yet give me a little time. I must collect the wealth that I have gained through the sins of my body—all the treasures I have kept too long.

THAIS. Just give me a little time. I need to gather the wealth I've earned through my past mistakes—all the treasures I've held onto for too long.

PAPHNUTIUS. Do not give them a moment’s thought. There will be no lack of people to find them and make use of them.

PAPHNUTIUS. Don’t worry about them for a second. There will always be people who will find them and put them to good use.

THAIS. I have another idea in my mind. I did not think of keeping this wealth or of giving it to my friends. Nor would I distribute it among the poor. The wages of sin are no material for good works.

THAIS. I have another idea in mind. I didn’t think about keeping this wealth or giving it to my friends. I wouldn’t share it with the poor either. The rewards of sin aren’t the right foundation for good deeds.

PAPHNUTIUS. You are right. What then do you propose to do with your possessions?

PAPHNUTIUS. You’re right. So, what do you plan to do with your belongings?

THAIS. Give them to the flames! Burn them to ashes!

THAIS. Throw them in the fire! Burn them to ashes!

PAPHNUTIUS. For what reason?

PAPHNUTIUS. Why?

THAIS. That they may no longer exist in the world. Each one was acquired at the cost of an injury to the goodness and beauty of the Creator. Let them burn.

THAIS. That they may no longer exist in the world. Each one was obtained at the expense of the goodness and beauty of the Creator. Let them burn.

PAPHNUTIUS. How you are changed! Grace is on your lips! Your eyes are calm, and impure passions no longer burn in them. Oh, miracle! Is this Thais who was once so greedy for gold? Is this Thais, who seeks so humbly the feet of God?

PAPHNUTIUS. Wow, you’ve really changed! There’s grace in your words! Your eyes are serene, and the impure desires that once burned in them are gone. Oh, what a miracle! Is this really Thais, who used to be so obsessed with gold? Is this Thais, who now humbly seeks the feet of God?

THAIS. God give me grace to change still more. My heart is changed, but this mortal substance—how shall it be changed?

THAIS. God grant me the strength to change even more. My heart has changed, but what about this physical form—how can it be transformed?

PAPHNUTIUS. It is not difficult for the unchangeable substance to transform us.

PAPHNUTIUS. It’s not hard for the unchanging essence to change us.

THAIS. Now I am going to carry out my plan. Fire shall destroy everything I have.

THAIS. Now I’m going to put my plan into action. Fire will take away everything I have.

PAPHNUTIUS. Go in peace. Then return to me here quickly. Do not delay! I trust your resolution, and yet—

PAPHNUTIUS. Go in peace. Then come back to me here quickly. Don’t take too long! I believe in your determination, and yet—

THAIS. You need not be afraid.

THAIS. You don’t have to be scared.

PAPHNUTIUS. Thais, come back quickly! God be with you!

PAPHNUTIUS. Thais, hurry back! God be with you!

Scene IV

THAIS. Come, my lovers! Come, all my evil lovers! Hasten, my lovers! Your Thais calls you!

THAIS. Come on, my lovers! Come, all my wicked lovers! Hurry up, my lovers! Your Thais is calling you!

LOVERS. That is the voice of Thais. She calls us. Let us make haste. Let us make haste, for by delay we may offend her.

LOVERS. That’s Thais calling us. Let’s hurry. Let’s hurry, because if we delay, we might upset her.

THAIS. Come, lovers! Run! Hasten! What makes you so slow? Never has Thais been more impatient for your coming. Come nearer. I have something to tell you all.

THAIS. Come on, lovers! Hurry! Why are you so slow? I've never been more eager for you to arrive. Come closer. I have something to share with all of you.

LOVERS. Oh, Thais, what is the meaning of this pile of faggots? Why are you throwing all those beautiful and precious treasures on the pile?

LOVERS. Oh, Thais, what’s the deal with this pile of firewood? Why are you throwing all those beautiful and valuable treasures onto it?

THAIS. You cannot guess? You do not know why I have built this fire?

THAIS. Can't you guess? Do you not know why I started this fire?

LOVERS. We are amazed. We wonder greatly what is the meaning of it and of your strange looks.

LOVERS. We are amazed. We really wonder what it all means and what your strange expressions are about.

THAIS. You would like me to tell you, evil lovers?

THAIS. So you want me to tell you, wicked lovers?

LOVERS. We long to hear.

LOVERS. We want to listen.

THAIS. Look, then!

THAIS. Look at that!

LOVERS. Stop, Thais! What are you doing? Are you mad?

LOVERS. Stop, Thais! What are you doing? Are you crazy?

THAIS. I am not mad. For the first time I am sane, and I rejoice!

THAIS. I’m not crazy. For the first time, I feel sane, and I’m celebrating!

LOVERS. To waste these pounds of gold, and all the other treasure! Oh, Thais, you have lost your senses! These are beautiful things, precious things, and you burn them!

LOVERS. To waste this gold and all the other treasures! Oh, Thais, you’ve lost your mind! These are beautiful things, precious things, and you’re destroying them!

THAIS. All these things I have extorted from you as the price of shameful deeds. I burn them to destroy all hope in you that I shall ever again turn to your love. And now I leave you.

THAIS. I've taken all these things from you as payment for disgraceful actions. I'm burning them to eliminate any hope you have that I will ever return to your love. And now I'm leaving.

LOVERS. Wait, Thais. Oh wait a little, and tell us what has changed you!

LOVERS. Hold on, Thais. Just wait a moment and let us know what’s caused this change in you!

THAIS. I will not stay. I will not tell you anything. To talk with you has become loathsome.

THAIS. I’m not staying. I’m not telling you anything. Talking to you has become disgusting.

LOVERS. What have we done to deserve this scorn and contempt? Can you accuse us of being unfaithful? What wrong have we done? We have always sought to satisfy your desires. And now you show us this bitter hatred! Unjust woman, what have we done?

LOVERS. What have we done to deserve this scorn and contempt? Can you accuse us of being unfaithful? What wrong have we done? We have always tried to fulfill your desires. And now you show us this bitter hatred! Unfair woman, what have we done?

THAIS. Leave me, or let me leave you. Do not touch me. You can tear my garments, but you shall not touch me.

THAIS. Leave me, or let me leave you. Don't touch me. You can rip my clothes, but you shall not touch me.

LOVERS. Cruel Thais, speak to us! Before you go, speak to us!

LOVERS. Cruel Thais, talk to us! Before you leave, talk to us!

THAIS. I have sinned with you. But now is the end of sin, and all our wild pleasures are ended.

THAIS. I’ve sinned with you. But now, it’s time to stop sinning, and all our wild pleasures are over.

LOVERS. Thais, do not leave us! Thais, where are you going?

LOVERS. Thais, don’t go! Thais, where are you headed?

THAIS. Where none of you will ever see me again!

THAIS. Where none of you will ever see me again!

LOVERS. What monstrous thing is this? Thais, glory of our land, is changed! Thais, our delight, who loved riches and power and luxury—Thais, who gave herself up to pleasure day and night, has destroyed past remedy gold and gems that had no price! What monstrous thing is this? Thais, the very flower of love, insults her lovers and scorns their gifts. Thais, whose boast it was that whoever loved her should enjoy her love! What monstrous thing is this? Thais! Thais! this is a thing not to be believed.

LOVERS. What on earth is happening? Thais, the pride of our land, has changed! Thais, our joy, who loved wealth and power and luxury—Thais, who indulged in pleasure day and night, has recklessly wasted gold and gems that were priceless! What on earth is happening? Thais, the very essence of love, insults her lovers and dismisses their gifts. Thais, who proudly claimed that anyone who loved her would enjoy her love! What on earth is happening? Thais! Thais! this is unbelievable.

Scene V

THAIS. Paphnutius, my father, I am ready now to obey you, command what you will.

THAIS. Paphnutius, my father, I’m ready to obey you now. Just tell me what you want.

PAPHNUTIUS. Thais, I have been uneasy during your absence. I feared you had been caught in the world’s snare. I feared you would not return.

PAPHNUTIUS. Thais, I’ve been worried while you were gone. I was afraid you got trapped by the world. I was afraid you wouldn’t come back.

THAIS. You need not have been afraid. The world does not tempt me now. My possessions are ashes. I have publicly renounced my lovers.

THAIS. You didn’t need to be scared. The world doesn't tempt me anymore. My belongings are just ashes. I've publicly given up my lovers.

PAPHNUTIUS. Oh, happy guilt that has brought such happy penitence! Since you have renounced your earthly lovers, you can now be joined to your Heavenly Lover.

PAPHNUTIUS. Oh, what a joyful guilt that has led to such joyful repentance! Now that you've let go of your earthly partners, you can be united with your Heavenly Partner.

THAIS. It is for you to show me the way. Be a lantern to me, for all is obscure night.

THAIS. It's up to you to guide me. Be my light, because everything is a dark night.

PAPHNUTIUS. Trust me, daughter. Follow me.

PAPHNUTIUS. Trust me, daughter. Come with me.

THAIS. I can follow you with my feet. Would that I could follow you with my deeds!

THAIS. I can follow you with my feet. I wish I could follow you with my actions!

Scene VI

THAIS. Oh, I am weary!

THAIS. Oh, I'm so tired!

PAPHNUTIUS. Courage! Here is the monastery where a famous community of holy virgins live. I am anxious for you to pass the time of penance here if you will consent.

PAPHNUTIUS. Stay strong! This is the monastery where a well-known group of holy virgins resides. I’m eager for you to spend your time in penance here if you're willing.

THAIS. I do not resist. I wish to obey you. I trust you.

THAIS. I won’t resist. I want to follow your lead. I trust you.

PAPHNUTIUS. I will go in, and persuade the Abbess who is the head of the community to receive you.

PAPHNUTIUS. I’ll go in and convince the Abbess, who leads the community, to welcome you.

THAIS. And what shall I do meanwhile? Do not leave me alone.

THAIS. What am I supposed to do in the meantime? Please don’t leave me alone.

PAPHNUTIUS. You shall come with me. But look! The Abbess has come out to meet us. I wonder who can have told her so promptly of our arrival.

PAPHNUTIUS. You’re coming with me. But wait! The Abbess has come out to greet us. I’m curious about who informed her of our arrival so quickly.

THAIS. Rumour, Father Paphnutius. Rumour never delays.

THAIS. Rumor, Father Paphnutius. Rumor never waits.

Scene VII

PAPHNUTIUS. You come opportunely, illustrious Abbess. I was just seeking you.

PAPHNUTIUS: You arrived just in time, esteemed Abbess. I was just looking for you.

ABBESS. You are most welcome, venerated Father Paphnutius. Blessed is your visit, beloved of the Most High.

ABBESS. You are very welcome, esteemed Father Paphnutius. We are blessed by your visit, cherished servant of the Most High.

PAPHNUTIUS. May the grace of Him Who is Father of all pour into your heart the beatitude of everlasting peace!

PAPHNUTIUS. May the grace of Him who is the Father of all fill your heart with the blessing of everlasting peace!

ABBESS. And what has brought your holiness to my humble dwelling?

ABBESS. What brings you to my humble home?

PAPHNUTIUS. I need your help.

PAPHNUTIUS. I need your help.

ABBESS. Speak but the word. You will find me eager to do all in my power to carry out your wishes.

ABBESS. Just say the word. You'll find me more than willing to do anything I can to fulfill your wishes.

PAPHNUTIUS. Oh, Abbess, I have brought you a little wild gazelle who has been snatched half dead from the jaws of wolves. Show it compassion, nurse it with all your tenderness, until it has shed its rough goatskin and put on the soft fleece of a lamb.

PAPHNUTIUS. Oh, Abbess, I’ve brought you a little wild gazelle that was almost killed by wolves. Please show it kindness, take care of it with all your love, until it has shed its rough goatskin and has grown the soft wool of a lamb.

ABBESS. Explain yourself further.

ABBESS. Please elaborate.

PAPHNUTIUS. You see this woman. From her youth she has led the life of a harlot. She has given herself up to base pleasures—

PAPHNUTIUS. You see this woman. Since she was young, she's lived like a prostitute. She's committed herself to lowly desires—

ABBESS. What misery!

ABBESS. What a nightmare!

PAPHNUTIUS. She cannot offer the excuse that she was a Pagan to whom such pleasures bring no remorse of conscience. She wore the baptismal robes of a child of God when she gave herself to the flames of profane love. She was not tempted. She chose this evil life. She was ruined by her own will.

PAPHNUTIUS. She can't claim she was a Pagan who felt no guilt about such pleasures. She wore the baptismal robes of a child of God when she surrendered to the fire of forbidden love. She wasn't tempted. She chose this sinful life. She was destroyed by her own choices.

ABBESS. She is the more unfortunate.

ABBESS. She's the unluckier one.

PAPHNUTIUS. Yet such is the power of Christ, that at His word, of which my poor mouth was the instrument, she has fled from the surroundings which were her damnation. Obedient as a child, she has followed me. She has abandoned lust and ease and idle luxury. She is resolved to live chastely.

PAPHNUTIUS. Yet the power of Christ is so great that at His word, which my humble mouth delivered, she has escaped from the environment that condemned her. Like a child, she has followed me obediently. She has given up lust, comfort, and idle luxury. She has made up her mind to live chastely.

ABBESS. Glory to the Author of the marvellous change!

ABBESS. Praise to the Creator of the amazing transformation!

PAPHNUTIUS. Amen. But since the maladies of the soul, like those of the body, need physic for their cure, we must minister to this soul diseased by years of lust. It must be removed from the foul breath of the world. A narrow cell, solitude, silence—these must be her lot henceforth. She must learn to know herself and her sins.

PAPHNUTIUS. Amen. But just like physical illnesses, issues of the soul also need healing, so we have to help this soul that has been corrupted by years of desire. It needs to be isolated from the toxic influence of the world. From now on, solitude, silence, and a small space must be her reality. She has to learn to understand herself and her sins.

ABBESS. You are right. Such a penance is necessary.

ABBESS. You’re right. This kind of penance is needed.

PAPHNUTIUS. Will you give orders for a little cell to be made ready as soon as possible?

PAPHNUTIUS. Can you arrange for a small room to be prepared as soon as possible?

ABBESS. Yes, my father. It shall be done as quickly as we can.

ABBESS. Yes, my father. We'll get it done as fast as we can.

PAPHNUTIUS. There must be no entrance, no opening of any kind, except a small window through which she can receive the food that will be brought her on certain days at certain fixed hours. A pound of bread, and water according to her need.

PAPHNUTIUS. There must be no entrance, no opening of any kind, except for a small window through which she can receive the food that will be brought to her on specific days at set times. A pound of bread, and water as needed.

ABBESS. Forgive me, dear father in God, but I fear she will not be able to endure such a rigorous life. The soul may be willing, but that fastidious mind, that delicate body used to luxury, how can we expect them to submit?

ABBESS. Forgive me, dear father in God, but I worry she won't be able to handle such a tough life. The spirit may be willing, but that picky mind, that fragile body accustomed to comfort, how can we expect them to comply?

PAPHNUTIUS. Have no fear. We know that grave sin demands a grave remedy.

PAPHNUTIUS. Don’t worry. We understand that serious sins require serious solutions.

ABBESS. That is true, yet are we not told also to hasten slowly?

ABBESS. That’s true, but aren’t we also advised to take our time?

PAPHNUTIUS. Good mother, I am already weary of delay. What if her lovers should pursue her? What if she be drawn back into the abyss? I am impatient to see her enclosed.

PAPHNUTIUS. Good mother, I'm already tired of waiting. What if her lovers come after her? What if she gets pulled back into darkness? I'm eager to see her safe and sound.

ABBESS. Nothing stands in the way of your enclosing her now. The cell which you told us to prepare is ready.

ABBESS. There's nothing stopping you from putting her in there now. The cell you asked us to get ready is set.

PAPHNUTIUS. Then enter, Thais! This is just such a refuge as we spoke of on our journey. It is the very place for you. There is room and more than room here for you to weep over your sins.

PAPHNUTIUS. Then come in, Thais! This is exactly the kind of refuge we talked about on our way here. This is the perfect place for you. There's plenty of space here for you to mourn your sins.

THAIS. How small it is! How dark! How can a delicate woman live in such a place?

THAIS. It's so small! It's so dark! How can a delicate woman live in a place like this?

PAPHNUTIUS. You are not pleased with your new dwelling! You shudder at the thought of entering! Oh, Thais, have you not wandered long enough without restraint? Is it not right that you should now be confined in this narrow, solitary cell, where you will find true freedom?

PAPHNUTIUS. You’re not happy with your new place! You cringe at the idea of going in! Oh, Thais, haven’t you roamed freely long enough? Isn’t it time you settled down in this small, solitary cell, where you can discover real freedom?

THAIS. I have been so long accustomed to pleasure and distraction. My mind is still a slave to the senses.

THAIS. I've been so used to pleasure and distractions for so long. My mind is still a slave to my senses.

PAPHNUTIUS. The more need to rein it, to discipline it, until it ceases to rebel.

PAPHNUTIUS. We need to control it and discipline it until it stops resisting.

THAIS. I do not rebel—but my weakness revolts against one thing here.

THAIS. I'm not rebelling—it's just that my weakness struggles against one thing here.

PAPHNUTIUS. Of what do you speak?

PAPHNUTIUS. What are you talking about?

THAIS. I am ashamed to say.

THAIS. I'm ashamed to say.

PAPHNUTIUS. Speak, Thais! Be ashamed of nothing but your sins.

PAPHNUTIUS. Go ahead, Thais! Don’t be ashamed of anything except your mistakes.

THAIS. Good father, what could be more repugnant than to have to attend to all the needs of the body in this one little room. … It will soon be uninhabitable.

THAIS. Good father, what could be more disgusting than having to take care of all the body's needs in this tiny room. … It will be unlivable soon.

PAPHNUTIUS. Fear the cruel punishments of the soul, and cease to dread transitory evils.

PAPHNUTIUS. Fear the harsh consequences for your soul, and stop worrying about temporary troubles.

THAIS. My weakness makes me shudder.

THAIS. My weakness makes me cringe.

PAPHNUTIUS. The sweetness of your guilty pleasures was far more bitter and foul.

PAPHNUTIUS. The enjoyment of your wrongdoings was much more bitter and disgusting.

THAIS. I know it is just. What grieves me most is that I shall not have one clean sweet spot in which to call upon the sweet name of God.

THAIS. I know it’s fair. What troubles me the most is that I won’t have a single peaceful place where I can call upon the sweet name of God.

PAPHNUTIUS. Have a care, Thais, or your confidence may become presumption. Should polluted lips utter so easily the name of the unpolluted Godhead?

PAPHNUTIUS. Be careful, Thais, or your confidence might turn into arrogance. Should tainted lips so easily speak the name of the pure God?

THAIS. Oh, how can I hope for pardon! Who will pity me—who save me! What shall I do if I am forbidden to invoke Him against Whom only I have sinned! To whom should I pray if not to Him.

THAIS. Oh, how can I hope for forgiveness! Who will feel sorry for me—who will save me! What should I do if I'm not allowed to call upon Him against Whom I have only sinned! To whom should I pray if not to Him?

PAPHNUTIUS. You must indeed pray to Him, but with tears, not with words. Let not a tinkling voice, but the mighty roar of a contrite heart sound in the ear of God.

PAPHNUTIUS. You really should pray to Him, but with tears, not just words. Don't let a soft voice be heard, but rather the powerful cry of a sorry heart reach God's ears.

THAIS. I desire His pardon. Surely I may ask for it?

THAIS. I want His forgiveness. Can I ask for it?

PAPHNUTIUS. Oh, Thais, the more perfectly you humble yourself, the more swiftly you will win it! Let your heart be all prayer, but let your lips say only this: “O God Who made me, pity me!”

PAPHNUTIUS. Oh, Thais, the more you humble yourself, the faster you'll achieve it! Let your heart be filled with prayer, but let your lips say only this: “O God who created me, have mercy on me!”

THAIS. O God, Who made me, pity me! He alone can save me from defeat in this hard struggle!

THAIS. Oh God, who created me, have mercy on me! He alone can rescue me from failure in this tough battle!

PAPHNUTIUS. Fight manfully, and you will gain a glorious victory.

PAPHNUTIUS. Fight bravely, and you will achieve a glorious victory.

THAIS. It is your part to pray for me! Pray I may earn the victor’s palm.

THAIS. It's your job to pray for me! Pray that I may earn the victor’s palm.

PAPHNUTIUS. You need not remind me.

PAPHNUTIUS. You don’t have to remind me.

THAIS. Give me some hope!

THAIS. Give me some hope!

PAPHNUTIUS. Courage! The palm will soon be in this humble hand. It is time for me to return to the desert. I owe a duty to my dear disciples. I know their hearts are torn by my absence. Yes. I must go. Venerable Abbess, I trust this captive to our charity and tenderness. I beg you to take the best care of her. Sustain her delicate body with necessaries. Refresh her soul with the luxuries of divine knowledge.

PAPHNUTIUS. Stay strong! The reward will soon be in this humble hand. It's time for me to head back to the desert. I have a responsibility to my dear disciples. I know they are struggling without me. Yes. I must leave. Venerable Abbess, I entrust this captive to your kindness and compassion. Please take great care of her. Provide her delicate body with essentials. Enrich her soul with the gifts of divine knowledge.

ABBESS. Have no anxiety about her, for I will cherish her with a mother’s love and tenderness.

ABBESS. Don't worry about her; I will care for her with a mother's love and kindness.

PAPHNUTIUS. I go then.

PAPHNUTIUS. I'm leaving then.

ABBESS. In peace.

ABBESS. In peace.

Scene VIII

DISCIPLES. Who knocks there?

DISCIPLES. Who's there?

PAPHNUTIUS. It is I—your father.

PAPHNUTIUS. It's me—your dad.

DISCIPLES. It is the voice of our father Paphnutius!

DISCIPLES. It's the voice of our father Paphnutius!

PAPHNUTIUS. Unbolt the door.

PAPHNUTIUS. Unlock the door.

DISCIPLE. Good father, welcome.

Disciple: Good father, welcome.

ALL. Welcome, father! Welcome!

ALL. Welcome, Dad! Welcome!

PAPHNUTIUS. A blessing on you all!

PAPHNUTIUS. Blessings to everyone!

DISCIPLE. You have given us great uneasiness by your long absence.

DISCIPLE. Your long absence has caused us a lot of concern.

PAPHNUTIUS. It has been fruitful.

PAPHNUTIUS. It has been productive.

DISCIPLE. Your mission has succeeded? Come, tell us what has happened to Thais.

DISCIPLE. Did your mission succeed? Come on, tell us what happened to Thais.

PAPHNUTIUS. All that I wished.

PAPHNUTIUS. Everything I wanted.

DISCIPLE. She has abandoned her evil life?

DISCIPLE. Has she turned her back on her wicked ways?

PAPHNUTIUS. Yes.

PAPHNUTIUS. Yeah.

DISCIPLE. Where is she living now?

DISCIPLE. Where is she living now?

PAPHNUTIUS. She weeps over her sins in a little cell.

PAPHNUTIUS. She cries over her mistakes in a small room.

DISCIPLES. Praise be to the Supreme Trinity!

DISCIPLES. Praise be to the Supreme Trinity!

PAPHNUTIUS. A little narrow cell, no wider than a grave. Blessed be His Terrible Name now and for ever.

PAPHNUTIUS. A small, cramped cell, no wider than a grave. Blessed be His Holy Name now and forever.

DISCIPLES. Amen.

DISCIPLES. Amen.

Scene IX

PAPHNUTIUS. Three years of her penance are over, and I cannot tell whether her sorrow has found favour with God. For some reason He will not enlighten me. I know what I will do. I will go to my brother Antony and beg him to intercede for me. God will make the truth known to him.

PAPHNUTIUS. Three years of her penance are up, and I can't tell if her sorrow has gained God's approval. For some reason, He won't reveal it to me. I know what I’ll do. I’ll go to my brother Antony and ask him to pray for me. God will show him the truth.

Scene X

ANTONY. Who comes this way? By his dress it is some brother-dweller in the desert. My old eyes do not recognize you yet, friend. Come nearer.

ANTONY. Who’s coming this way? By their clothes, they must be some kind of desert dweller. My old eyes don’t recognize you yet, friend. Come closer.

PAPHNUTIUS. Brother Antony! Do you not know me?

PAPHNUTIUS. Brother Antony! Don't you recognize me?

ANTONY. This is joy indeed! What pleasures God sends us, when we resign ourselves to have none! I did not think to see my brother Paphnutius again in this world. Is it indeed you, brother?

ANTONY. This is truly joyful! What blessings God brings us when we let go of our expectations! I never thought I would see my brother Paphnutius again in this life. Is it really you, brother?

PAPHNUTIUS. Yes, it is I.

PAPHNUTIUS. Yes, it’s me.

ANTONY. You are welcome, very welcome. Your coming gives me great joy.

ANTONY. You're welcome, really welcome. Your arrival brings me so much happiness.

PAPHNUTIUS. I am no less rejoiced to see you.

PAPHNUTIUS. I'm just as happy to see you.

ANTONY. But what is the cause? What has brought Paphnutius from his solitary retreat? He is not sick, I trust? He has not come to old Antony for healing?

ANTONY. But what's the reason? What made Paphnutius leave his quiet place? I hope he isn't sick? He hasn't come to old Antony for a cure, has he?

PAPHNUTIUS. No, I am in good health.

PAPHNUTIUS. No, I'm in good health.

ANTONY. That’s well! I am glad of it.

ANTONY. That's great! I'm happy to hear that.

PAPHNUTIUS. Brother Antony, it is three years since my peace was broken and disturbed by the persistent vision of a soul in peril. I heard a voice calling me night and day. But I stopped my ears—fearing my weakness. I thought “She calls me to ruin me.” “No, no,” the voice said. “I call you to save me.”

PAPHNUTIUS. Brother Antony, it’s been three years since my peace was shattered by the constant vision of a soul in danger. I heard a voice calling me day and night. But I covered my ears—worried about my own weakness. I thought, “She’s calling me to destroy me.” “No, no,” the voice replied. “I’m calling you to save me.”

ANTONY. A woman’s voice!

ANTONY. A woman's voice!

PAPHNUTIUS. Before my vision it was well known to us all that in the great town on the edge of the desert there was a harlot called Thais, through whom many were destroyed body and soul.

PAPHNUTIUS. Before my eyes, it was common knowledge that in the large town on the edge of the desert, there was a prostitute named Thais, through whom many were ruined both physically and spiritually.

ANTONY. It was she who called you!

ANTONY. She was the one who called you!

PAPHNUTIUS. Brother Antony, it was God who called me. My disciples opposed me; nevertheless I went to the town to see Thais and wrestle with the demon.

PAPHNUTIUS. Brother Antony, it was God who called me. My followers were against me; still, I went to the town to meet Thais and confront the demon.

ANTONY. A perilous enterprise.

ANTONY. A risky venture.

PAPHNUTIUS. I went to her in the disguise of a lover, and began by flattering her with sweet words. Then I threw off the mask and brought terror to her soul with bitter reproaches and threats of God’s punishment.

PAPHNUTIUS. I approached her pretending to be a lover and started by complimenting her with kind words. Then I revealed my true self and filled her with fear using harsh criticisms and warnings of God’s punishment.

ANTONY. A prudent course. Hard words are necessary when natures have grown soft and can no longer distinguish between good and evil.

ANTONY. A wise approach. Tough words are needed when people have become soft and can’t tell the difference between right and wrong.

PAPHNUTIUS. I was disarmed by her docility. Truly, brother Antony, my heart melted like wax when she spurned her ill-gotten wealth and abandoned her lovers.

PAPHNUTIUS. I was taken aback by her submissiveness. Honestly, brother Antony, my heart melted like wax when she rejected her ill-gotten riches and left her lovers behind.

ANTONY. But you hid your tenderness?

ANTONY. But you kept your feelings hidden?

PAPHNUTIUS. Yes, Brother Antony.

PAPHNUTIUS. Yeah, Brother Antony.

ANTONY. What followed?

ANTONY. What happened next?

PAPHNUTIUS. She chose to live in chastity. She consented to be enclosed in a narrow cell. She accepted her penance with sweetness and humility.

PAPHNUTIUS. She chose to live a life of purity. She agreed to be confined in a small cell. She embraced her penance with grace and humility.

ANTONY. I am rejoiced by what you have told me! All the blood in my old veins exults and rejoices!

ANTONY. I’m so happy to hear what you’ve told me! Every drop of blood in my old veins is thrilled and rejoicing!

PAPHNUTIUS. That is because you are a saint.

PAPHNUTIUS. That’s because you’re a saint.

ANTONY. Brother, you cannot mean that you are sad?

ANTONY. Brother, you can't be serious that you're sad?

PAPHNUTIUS. I rejoice immeasurably in her conversion. Yet at times I am uneasy. I fear that the penance may have been too long and severe for a woman of such delicate frame.

PAPHNUTIUS. I'm incredibly happy about her conversion. But sometimes I feel uneasy. I'm worried that the penance might have been too long and harsh for a woman with such a fragile constitution.

ANTONY. That does you no wrong. Where true love is, loving compassion is not wanting.

ANTONY. That doesn't hurt you at all. Where there is true love, there's always loving compassion.

PAPHNUTIUS. I came to beg yours for Thais. Of your charity give me your prayers. I beg you and your disciples to join with me in praying for a sign. Let us persevere in prayer until it is shown us from heaven that the penitent’s tears have moved the divine mercy to indulgence.

PAPHNUTIUS. I came to ask for your support for Thais. Please, out of kindness, offer your prayers for her. I ask you and your followers to pray alongside me for a sign. Let’s keep praying until we receive a signal from heaven that the tears of the penitent have touched divine mercy and led to forgiveness.

ANTONY. Brother Paphnutius, I have never granted a request more gladly. Come, we will gather together my disciples.

ANTONY. Brother Paphnutius, I have never been happier to fulfill a request. Come on, let's get my disciples together.

PAPHNUTIUS. I know that God will listen to his good servant Antony.

PAPHNUTIUS. I know that God will hear his faithful servant Antony.

Scene XI

ANTONY. Thanks be to God! The gospel’s promise is fulfilled in us!

ANTONY. Thank God! The promise of the gospel is fulfilled in us!

PAPHNUTIUS. What promise, blessed Antony?

PAPHNUTIUS. What promise, holy Antony?

ANTONY. Those who unite in prayer can obtain whatever they desire.

ANTONY. People who come together to pray can achieve anything they want.

PAPHNUTIUS. What miracle has happened? What is it?

PAPHNUTIUS. What miracle has occurred? What is happening?

ANTONY. My disciple Paul has had a vision.

ANTONY. My follower Paul has had a vision.

PAPHNUTIUS. What vision? Oh, call him!

PAPHNUTIUS. What vision? Oh, call him!

ANTONY. He is here. Paul, my son, tell our brother, Paphnutius, the wonders you have seen.

ANTONY. He's here. Paul, my son, tell our brother, Paphnutius, about the amazing things you've witnessed.

PAUL. Father, I saw in my vision a splendid bed. It was adorned with white hangings and coverings, and a crown was laid on it, and round it were four radiant virgins. They stood there as if they were guarding the crown. There was a great brightness round the bed, and a multitude of angels. I, seeing this wonderful and joyful sight, cried out, “This glory must be for my master and father Antony!”

PAUL. Dad, I had a vision of a beautiful bed. It was dressed with white drapes and covers, and there was a crown on it, with four radiant maidens standing around it as if they were protecting the crown. There was a brilliant light around the bed, along with a crowd of angels. Seeing this amazing and joyful sight, I shouted, “This glory is meant for my master and father Antony!”

ANTONY. Son, did you not know Antony was unworthy of such honour?

ANTONY. Son, didn't you know Antony didn't deserve such honor?

PAUL. But a divine voice answered me, saying, “This glory is prepared, not, as you think, for Antony, but for the harlot, Thais!”

PAUL. But a divine voice replied to me, saying, “This glory is meant, not for Antony as you believe, but for the prostitute, Thais!”

PAPHNUTIUS. O sweet Christ! How shall I praise Thee for so lovingly sending comfort to my sad heart?

PAPHNUTIUS. Oh sweet Christ! How can I thank You for sending such comfort to my sorrowful heart?

ANTONY. He is worthy to be praised.

ANTONY. He deserves to be praised.

PAPHNUTIUS. Then farewell, Brother Antony. I must go at once to my captive.

PAPHNUTIUS. Then goodbye, Brother Antony. I have to go right away to my captive.

ANTONY. You must indeed. It is time her valiant penance ended. You should assure her that her pardon is complete; you should fill her with hope, and speak to her only of the beatitude in store for her.

ANTONY. You really must. It's time for her brave penance to come to an end. You should make sure she knows her forgiveness is full; you should inspire her with hope and talk to her only about the happiness waiting for her.

PAPHNUTIUS. Your blessing.

PAPHNUTIUS. Your blessing!

Scene XII

PAPHNUTIUS. Thais, my little daughter! Thais! Open the window and let me see you.

PAPHNUTIUS. Thais, my little girl! Thais! Open the window so I can see you.

THAIS. Who speaks?

THAIS. Who's speaking?

PAPHNUTIUS. Paphnutius.

Paphnutius.

THAIS. Why should you visit a poor sinner? Why should I be given this great joy and happiness?

THAIS. Why do you want to visit someone like me, a poor sinner? Why do I deserve this immense joy and happiness?

PAPHNUTIUS. These years that I have been absent from you in the body have been weary to me too. I have thought of you night and day. I have yearned for your salvation.

PAPHNUTIUS. These years that I’ve been away from you have been hard for me too. I’ve thought about you day and night. I’ve longed for your salvation.

THAIS. I never doubted that.

THAIS. I always believed that.

PAPHNUTIUS. Tell me how things are with you. How have you lived here? What have you been doing?

PAPHNUTIUS. Let me know how you’re doing. How have you been living here? What have you been up to?

THAIS. Nothing worth the telling! I have nothing to offer God.

THAIS. There's nothing to share! I have nothing to give God.

PAPHNUTIUS. The offering He loves best is a humble spirit.

PAPHNUTIUS. The offering He values most is a humble heart.

THAIS. All I have done is to gather up the many sins on my conscience into a mighty bundle and keep them always in mind. All day I have sat gazing towards the East, saying only this one prayer: “O God Who made me, pity me!” If my bodily senses have always been conscious of the offensiveness of this place, my heart’s eyes have never been blind to the dreadfulness of hell.

THAIS. All I've done is collect the many sins I carry on my conscience into a large bundle and keep them in mind at all times. I've spent the whole day gazing toward the East, saying just this one prayer: “O God Who made me, have mercy on me!” While my physical senses have always been aware of how offensive this place is, my heart has never been blind to the horrors of hell.

PAPHNUTIUS. Your great penitence has won a great forgiveness. Yet God has not pardoned you for your valiant expiation so much as for the love with which you have given yourself to Christ.

PAPHNUTIUS. Your deep remorse has earned you a significant forgiveness. However, God hasn't forgiven you just for your brave atonement but for the love with which you have dedicated yourself to Christ.

THAIS. Can that be true? Would that it were!

THAIS. Can that really be true? I wish it were!

PAPHNUTIUS. Give me your hand. Let me bring you out of your cell to prove you are forgiven.

PAPHNUTIUS. Give me your hand. Let me take you out of your cell to show you that you are forgiven.

THAIS. No, father, leave me here. This place with all its uncleanness is best for me.

THAIS. No, Dad, just leave me here. This place, with all its messiness, is where I belong.

PAPHNUTIUS. The time has come for you to cast away your fear, and hope for life! God wishes your penance to end.

PAPHNUTIUS. It’s time for you to let go of your fear and hope for life! God wants your penance to be over.

THAIS. Let the angels praise Him! He has not despised the love of a humble sinner.

THAIS. Let the angels praise Him! He hasn’t looked down on the love of a humble sinner.

PAPHNUTIUS. Thais, would you rejoice if now you were called upon to lay aside this body?

PAPHNUTIUS. Thais, would you be happy if you were asked to give up this body right now?

THAIS. Oh, father, my soul longs to escape from this earth.

THAIS. Oh, Dad, my heart aches to break free from this world.

PAPHNUTIUS. Thais, you have finished your course here. In fifteen days you will, by God’s grace, pass straight to Paradise.

PAPHNUTIUS. Thais, you have completed your time here. In fifteen days, with God’s help, you will go directly to Paradise.

THAIS. To Paradise! I should be happy if I might be spared hell’s torments and be mercifully cleansed in a gentle fire until my spirit is fit for the eternal happiness.

THAIS. To Paradise! I would be happy if I could be saved from hell’s torments and be gently cleansed in a mild fire until my spirit is ready for eternal happiness.

PAPHNUTIUS. Grace is the free gift of God and does not depend on our merits. If it did, it could not be called grace.

PAPHNUTIUS. Grace is a free gift from God and isn't based on what we deserve. If it were, it wouldn't truly be called grace.

THAIS. For this let the choirs of heaven praise Him, and all the little twigs and fresh green leaves on earth, all animals, and the great waters. He is patient with us when we fall! He is generous in His gifts when we repent.

THAIS. For this let the heavenly choirs praise Him, and all the small branches and fresh green leaves on earth, all animals, and the great waters. He is patient with us when we stumble! He is generous in His gifts when we turn back to Him.

PAPHNUTIUS. He loves to be merciful. From all eternity He has preferred pardon to punishment.

PAPHNUTIUS. He loves to show mercy. From all time, He has chosen forgiveness over punishment.

Scene XIII

THAIS. Holy father, do not leave me. Be near to comfort me in this hour of my death.

THAIS. Holy Father, please don't leave me. Stay close to comfort me in this hour of my death.

PAPHNUTIUS. I will not leave you, Thais, until your soul has taken flight to the stars, and I have buried your body.

PAPHNUTIUS. I won’t leave you, Thais, until your soul has ascended to the stars and I’ve laid your body to rest.

THAIS. I feel the end is near. Brother, do not leave me!

THAIS. I sense the end is close. Brother, please don’t leave me!

PAPHNUTIUS. Now is the time to pray.

PAPHNUTIUS. Now is the time to pray.

THAIS. O God Who made me, pity me! Grant that the soul which Thou didst breathe into me may now happily return to Thee. O God Who made me, pity me!

THAIS. Oh God who created me, have mercy on me! Please let the soul that You breathed into me return to You in peace. Oh God who created me, have mercy on me!

PAPHNUTIUS. Thais! Thais! Oh, loving humble spirit, pass to thy glory! … Angels lead her into Paradise! … O uncreated Beauty, existing in Truth without material form, grant that the divers parts of this human body now to be dissolved may return to their original elements! Grant that the soul, given from on high, may soar into light and joy, and that the body may be cherished peacefully in the soft lap of the earth until that day when, the ashes being brought together again, and the life-giving sap restored to the veins, this same Thais may rise again, a perfect human being as before, and take her place among the glorious white flock who shall be led into the joy of eternity! Grant this, O Thou Who alone art what Thou art—Who livest and reignest and art glorious in the Unity and perfect Trinity through infinite ages!

PAPHNUTIUS. Thais! Thais! Oh, loving, humble spirit, find your glory! … Angels lead her into Paradise! … O uncreated Beauty, existing in Truth without physical form, let the different parts of this human body, now being dissolved, return to their original elements! Let the soul, given from above, soar into light and joy, and let the body rest peacefully in the soft embrace of the earth until that day when, the ashes gathered together again, and the life-giving essence restored to the veins, this same Thais may rise again, a perfect human being as before, and take her place among the glorious white flock who will be led into the joy of eternity! Grant this, O You Who alone are what You are—Who live and reign and are glorious in the Unity and perfect Trinity through endless ages!

Sapientia

Argument

The martyrdom of the holy virgins Faith, Hope, and Charity, who are put to the torture by the Emperor Hadrian and slain in the presence of their mother Sapientia, she encouraging them by her admonitions to bear their sufferings. After their death the holy mother recovers the bodies of her children, embalms them with spices, and buries them with honour about five miles outside the city of Rome.

The martyrdom of the holy virgins Faith, Hope, and Charity, who are tortured by Emperor Hadrian and killed in front of their mother, Sapientia, who encourages them with her words to endure their suffering. After their death, the holy mother retrieves the bodies of her children, embalms them with spices, and buries them with honor about five miles outside the city of Rome.

Forty days later the spirit of Sapientia takes its flight to heaven while she is still praying by her children’s graves.

Forty days later, the spirit of Sapientia ascends to heaven while she is still praying by her children's graves.

Characters

  • ANTIOCHUS.
  • HADRIAN.
  • SAPIENTIA.
  • FAITH.
  • HOPE.
  • CHARITY.
  • MATRONS.

Sapientia

Scene I

ANTIOCHUS. My Lord Emperor, what desire has your servant but to see you powerful and prosperous? What ambition apart from the welfare and peace and greatness of the state you rule? So when I discover anything that threatens the commonwealth or your peace of mind I try to crush it before it has taken root.

ANTIOCHUS. My Lord Emperor, what does your servant want other than to see you strong and successful? What ambition do I have besides the well-being, peace, and greatness of the state you govern? So when I find anything that could threaten the common good or your peace of mind, I do my best to eliminate it before it can take hold.

HADRIAN. In this you show discretion, Antiochus. Our prosperity means your advantage. Witness the honours that we never tire of heaping on you.

HADRIAN. In this, you demonstrate good judgment, Antiochus. Our success benefits you. Look at the honors we constantly bestow upon you.

ANTIOCHUS. Your Grace’s welfare is so dear to me that I do not seek to disguise what is hostile to your interests, but immediately bring it to your notice and denounce it!

ANTIOCHUS. Your Grace’s well-being is so important to me that I won’t hide anything that's against your interests, but will bring it to your attention and call it out right away!

HADRIAN. Do you praise yourself for this? If you withheld such information you would be guilty of treason to our Imperial Majesty.

HADRIAN. Are you proud of this? If you kept such information to yourself, you would be committing treason against our Emperor.

ANTIOCHUS. I have never been disloyal.

ANTIOCHUS. I've never cheated.

HADRIAN. I do not question it. Come, if you have discovered some new danger, make it known to us.

HADRIAN. I don’t doubt it. Come on, if you've found some new threat, let us know.

ANTIOCHUS. A certain alien woman has recently come to this city with her three children.

ANTIOCHUS. A foreign woman has recently arrived in this city with her three children.

HADRIAN. Of what sex are the children?

HADRIAN. What gender are the kids?

ANTIOCHUS. They are all girls.

ANTIOCHUS. They’re all girls.

HADRIAN. And you think that a handful of women threaten danger to the state?

HADRIAN. So you believe that a small group of women poses a threat to the state?

ANTIOCHUS. I do, and very grave danger.

ANTIOCHUS. I do, and it's a serious threat.

HADRIAN. Of what kind?

HADRIAN. What kind?

ANTIOCHUS. A disturbance of the peace.

ANTIOCHUS. A disruption of the peace.

HADRIAN. How?

HADRIAN. How’d that happen?

ANTIOCHUS. What disturbs the peace and harmony of states more than religious differences?

ANTIOCHUS. What disrupts the peace and unity of nations more than religious differences?

HADRIAN. I grant you that. The whole Roman Empire witnesses to the serious troubles they can cause. The body politic is infected by the corpses of slaughtered Christians.

HADRIAN. I agree with you. The entire Roman Empire shows the serious problems they can bring. The political body is tainted by the bodies of murdered Christians.

ANTIOCHUS. This woman of whom I speak is urging the people of this country to abandon the religion of their fathers and embrace the Christian faith.

ANTIOCHUS. This woman I'm talking about is encouraging the people of this country to give up their ancestral religion and adopt the Christian faith.

HADRIAN. But have her words any effect?

HADRIAN. But do her words have any impact?

ANTIOCHUS. Indeed they have. Our wives hate and scorn us to such an extent that they will not deign to eat with us, still less share our beds.

ANTIOCHUS. They really do. Our wives hate and look down on us so much that they won't even eat with us, let alone share our beds.

HADRIAN. This is a real danger, I admit.

HADRIAN. I admit, this is a genuine risk.

ANTIOCHUS. You must protect yourself.

ANTIOCHUS. You need to stay safe.

HADRIAN. That stands to reason. Let the woman be brought before me, and I will examine her and see what can be done.

HADRIAN. That makes sense. Bring the woman to me, and I'll question her to see what can be done.

ANTIOCHUS. You wish me to summon her?

ANTIOCHUS. Do you want me to call her?

HADRIAN. I have said it.

HADRIAN. I've said it.

Scene II

ANTIOCHUS. Foreign woman, what is your name?

ANTIOCHUS. Foreign woman, what's your name?

SAPIENTIA. Sapientia.

Wisdom.

ANTIOCHUS. The Emperor Hadrian orders you to present yourself at the palace.

ANTIOCHUS. Emperor Hadrian wants you to come to the palace.

SAPIENTIA. I am not afraid to go. I have a noble escort in my daughters. Nor do I tremble at the thought of meeting your scowling Emperor face to face.

SAPIENTIA. I'm not afraid to go. I have a noble escort with me—my daughters. I also don’t shake at the thought of meeting your scowling Emperor in person.

ANTIOCHUS. It is the way of you Christian rabble to defy authority.

ANTIOCHUS. It's typical of you Christian folks to challenge authority.

SAPIENTIA. We acknowledge the authority of Him Who rules the world; we know that He will not let His subjects be vanquished.

SAPIENTIA. We recognize the authority of the one who governs the world; we understand that He will not allow His followers to be defeated.

ANTIOCHUS. Not so much talk. To the palace.

ANTIOCHUS. Enough talking. Let's go to the palace.

SAPIENTIA. Go before us and show the way. We will follow you.

SAPIENTIA. Lead us and show us the path. We will follow you.

Scene III

ANTIOCHUS. That is the Emperor you see there, seated on his throne. Be careful what you say to him.

ANTIOCHUS. That’s the Emperor sitting on his throne over there. Watch what you say to him.

SAPIENTIA. The word of Christ forbids us to take thought as to what we ought to say. His wisdom is sufficient for us.

SAPIENTIA. Christ's words tell us not to worry about what we should say. His wisdom is enough for us.

HADRIAN. Are you there, Antiochus?

HADRIAN. Are you there, Antiochus?

ANTIOCHUS. At your service, my lord.

ANTIOCHUS. I'm here for you, my lord.

HADRIAN. Are these the women whom you have arrested on account of their Christian opinions?

HADRIAN. Are these the women you arrested because of their Christian beliefs?

ANTIOCHUS. Yes, lord.

ANTIOCHUS. Yes, my lord.

HADRIAN. I am amazed at their beauty; I cannot help admiring their noble and dignified manner.

HADRIAN. I'm blown away by their beauty; I can't help but admire their noble and dignified presence.

ANTIOCHUS. Waste no time in admiring them, my lord. Make them worship the gods.

ANTIOCHUS. Don't waste any time admiring them, my lord. Get them to worship the gods.

HADRIAN. It would be wiser to ask it as a favour to me at first. Then they may yield.

HADRIAN. It would be smarter to ask them as a favor to me at first. Then they might give in.

ANTIOCHUS. That may be best. This frail sex is easily moved by flattery.

ANTIOCHUS. That might be the best approach. This delicate gender is easily swayed by compliments.

HADRIAN. Noble matron, if you desire to enjoy my friendship, I ask you in all gentleness to join me in an act of worship of the gods.

HADRIAN. Noble lady, if you want to share in my friendship, I kindly ask you to join me in worshipping the gods.

SAPIENTIA. We have no desire for your friendship. And we refuse to worship your gods.

SAPIENTIA. We don't want your friendship. And we won't worship your gods.

HADRIAN. You will try in vain to rouse my anger. I feel no indignation against you. I appeal to you and your daughters as lovingly as if I were their own father.

HADRIAN. You will struggle to provoke my anger. I feel no resentment toward you. I speak to you and your daughters with as much love as if I were their father.

SAPIENTIA. My children are not to be cozened by such diabolical flattery. They scorn it as I do.

SAPIENTIA. My children won’t be fooled by such devilish flattery. They reject it just like I do.

FAITH. Yes, and laugh at it in our hearts.

FAITH. Yeah, and let's laugh about it in our hearts.

ANTIOCHUS. What are you muttering there?

ANTIOCHUS. What are you mumbling about?

SAPIENTIA. I was speaking to my daughters.

SAPIENTIA. I was talking to my daughters.

HADRIAN. I judge from appearances that you are of noble race, but I would know more—to what country and family you belong, and your name.

HADRIAN. I can tell by the way you look that you come from a noble background, but I’d like to know more—what country and family you’re from, and what your name is.

SAPIENTIA. Although we take no pride in it, I come of noble stock.

SAPIENTIA. Even though we don’t boast about it, I come from a noble background.

HADRIAN. That is easy to believe.

HADRIAN. That’s believable.

SAPIENTIA. My parents were princes of Greece, and I am called Sapientia.

SAPIENTIA. My parents were princes of Greece, and I go by the name Sapientia.

HADRIAN. The splendour of your ancestry is blazoned in your face, and the wisdom of your name sparkles on your lips.

HADRIAN. The greatness of your family is clear in your features, and the wisdom of your name shines on your lips.

SAPIENTIA. You need not waste your breath in flattering us. We are not to be conquered by fair speeches.

SAPIENTIA. You don't need to waste your breath flattering us. We won't be swayed by smooth talk.

HADRIAN. Why have you left your own people and come to live here?

HADRIAN. Why did you leave your own people to live here?

SAPIENTIA. For no other reason than that we wished to know the truth. I came to learn more of the faith which you persecute, and to consecrate my daughters to Christ.

SAPIENTIA. We simply wanted to know the truth. I wanted to learn more about the faith that you oppose, and to dedicate my daughters to Christ.

HADRIAN. Tell me their names.

HADRIAN. Tell me who they are.

SAPIENTIA. The eldest is called Faith, the second Hope, the youngest Charity.

SAPIENTIA. The oldest is named Faith, the second is Hope, and the youngest is Charity.

HADRIAN. And how old are they?

HADRIAN. So, how old are they?

SAPIENTIA. What do you say, children? Shall I puzzle his dull brain with some problems in arithmetic?

SAPIENTIA. What do you think, kids? Should I challenge his slow mind with some math problems?

FAITH. Do, mother. It will give us joy to hear you.

FAITH. Come on, Mom. It'll be great to hear you.

SAPIENTIA. As you wish to know the ages of my children, O Emperor, Charity has lived a diminished evenly even number of years; Hope a number also diminished, but evenly uneven; and Faith an augmented number, unevenly even.

SAPIENTIA. Since you want to know the ages of my children, O Emperor, Charity has lived a reduced even number of years; Hope has lived a reduced number as well, but it's an uneven number; and Faith has lived an increased number, which is unevenly even.

HADRIAN. Your answer leaves me in ignorance.

HADRIAN. Your reply leaves me confused.

SAPIENTIA. That is not surprising, since not one number, but many, come under this definition.

SAPIENTIA. That's not surprising, since it's not just one number, but many, that fit this definition.

HADRIAN. Explain more clearly, otherwise how can I follow you?

HADRIAN. Please explain more clearly; otherwise, how can I understand what you're saying?

SAPIENTIA. Charity has now completed two olympiads, Hope two lustres, and Faith three olympiads.

SAPIENTIA. Charity has now completed two Olympiads, Hope two decades, and Faith three Olympiads.

HADRIAN. I am curious to know why the number “8,” which is two olympiads, and the number “10,” which is two lustres, are called “diminished”; also why the number “12,” which is made up of three olympiads, is said to be “augmented.”

HADRIAN. I'm curious to understand why the number “8,” which represents two Olympiads, and the number “10,” which represents two lusters, are referred to as “diminished”; and also why the number “12,” which consists of three Olympiads, is called “augmented.”

SAPIENTIA. Every number is said to be “diminished” the parts of which when added together give a sum which is less than the number of which they are parts. Such a number is 8. For the half of 8 is 4, the quarter of 8 is 2, and the eighth of 8 is 1; and these added together give 7. It is the same with 10. Its half is 5, its fifth part 2, its tenth part 1, and these added together give 8. On the other hand, a number is said to be “augmented” when its parts added together exceed it. Such, for instance, is 12. Its half is 6, its third 4, its fourth 3, its sixth 2, its twelfth 1, and the sum of these figures 16. And in accordance with the principle which decrees that between all excesses shall rule the exquisite proportion of the mean, that number is called “perfect” the sum of the parts of which is equal to its whole. Such a number is 6, whose parts—a third, a half, and a sixth—added together, come to 6. For the same reason 28, 496, and 8000 are called “perfect.”

SAPIENTIA. A number is considered "diminished" when the sum of its parts is less than the number itself. For example, 8 is diminished because half of 8 is 4, a quarter is 2, and an eighth is 1; when these are added together, they total 7. The same applies to 10, which is also diminished. Its half is 5, its fifth is 2, and its tenth is 1, and those add up to 8. Conversely, a number is called "augmented" when the sum of its parts exceeds the number itself. For instance, 12 is augmented because its half is 6, its third is 4, its fourth is 3, its sixth is 2, and its twelfth is 1, which total 16. According to the principle that states all excesses must balance with the perfect proportion of the mean, a number is termed "perfect" when the sum of its parts equals the whole. An example of this is 6, where the parts—a third, a half, and a sixth—add up to 6. Similarly, 28, 496, and 8000 are also classified as "perfect."

HADRIAN. And what of the other numbers?

HADRIAN. And what about the other figures?

SAPIENTIA. They are all either augmented or diminished.

SAPIENTIA. They are all either enhanced or reduced.

HADRIAN. And that “evenly even” number of which you spoke?

HADRIAN. And what about that "perfectly even" number you mentioned?

SAPIENTIA. That is one which can be divided into two equal parts, and these parts again into two equal parts, and so on in succession until we come to indivisible unity: 8 and 16 and all numbers obtained by doubling them are examples.

SAPIENTIA. That is one that can be split into two equal parts, and these parts can also be split into two equal parts, and so on repeatedly until we get to an indivisible unit: 8 and 16 and all numbers derived by doubling them are examples.

HADRIAN. Continue. We have not heard yet of the “evenly uneven” number.

HADRIAN. Go on. We haven't heard about the "evenly uneven" number yet.

SAPIENTIA. One which can be divided by two, but the parts of which after that are indivisible: 10 is such a number, and all others obtained by doubling odd numbers. They differ from the “evenly even” numbers because in them only the minor term can be divided, whereas in the “evenly even” the major term is also capable of division. In the first type, too, all the parts are evenly even in name and in quantity, whereas in the second type when the division is even the quotient is uneven, and vice versa.

SAPIENTIA. A number that can be divided by two, but the resulting parts are indivisible: 10 is one such number, as are all others that come from doubling odd numbers. These differ from "evenly even" numbers because in them only the smaller part can be divided, while in "evenly even" numbers, the larger part can also be divided. In the first type, all parts are evenly even in both name and amount, whereas in the second type, when the division is even, the result is uneven, and the opposite is also true.

HADRIAN. I am not familiar with these terms, and divisors and quotients alike mean nothing to me.10

HADRIAN. I don't understand these terms, and both divisors and quotients mean nothing to me.10

SAPIENTIA. When numbers of any magnitude are set down in order, the first set down is called the “minor term” and the last the “major.” When, in making a division, we say by how many the number is to be divided, we give the “divisor,” but when we enumerate how many there are in each of the parts we set forth the “quotient.”

SAPIENTIA. When numbers of any size are listed in order, the first number is called the “minor term” and the last one is the “major.” When we divide a number and say how many it is being divided by, we refer to that as the “divisor,” but when we count how many are in each part, that is what we call the “quotient.”

HADRIAN. And the “unevenly even” numbers?

HADRIAN. And the "unevenly even" numbers?

SAPIENTIA. They, like the “evenly even,” can be halved, not only once, but sometimes twice, thrice, and even four times, but not down to indivisible unity.

SAPIENTIA. They, like the "perfectly balanced," can be split, not just once, but sometimes twice, three times, and even four times, but not down to an indivisible whole.

HADRIAN. Little did I think that a simple question as to the age of these children could give rise to such an intricate and unprofitable dissertation.

HADRIAN. I never imagined that a simple question about the age of these kids could lead to such a complicated and pointless discussion.

SAPIENTIA. It would be unprofitable if it did not lead us to appreciate the wisdom of our Creator, and the wonderous knowledge of the Author of the world, Who in the beginning created the world out of nothing, and set everything in number, measure, and weight, and then, in time and the age of man, formulated a science which reveals fresh wonders the more we study it.

SAPIENTIA. It would be pointless if it didn’t help us recognize the wisdom of our Creator and the amazing knowledge of the Creator of the world, who made everything from nothing at the beginning and established everything in number, measure, and weight. Then, over time and in the age of humanity, He developed a science that reveals even more wonders the more we learn about it.

HADRIAN. I had my reasons for enduring your lecture with patience. I hope to persuade you to submit.

HADRIAN. I had my reasons for listening to your lecture calmly. I hope to convince you to give in.

SAPIENTIA. To what?

SAPIENTIA. To what now?

HADRIAN. To worshipping the gods.

HADRIAN. To worship the gods.

SAPIENTIA. That we can never do.

SAPIENTIA. That’s something we can never achieve.

HADRIAN. Take warning. If you are obstinate, you will be put to the torture.

HADRIAN. Take heed. If you refuse to listen, you will be tortured.

SAPIENTIA. It is in your power to kill the body, but you will not succeed in harming the soul.

SAPIENTIA. You can take a life, but you won't be able to harm the soul.

ANTIOCHUS. The day has passed, and the night is falling. This is no time to argue. Supper is ready.

ANTIOCHUS. The day is over, and night is here. This isn't the time to debate. Dinner is ready.

HADRIAN. Let these women be taken to the prison near our palace, and give them three days to reflect.

HADRIAN. Take these women to the prison by our palace, and give them three days to think it over.

ANTIOCHUS. Soldiers, see that these women are well guarded and given no chance of escape.

ANTIOCHUS. Soldiers, make sure these women are closely watched and have no opportunity to escape.

Scene IV

SAPIENTIA. Oh, my dearest ones! My beloved children! Do not let this narrow prison sadden you. Do not be frightened by the threat of sufferings to come.

SAPIENTIA. Oh, my dear ones! My beloved children! Don’t let this small prison bring you down. Don’t be scared by the threat of suffering ahead.

FAITH. Our weak bodies may dread the torture, but our souls look forward with joy to the reward.

FAITH. Our frail bodies might fear the pain, but our spirits eagerly anticipate the reward.

SAPIENTIA. You are only children, but your understanding is ripe and strong. It will triumph over your tender years.

SAPIENTIA. You are young, but your understanding is mature and powerful. It will prevail despite your youth.

HOPE. You must help us with your prayers. Then we shall conquer.

HOPE. We need your prayers to help us. Then we will succeed.

SAPIENTIA. This I pray without ceasing, this I implore—that you may stand firm in the faith which I instilled into you while you were infants at my breast.

SAPIENTIA. I pray for this continuously, I urge you—that you may remain strong in the faith I taught you when you were babies nursing at my breast.

CHARITY. Can we forget what we learned there? Never.

CHARITY. Can we forget what we learned there? Never.

SAPIENTIA. I gave you milk. I nourished and cherished you, that I might wed you to a heavenly bridegroom, not to an earthly one. I trusted that for your dear sakes I might be deemed worthy of being received into the family of the Eternal King.

SAPIENTIA. I provided you with milk. I cared for and nurtured you, so that I could unite you with a heavenly spouse, not an earthly one. I hoped that for your sake, I would be found worthy of being welcomed into the family of the Eternal King.

FAITH. For His love we are all ready to die.

FAITH. For His love, we are all willing to die.

SAPIENTIA. Oh, children, your words are sweeter to me than nectar!

SAPIENTIA. Oh, kids, your words are sweeter to me than nectar!

HOPE. When we come before the tribunal you will see what courage our love will give us.

HOPE. When we stand before the court, you'll see the strength our love will give us.

SAPIENTIA. Your mother will be crowned by your virginity and glorified by your martyrdom.

SAPIENTIA. Your mother will be honored because of your purity and celebrated for your sacrifice.

CHARITY. Let us go hand in hand to the tyrant and make him feel ashamed.

CHARITY. Let's go together to the tyrant and make him feel ashamed.

SAPIENTIA. We must wait till the hour comes when we are summoned.

SAPIENTIA. We need to wait until the time comes when we're called.

FAITH. We chafe at the delay, but we must be patient.

FAITH. We get frustrated with the wait, but we need to be patient.

Scene V

HADRIAN. Antiochus, bring the Greek prisoners before us.

HADRIAN. Antiochus, bring the Greek prisoners to us.

ANTIOCHUS. Step forward, Sapientia. The Emperor has asked for you and your daughters.

ANTIOCHUS. Step forward, Sapientia. The Emperor wants to see you and your daughters.

SAPIENTIA. Walk with me bravely, children, and persevere with one mind in the faith. Think only of the happiness before you—of the martyr’s palm.

SAPIENTIA. Walk with me confidently, kids, and stay united in your faith. Focus only on the joy ahead of you—the martyr’s reward.

HOPE. We are ready. And He is with us for Whose love we are to be led to death.

HOPE. We are ready. And He is with us for Whose love we are being led to death.

HADRIAN. The three days’ respite which of our clemency we granted you is over. If you have profited by it, obey our commands.

HADRIAN. The three days’ break we granted you out of our mercy is over. If you’ve made good use of it, follow our orders.

SAPIENTIA. We have profited by it. It has strengthened our determination not to yield.

SAPIENTIA. We've gained from it. It's strengthened our resolve not to give in.

ANTIOCHUS. It is beneath your dignity to bandy words with this obstinate woman. Have you not had enough of her insolence and presumption?

ANTIOCHUS. It's beneath your dignity to argue with this stubborn woman. Aren't you tired of her rudeness and arrogance?

HADRIAN. Am I to send her away unpunished?

HADRIAN. Do I have to send her away without any consequences?

ANTIOCHUS. By no means.

No way.

HADRIAN. What then?

HADRIAN. What now?

ANTIOCHUS. Address yourself to the little girls. If they defy you, do not spare them because of their tender years, but have them put to death. That will teach their obstinate mother a lesson.

ANTIOCHUS. Talk to the little girls. If they challenge you, don’t hold back because they’re young; just have them killed. That will teach their stubborn mother a lesson.

HADRIAN. I will do as you advise.

HADRIAN. I'll do what you suggest.

ANTIOCHUS. This way you will succeed.

ANTIOCHUS. You’ll succeed like this.

HADRIAN. Faith, there is the venerated statue of the great Diana. Carry a libation to the holy goddess, and you will win her favour.

HADRIAN. Honestly, there’s the revered statue of the great Diana. Bring a drink offering to the sacred goddess, and you will earn her favor.

FAITH. What a foolish man the Emperor must be to give such an order!

FAITH. What a foolish guy the Emperor must be to give such an order!

HADRIAN. What are you muttering there? Behave yourself and do not laugh.

HADRIAN. What are you mumbling about? Keep it together and don’t laugh.

FAITH. How can I help laughing? Such a lack of wisdom is ludicrous.

FAITH. How can I not laugh? This complete lack of wisdom is absurd.

HADRIAN. Whose lack of wisdom?

HADRIAN. Whose poor judgment?

FAITH. Why, yours!

FAITH. It's yours!

ANTIOCHUS. You dare to speak to the Emperor so!

ANTIOCHUS. How dare you speak to the Emperor like that!

FAITH. I speak the truth.

FAITH. I tell the truth.

ANTIOCHUS. This is not to be endured!

I can't take this anymore!

FAITH. What is it but folly to tell us to insult the Creator of the world and worship a bit of metal!

FAITH. What is it but foolishness to suggest that we disrespect the Creator of the world and worship a piece of metal!

ANTIOCHUS. This girl is crazy—a raving lunatic! She calls the ruler of the world a fool!

ANTIOCHUS. This girl is out of her mind—a total lunatic! She calls the ruler of the world an idiot!

FAITH. I have said it, and I am ready to repeat it. I shall not take back my words as long as I live.

FAITH. I’ve said it, and I’m ready to say it again. I won’t take back my words for as long as I live.

ANTIOCHUS. That will not be long. You deserve to die at once for such impudence.

ANTIOCHUS. That won't take long. You deserve to die right now for being so rude.

FAITH. I wish for nothing better than death in Christ.

FAITH. I desire nothing more than to die in Christ.

HADRIAN. Enough of this! Let ten centurions take turns in flaying her with scourges.

HADRIAN. That's enough! Let ten centurions take turns whipping her.

ANTIOCHUS. She deserves it.

ANTIOCHUS. She earned it.

HADRIAN. Most valiant centurions, approach, and wipe out the insult which has been offered us.

HADRIAN. Brave centurions, come forward and erase the insult that has been thrown at us.

ANTIOCHUS. That is the way.

ANTIOCHUS. That's the way.

HADRIAN. Ask her now, Antiochus, if she will yield.

HADRIAN. Ask her now, Antiochus, if she will give in.

ANTIOCHUS. Faith, will you now withdraw your insults to the Imperial Majesty, and promise not to repeat them?

ANTIOCHUS. Seriously, will you now take back your insults to the Imperial Majesty and promise not to say them again?

FAITH. Why now?

FAITH. Why now?

ANTIOCHUS. The scourging should have brought you to your senses.

ANTIOCHUS. The whipping should have made you think twice.

FAITH. These whips cannot silence me, as they do not hurt at all.

FAITH. These whips can't silence me because they don't hurt at all.

ANTIOCHUS. Cursed obstinacy! Was there ever such insolence?

ANTIOCHUS. Damn that stubbornness! Has there ever been such disrespect?

HADRIAN. Although her body weakens under the chastisement, her spirit is still swollen with pride.

HADRIAN. Even though her body is weakening from the punishment, her spirit remains full of pride.

FAITH. Hadrian, you are wrong. It is not I who am weakening, but your executioners. They sweat and faint with fatigue.

FAITH. Hadrian, you're mistaken. It's not me who's weakening; it's your executioners. They’re sweating and passing out from exhaustion.

HADRIAN. Antiochus, tell them to cut the nipples off her breasts. The shame will cow her.

HADRIAN. Antiochus, tell them to cut the nipples off her breasts. The shame will break her spirit.

ANTIOCHUS. I care not about the means, so long as she is forced to yield.

ANTIOCHUS. I don’t care how it's done, as long as she is made to give in.

FAITH. You have wounded my pure breast, but you have not hurt me. And look! Instead of blood a stream of milk gushes from my wounds.

FAITH. You've hurt my innocent heart, but you haven't truly damaged me. And look! Instead of blood, a stream of milk flows from my wounds.

HADRIAN. Put her on a gridiron, and let fire be placed beneath so that she may be roasted to death.

HADRIAN. Put her on a grill, and let a fire be lit underneath so that she can be roasted to death.

ANTIOCHUS. She deserves a terrible death for her boldness in defying you.

ANTIOCHUS. She deserves a horrible death for her audacity in challenging you.

FAITH. All you do to cause me suffering is a source of bliss to me. I am as happy on this gridiron as if it were a little boat at sea!

FAITH. Everything you do that makes me suffer brings me joy. I'm just as happy on this field as if I were on a small boat out at sea!

HADRIAN. Bring a brazier full of pitch and wax, and place it on the fire. Then fling this rebellious girl into the boiling liquid.

HADRIAN. Bring a large container full of pitch and wax, and put it on the fire. Then throw this defiant girl into the boiling liquid.

FAITH. I will leap into it joyfully of my own accord.

FAITH. I will jump into it happily on my own.

HADRIAN. So be it.

HADRIAN. Fine by me.

FAITH. I laugh at your threats. Look! Am I hurt? I am swimming merrily in the boiling pitch. Its fierce heat seems as cool to me as the morning dew.

FAITH. I laugh at your threats. Look! Am I hurt? I'm happily swimming in the boiling tar. Its intense heat feels as cool to me as morning dew.

HADRIAN. Antiochus, what can we do with her?

HADRIAN. Antiochus, what should we do about her?

ANTIOCHUS. She must not escape.

ANTIOCHUS. She can't escape.

HADRIAN. She shall be beheaded.

HADRIAN. She will be beheaded.

ANTIOCHUS. That seems the only way of conquering her.

ANTIOCHUS. That looks like the only way to win her over.

FAITH. Now let my soul rejoice and exult in the Lord.

FAITH. Now let my soul celebrate and take joy in the Lord.

SAPIENTIA. O Christ, invincible Conqueror of Satan, give my child, Faith, endurance to the end!

SAPIENTIA. O Christ, unbeatable Victor over Satan, grant my child, Faith, the strength to endure until the end!

FAITH. Holy and dear mother, say a last farewell to your daughter. Kiss your firstborn, but do not mourn for me, for my hands are outstretched to the reward of eternity.

FAITH. Holy and beloved mother, say a final goodbye to your daughter. Kiss your firstborn, but don’t grieve for me, for my hands are reaching out toward the reward of eternity.

SAPIENTIA. Oh, my daughter, my darling dear, I am not dismayed—I am not distressed! I bid you farewell rejoicing. I kiss your mouth and eyes, weeping for joy. My only prayer is that beneath the executioner’s sword you may keep the mystery of your name inviolate.

SAPIENTIA. Oh, my daughter, my beloved, I am not upset—I am not troubled! I say goodbye with joy. I kiss your lips and eyes, crying tears of happiness. My only wish is that, under the executioner’s sword, you may keep the secret of your name safe.

FAITH. Oh, my sisters, born of the same womb, give me the kiss of peace, and prepare yourselves for the struggle!

FAITH. Oh, my sisters, born of the same mother, give me the kiss of peace, and get ready for the challenge!

HOPE. Help us with your prayers. Pray with all your might that we may be found worthy to follow in your footsteps.

HOPE. Please help us with your prayers. Pray with all your heart that we may be worthy to follow in your footsteps.

FAITH. Listen to the words of our holy mother. She has always taught us to despise the things of earth that we may gain those which are eternal.

FAITH. Listen to the words of our holy mother. She has always taught us to disregard the things of this world so we can obtain the things that last forever.

CHARITY. We shall obey her in everything. We want to be worthy of eternal joy.

CHARITY. We will follow her in everything. We want to deserve everlasting happiness.

FAITH. Come, executioner, do your duty, and put an end to my life.

FAITH. Come on, executioner, do your job and end my life.

SAPIENTIA. I embrace the severed head of my dead child, and as I cover it with kisses I praise Thee, O Christ, Who hast given the victory to a little maid.

SAPIENTIA. I hold the severed head of my dead child, and as I shower it with kisses, I praise You, O Christ, Who have granted victory to a little girl.

HADRIAN. Hope, listen to me. Believe me, I advise you with fatherly affection.

HADRIAN. Hope, please listen to me. I really do care about you, and I'm giving you this advice with a father's love.

HOPE. What advice do you give me?

HOPE. What advice do you have for me?

HADRIAN. I beg you not to imitate your misguided sister. I would not have you undergo the same torture.

HADRIAN. Please don’t follow the wrong path your sister took. I wouldn’t want you to go through that same suffering.

HOPE. Would that I were worthy to imitate her sufferings, and so win a reward like hers!

HOPE. I wish I were worthy to share in her sufferings, so I could earn a reward like hers!

HADRIAN. Do not harden your young heart, but give way and burn incense before great Diana. Then I will adopt you as my own child, and love you most tenderly.

HADRIAN. Don't harden your young heart; instead, submit and offer incense to the great Diana. Then, I will take you in as my own child and care for you deeply.

HOPE. I should not care to have you for a father, and I want no favours from you. You deceive yourself with vain hopes if you suppose that I shall submit.

HOPE. I wouldn’t want you as a father, and I don’t want anything from you. You’re fooling yourself with empty hopes if you think I’ll give in.

HADRIAN. Be more careful in your speech or you will make me angry.

HADRIAN. Be more careful with your words, or you’ll get me upset.

HOPE. Be angry. What is it to me?

HOPE. Be mad. What does it matter to me?

ANTIOCHUS. I am amazed, Augustus, that you should tolerate for a moment such insolence from a pert little child! I boil with indignation that she should be allowed such licence.

ANTIOCHUS. I can't believe, Augustus, that you're putting up with such disrespect from this sassy little girl! It infuriates me that she's being given so much freedom.

HADRIAN. I wished to be merciful to her youth, but I can no longer be indulgent. She shall be punished as she deserves.

HADRIAN. I wanted to be kind to her youth, but I can't be lenient anymore. She will face the consequences she deserves.

ANTIOCHUS. I wish that were possible.

ANTIOCHUS. I wish that could happen.

HADRIAN. Come, lictors, and scourge this little rebel to death with your heaviest rods.

HADRIAN. Come on, lictors, and beat this little rebel to death with your strongest rods.

ANTIOCHUS. She deserves to feel the full weight of your anger, as she has mocked your gracious clemency.

ANTIOCHUS. She should experience the full force of your anger, since she has ridiculed your kind mercy.

HOPE. Here is the only clemency for which I long—here the only mercy I crave.

HOPE. This is the only kindness I wish for—this is the only mercy I seek.

ANTIOCHUS. Sapientia, what are you murmuring there, standing with uplifted eyes by the body of your dead child?

ANTIOCHUS. Sapientia, what are you whispering over there, standing with your eyes raised by the body of your dead child?

SAPIENTIA. I am imploring Almighty God to give Hope the same firm courage that He gave Faith.

SAPIENTIA. I am asking Almighty God to give Hope the same strong courage that He gave to Faith.

HOPE. Oh, mother, mother! How wonderful are your prayers! Even as you prayed the uplifted hands of the panting executioners became powerless. I have not felt a twinge of pain.

HOPE. Oh, mom, mom! How amazing are your prayers! Even while you prayed, the raised hands of the exhausted executioners lost their power. I haven't felt a hint of pain.

HADRIAN. So you do not mind scourging! We will try some sharper torture.

HADRIAN. So you don’t mind getting whipped! Let’s try some more intense pain.

HOPE. The most savage and deadly you can invent! The more cruelty you show the greater will be your humiliation.

HOPE. The most brutal and dangerous one you can come up with! The more cruelty you display, the greater your humiliation will be.

HADRIAN. Let her be suspended in the air, and lacerated with nails until her bowels gush forth, and the skin is stripped from her bones. Break her to pieces limb by limb.

HADRIAN. Let her hang in the air, torn by nails until her insides spill out, and the skin is peeled off her bones. Shatter her piece by piece.

ANTIOCHUS. That order is worthy of an emperor. The punishment fits the crime.

ANTIOCHUS. That command is fitting for an emperor. The punishment matches the crime.

HOPE. Oh, Antiochus, you are as crafty as a fox, but you flatter with the cunning of a chameleon.

HOPE. Oh, Antiochus, you're as clever as a fox, but you flatter with the slyness of a chameleon.

ANTIOCHUS. Be quiet, you wretch! I thank the gods you will soon not have a mouth to prattle with.

ANTIOCHUS. Shut up, you miserable person! I'm grateful to the gods that you won't have a mouth to jabber with for much longer.

HOPE. It will not be as you hope. Both you and your master will be put to confusion.

HOPE. It won’t turn out the way you expect. Both you and your master will be thrown into chaos.

HADRIAN. What is this strange sweetness in the air? If I am not mistaken a marvellous perfume fills the room.

HADRIAN. What is this unusual sweetness in the air? If I’m right, a wonderful fragrance fills the room.

HOPE. O Emperor, the torn shreds of my flesh are giving forth a heavenly fragrance to make you admit that you have no power to hurt me by torture!

HOPE. O Emperor, the torn pieces of my flesh are releasing a divine fragrance that proves you can't harm me with torture!

HADRIAN. Antiochus, advise me.

HADRIAN. Antiochus, give me advice.

ANTIOCHUS. We must think of some other punishment.

ANTIOCHUS. We need to come up with a different punishment.

HADRIAN. Put in the brazier a vessel full of oil and wax and pitch. Bind her and throw her in.

HADRIAN. Put a container of oil, wax, and pitch in the brazier. Tie her up and throw her in.

ANTIOCHUS. Yes, she will not find it so easy to escape from Vulcan.

ANTIOCHUS. Yes, she won’t find it so easy to get away from Vulcan.

HOPE. Christ has before now made fire grow mild and change its nature.

HOPE. Christ has previously made fire calm and change its nature.

HADRIAN. Antiochus, what is that sound? I seem to hear a noise like that of rushing waters.

HADRIAN. Antiochus, what is that sound? I think I hear something like rushing water.

ANTIOCHUS. My lord! My lord!

ANTIOCHUS. My lord! My lord!

HADRIAN. What has happened?

HADRIAN. What happened?

ANTIOCHUS. The boiling fire has burst the cauldron! It has overflowed and consumed every man near it. Only the vile witch who caused the disaster has escaped unhurt.

ANTIOCHUS. The boiling fire has burst the cauldron! It has overflowed and burned every man nearby. Only the wicked witch who caused the disaster has come away unscathed.

HADRIAN. It seems we are worsted.

HADRIAN. It looks like we’ve been defeated.

ANTIOCHUS. Yes, we can do nothing.

ANTIOCHUS. Yeah, there’s nothing we can do.

HADRIAN. She must be beheaded like the other.

HADRIAN. She should be beheaded like the others.

ANTIOCHUS. By the sword only can she be destroyed.

ANTIOCHUS. She can only be destroyed by the sword.

HOPE. Charity, my dear, my only sister, have no fear of the tyrant’s threats, and do not wince at the thought of suffering. Be strong in faith, and strive to follow the example of your sisters who are going before you to the palace of heaven.

HOPE. Charity, my dear sister, don’t be afraid of the tyrant’s threats, and don’t flinch at the thought of suffering. Stay strong in your beliefs, and try to follow the example of your sisters who are moving ahead to the palace of heaven.

CHARITY. I am weary of this earth. I do not want to be separated from you even for a short time.

CHARITY. I’m exhausted by this world. I don’t want to be apart from you, even for a moment.

HOPE. Have courage! Stretch out your hands to the palm. We shall be separated only for a moment. Soon, very soon, we shall be together in heaven.

HOPE. Have courage! Reach out your hands to the palm. We will be apart only for a moment. Soon, very soon, we will be together in heaven.

CHARITY. Soon! Soon!

CHARITY. Coming soon!

HOPE. Be joyful, noble mother! Do not grieve for me. You should laugh, not weep, to see me die for Christ.

HOPE. Be joyful, noble mother! Don’t be sad for me. You should laugh, not cry, to see me die for Christ.

SAPIENTIA. Indeed I do rejoice, but my joy will be full only when your little sister has followed you, slain in the same way—and when my turn comes, mine last of all.

SAPIENTIA. I do feel happy, but my happiness will be complete only when your little sister has joined you, killed in the same way—and when it's my turn, mine last of all.

HOPE. The blessed Trinity will give you back your three children.

HOPE. The blessed Trinity will return your three children to you.

SAPIENTIA. Courage, my child! The executioner comes towards us with drawn sword.

SAPIENTIA. Stay strong, my child! The executioner is coming toward us with his sword drawn.

HOPE. Welcome, sword! Do Thou, O Christ, receive my soul driven from its bodily mansion for the confession of Thy Name.

HOPE. Welcome, sword! O Christ, receive my soul as it leaves its physical home to confess Your Name.

SAPIENTIA. Oh, Charity, lovely offspring of my womb, the one hope of my bosom, do not disappoint your mother who expects you to win this last fight! Despise safety now, and you will attain the same glory which shines on your sisters, and, like them, wear the crown of unspotted virginity.

SAPIENTIA. Oh, Charity, beautiful child of my heart, the one hope I have, don't let your mother down who believes you can win this final battle! Forget about safety now, and you will achieve the same glory that shines on your sisters and, like them, wear the crown of pure virginity.

CHARITY. Support me with your holy prayers, mother. Pray that I may be worthy to share their joy.

CHARITY. Support me with your prayers, mom. Pray that I’ll be worthy to share in their joy.

SAPIENTIA. Stand fast in the faith to the end, and your reward will be an everlasting holiday.

SAPIENTIA. Stay strong in your faith until the end, and your reward will be an eternal vacation.

HADRIAN. Now, little Charity. Your sisters’ insolence has exhausted my patience and exasperated me. I want no more long speeches. I shall not waste much time on you. Obey my commands, and you shall enjoy all the good things this life has to offer. Disobey, and evil will fall on you.

HADRIAN. Now, little Charity. Your sisters’ disrespect has worn me out and really frustrated me. I don’t want to hear any more long speeches. I won’t spend much time on you. Follow my orders, and you’ll get to enjoy all the good things life has to offer. Disobey, and bad things will happen to you.

CHARITY. I long for the good things. I will not have the evil.

CHARITY. I crave the good things. I won’t accept the bad.

HADRIAN. That pleases me, and you shall profit by it. I will be indulgent and set you an easy task.

HADRIAN. That makes me happy, and you will benefit from it. I'll be lenient and assign you an easy job.

CHARITY. What is it?

CHARITY. What does it mean?

HADRIAN. You shall say “Great is Diana.” That is all. I will not compel you to sacrifice.

HADRIAN. You will say, “Great is Diana.” That’s all. I won’t force you to sacrifice.

CHARITY. I will not say it.

CHARITY. I'm not going to say it.

HADRIAN. Why?

HADRIAN. Why?

CHARITY. Because I will not tell a lie. My sisters and I were born of the same parents, instructed in the same mysteries, and confirmed in the same faith. We have the same wish, the same understanding, the same resolution. Therefore, I am never likely to differ from them in anything.

CHARITY. Because I won’t lie. My sisters and I were born to the same parents, taught the same truths, and share the same beliefs. We have the same desires, the same understanding, and the same determination. So, I’m unlikely to disagree with them on anything.

ANTIOCHUS. Oh, what an insult—to be defied by a mere doll!

ANTIOCHUS. Oh, what an insult—to be challenged by just a doll!

CHARITY. Although I am small, my reason is big enough to put you to shame.

CHARITY. Even though I'm small, my reasoning is sharp enough to put you to shame.

HADRIAN. Take her away, Antiochus, and have her stretched on the rack and whipped.

HADRIAN. Take her away, Antiochus, and have her tortured on the rack and whipped.

ANTIOCHUS. I fear that stripes will be of no use.

ANTIOCHUS. I'm afraid that punishment won't help.

HADRIAN. Then order a furnace to be heated for three days and three nights, and let her be cast into the flames.

HADRIAN. Then have a furnace heated for three days and three nights, and let her be thrown into the flames.

CHARITY. A mighty man! He cannot conquer a child of eight without calling in fire to help him!

CHARITY. A strong man! He can’t defeat an eight-year-old without calling in fire for assistance!

HADRIAN. Go, Antiochus, and see that my orders are carried out.

HADRIAN. Go, Antiochus, and make sure my orders are followed.

CHARITY. He may pretend to obey to satisfy your cruelty, but he will not be able to hurt me. Stripes will not wound my body, and the flames will not singe my hair or my garments.

CHARITY. He might act like he’s following your orders to appease your cruelty, but he won’t be able to hurt me. Stripes won’t injure my body, and the flames won’t scorch my hair or my clothes.

HADRIAN. We shall see.

HADRIAN. We'll see.

CHARITY. Yes, we shall see.

CHARITY. Yeah, we'll see.

Scene VI

HADRIAN. What is wrong, Antiochus? Why have you returned, and with such a dejected air?

HADRIAN. What’s wrong, Antiochus? Why are you back, looking so down?

ANTIOCHUS. When you know the reason, you will be dejected too.

ANTIOCHUS. Once you understand why, you'll feel down too.

HADRIAN. Come, what is it?

HADRIAN. Come on, what’s up?

ANTIOCHUS. That little vixen whom you handed over to me to be tortured was first scourged in my presence, and I swear that not so much as the surface of her delicate skin was grazed. Then I had her cast into the fiery furnace which glowed scarlet with the tremendous heat.

ANTIOCHUS. That little troublemaker you gave to me to be tortured was first whipped in front of me, and I swear that not even a scratch touched her delicate skin. Then I had her thrown into the blazing furnace that glowed red with the intense heat.

HADRIAN. Enough! Come to the point.

HADRIAN. That's enough! Get to the point.

ANTIOCHUS. The flames belched forth, and five thousand men were burned to death.

ANTIOCHUS. The flames erupted, and five thousand men were burned alive.

HADRIAN. And what happened to her?

HADRIAN. So, what happened to her?

ANTIOCHUS. You mean to Charity?

ANTIOCHUS. You mean Charity?

HADRIAN. Who else?

HADRIAN. Who else is there?

ANTIOCHUS. She ran to and fro, playing in the fierce whirlwind of smoke and flame, and sang praises to her God. Those who watched closely said that three men dressed in white walked by her side.

ANTIOCHUS. She darted around, playing in the intense whirlwind of smoke and fire, and sang praises to her God. Those who observed closely claimed that three men dressed in white walked beside her.

HADRIAN. I blush to see her again, as I have not been able to harm her.

HADRIAN. I feel ashamed to see her again, as I haven't been able to hurt her.

ANTIOCHUS. She must perish by the sword like the others.

ANTIOCHUS. She has to die by the sword like the others.

HADRIAN. Let us use it then, and without delay.

HADRIAN. Let’s go ahead and use it, without wasting any time.

Scene VII

ANTIOCHUS. Uncover that obstinate little neck, Charity, and prepare for the sword of the executioner.

ANTIOCHUS. Expose that stubborn neck, Charity, and get ready for the executioner's sword.

CHARITY. This time I do not wish to resist. I am glad to obey.

CHARITY. This time I don’t want to fight it. I’m happy to go along with it.

SAPIENTIA. Now, little one, now we must give thanks; now we must exult in Christ. Now I am free from anxiety, for I am certain of your triumph.

SAPIENTIA. Now, little one, it's time to give thanks; now we should rejoice in Christ. I'm free from worry now because I'm confident in your success.

CHARITY. Kiss me, mother, and commend my soul to Christ.

CHARITY. Kiss me, Mom, and commend my soul to Christ.

SAPIENTIA. May He Who quickened you in my womb receive the spirit He breathed into you!

SAPIENTIA. May He who brought you to life in my womb embrace the spirit He gave you!

CHARITY. Glory be to Thee, O Christ, Who hast called me to Thyself, and honoured me with the martyr’s crown!

CHARITY. Glory to You, O Christ, Who have called me to Yourself and honored me with the martyr's crown!

SAPIENTIA. Farewell, beloved child, farewell; and when you are united to Christ in heaven give a thought to the mother who gave you life even when the years had exhausted her strength.

SAPIENTIA. Goodbye, dear child, goodbye; and when you are with Christ in heaven, remember the mother who brought you into the world, even when the years had worn her down.

Scene VIII

SAPIENTIA. Noble matrons, gather round me, and help me bury the bodies of my children.

SAPIENTIA. Noble ladies, come gather around me and help me bury my children's bodies.

MATRONS. We will strew herbs and spices on their little bodies, and solemnize their funeral rites with ceremony.

MATRONS. We will scatter herbs and spices on their small bodies and conduct their funeral rites with respect and ceremony.

SAPIENTIA. Great is the generosity and wonderful the kindness you show to me and my dead.

SAPIENTIA. Your generosity is immense, and the kindness you show to me and my deceased loved ones is truly remarkable.

MATRONS. We would do anything to relieve your pain.

MATRONS. We would do anything to ease your suffering.

SAPIENTIA. I know it.

Wisdom. I know it.

MATRONS. What place have you chosen for their burial?

MATRONS. Where have you decided to bury them?

SAPIENTIA. It is three miles outside the city. I hope that is not too far for you?

SAPIENTIA. It's three miles outside the city. I hope that's not too far for you?

MATRONS. By no means. We will follow their bodies to the place you have chosen.

MATRONS. Absolutely not. We will accompany their bodies to the location you picked.

Scene IX

SAPIENTIA. This is the place.

Wisdom. This is the spot.

MATRONS. It is well chosen. The very spot to keep the relics of these blessed martyrs!

MATRONS. It’s a perfect choice. This is the ideal place to keep the relics of these blessed martyrs!

SAPIENTIA. O Earth, I commit my precious little flowers to thy keeping! O Earth, cherish them in thy spacious bosom until they spring forth again at the resurrection more glorious and fair! O Christ, fill their souls with light, and give rest and peace to their bones!

SAPIENTIA. Oh Earth, I entrust my precious little flowers to your care! Oh Earth, hold them in your vast embrace until they bloom again at the resurrection, more glorious and beautiful! Oh Christ, fill their souls with light, and grant rest and peace to their bones!

MATRONS. Amen.

MATRONS. Amen.

SAPIENTIA. I thank you all from my heart for the comfort you have brought me since my loss.

SAPIENTIA. I sincerely thank all of you for the comfort you’ve given me since my loss.

MATRONS. Would you like us to remain here with you?

MATRONS. Do you want us to stay here with you?

SAPIENTIA. I thank you, no.

SAPIENTIA. No, thank you.

MATRONS. Why not?

MATRONS. Why not?

SAPIENTIA. Because your health will suffer if you fatigue yourselves further on my account. Have you not done enough in watching with me three days. Depart in peace. Return home happy.

SAPIENTIA. Your health will decline if you keep exhausting yourselves for my sake. Haven't you done enough by staying up with me for three days? Go in peace. Return home feeling good.

MATRONS. Will you not come with us?

MATRONS. Won't you come with us?

SAPIENTIA. I cannot.

SAPIENTIA. I can't.

MATRONS. What, then, is your plan?

MATRONS. So, what's the plan?

SAPIENTIA. I shall stay here in the hope that my petition will be granted, and that what I most desire will come to pass.

SAPIENTIA. I will stay here hoping that my request will be approved and that what I want most will happen.

MATRONS. What is that petition? What do you desire?

MATRONS. What’s that request? What do you want?

SAPIENTIA. This only—that when my prayer is ended I may die in Christ.

SAPIENTIA. Just this—that when my prayer is over, I can die in Christ.

MATRONS. Will you not let us stay to the end, then, and give you burial?

MATRONS. Will you not let us stay until the end and give you a proper burial?

SAPIENTIA. As you please. O Adonai Emmanuel, begotten by the Divine Creator of all things before time began, and born in time of a Virgin Mother—O Thou Who in Thy dual nature remainest most wonderfully one Christ, the unity of person not being divided by the diversity of natures, nor yet the diversity of natures confounded in the unity of person—to Thee let the serene angelic choir, singing in sweet harmony with the spheres, raise an exultant song! Let all created things praise Thee, because Thou Who alone with the Holy Ghost art form without matter, by the will of the Father and the co-operation of the Spirit didst deign to become man, passible like men, yet impassible like God. O Thou Who didst not shrink from tasting death and destroyed it by Thy Resurrection that none who believe in Thee should perish, but know eternal life, on Thee I call! I do not forget that Thou, perfect God yet true man, didst promise that those who for Thy sake renounced their earthly possessions would be rewarded a hundredfold and receive the gift of eternal life. Inspired by that promise, Thou seest that I have done what I could; of my own free will, and for Thy sake, I have sacrificed the children I bore. Oh, in Thy goodness do not delay the fulfilment of Thy promise, but free me swiftly from the bonds of this flesh that I may see my children and rejoice with them. Grant me the joy of hearing them sing the new song as they follow Thee, O Lamb of the Virgin! Let me be gladdened by their glory, and although I may not like them chant the mystical song of virginity, let me praise Thee, Who art not Thyself the Father, yet art of the same substance as the Father, with Whom and with the Holy Ghost, one Lord of the whole world, one King of all things upon the earth and in the heights above and the deeps below, Thou dost reign and rule for ever and ever!

SAPIENTIA. As you wish. O Adonai Emmanuel, begotten by the Divine Creator of everything before time began, and born in time of a Virgin Mother—O You who in Your dual nature remain wonderfully one Christ, the unity of Your person not split by the diversity of natures, nor is the diversity of natures mixed up in the unity of Your person—may the serene angelic choir, singing in sweet harmony with the spheres, raise an exultant song to You! Let all created things praise You, because You alone, with the Holy Ghost, are form without matter; by the will of the Father and the cooperation of the Spirit, You chose to become man, able to suffer like humans, yet untouched by suffering like God. O You who did not hesitate to taste death and destroyed it by Your Resurrection, so that no one who believes in You should perish, but instead know eternal life, to You I call! I do not forget that You, perfect God yet true man, promised that those who renounced their earthly possessions for Your sake would be rewarded a hundredfold and receive the gift of eternal life. Inspired by that promise, You see that I have done what I could; of my own free will, and for Your sake, I have sacrificed the children I bore. Oh, in Your goodness, do not delay the fulfillment of Your promise, but free me quickly from the bonds of this flesh so that I may see my children and rejoice with them. Grant me the joy of hearing them sing the new song as they follow You, O Lamb of the Virgin! Let me be filled with joy by their glory, and although I may not be able to chant the mystical song of virginity like they do, let me praise You, who are not the Father but are of the same substance as the Father, with whom and with the Holy Ghost, one Lord of the entire world, one King of all things on the earth and in the heights above and the depths below, You reign and rule forever and ever!

MATRONS. O Lord, receive her soul! Amen.

MATRONS. Oh Lord, take her soul! Amen.

A Note on the Acting of the Plays

The evidence that Roswitha’s plays were intended for representation has already been discussed. If they were ever acted in her own time at Gandersheim by members of the community, we need not assume that the performances were ludicrously artless. We have only to read contemporary descriptions of the celebrations of great feasts in monasteries in the so-called “dark ages,” or to observe how strong is the element of significant and controlled “action” in the ceremonial of the Catholic Church as it exists to-day, to imagine that people accustomed to take part in these dramatic services would have little difficulty in giving an impressive performance of a religious play. Even if we discard the theory that such performances took place, an imaginative conception of what they might have been like will save us, if we desire to act these plays now, from adopting an exaggeratedly primitive method. It is our duty to do our best for them, neglecting no means of emphasizing their dramatic strength and helping their dramatic weakness. As we have no authority in a known “convention” to guide us, the least we can do is to refrain from inventing a comically crude one based on an arrogant condescension to past ignorance of what in any century is dramatically effective.

The evidence that Roswitha’s plays were meant to be performed has already been addressed. If they were ever staged during her time in Gandersheim by the community members, we shouldn't assume that the performances were hopelessly simple. We only need to look at contemporary accounts of the festive celebrations in monasteries during the so-called “dark ages,” or notice how much controlled and meaningful “action” is involved in the rituals of the Catholic Church today, to realize that people familiar with these dramatic services would likely have no trouble delivering a powerful performance of a religious play. Even if we set aside the idea that such performances occurred, imagining what they might have been like will help us, if we choose to stage these plays now, avoid taking an overly simplistic approach. It's our responsibility to do our utmost for them, using every means to highlight their dramatic strengths and support their weaknesses. Since we lack a clear “convention” to guide us, at the very least, we should avoid creating a comically crude one based on a dismissive attitude towards the past's understanding of what is dramatically effective at any time.

When Callimachus was brought on to the modern stage a misleading impression of Roswitha’s ability as a dramatist was created by a calculated childishness in the interpretation. All the characters were kept in view of the audience whether they were concerned in a scene or not, and the end of each scene was marked, as the end of an over is marked in cricket, by a general change in positions. Roswitha’s piety was held up to ridicule, and her glorification of chastity burlesqued to the satisfaction of those to whom jokes at the expense of old-fashioned virtues never fail to appeal. Drusiana’s prayer that she might die rather than yield to Callimachus was greeted with shouts of laughter. And it was said that the mirth was natural and inevitable because Roswitha’s manner is so naive! Yet if she is treated on her merits, not as an archaic freak, she can be impressive enough on the stage as Edith Craig’s production of Paphnutius proved. In this production the abrupt transition from scene to scene was bridged by the singing of plainsong melodies, derived from MSS. of the ninth century. The suggestions for action in the lines were examined with sympathetic insight, and developed with imagination. The actors and actresses took their task seriously and used all their skill in making the characters live. The old story of the conversion of Thais became new, and although many found Roswitha’s treatment of it unpalatable, none found it ludicrous. A comparison of the divergent impressions made by the Roswitha of Callimachus and the Roswitha of Paphnutius is a lesson in the difficulty of sifting what the dramatist has done from what the interpreter has done, a difficulty all the greater when the text of a play is not available. Now that Callimachus can be read it will be easier for those who saw its solitary performance to recognize that it was travestied on the stage.

When Callimachus was performed on stage, it created a misleading impression of Roswitha’s skills as a playwright due to a deliberately childish interpretation. All the characters were visible to the audience, regardless of whether they were involved in a scene, and each scene’s end was marked, like the end of an over in cricket, by a general shift in positions. Roswitha’s piety was mocked, and her celebration of chastity was parodied to the delight of those who enjoy making jokes at the expense of traditional virtues. Drusiana’s prayer to die rather than submit to Callimachus was met with loud laughter. It was claimed that this laughter was natural and unavoidable because Roswitha’s style is so simple! However, if she is evaluated on her own terms, rather than being seen as an outdated oddity, she can be quite powerful on stage, as demonstrated by Edith Craig’s production of Paphnutius. In this production, the abrupt transitions between scenes were seamlessly connected by singing plainsong melodies sourced from 9th-century manuscripts. The suggestions in the script were carefully considered and developed creatively. The actors took their roles seriously and used all their talents to bring the characters to life. The old story of Thais's conversion felt fresh, and while many found Roswitha’s approach challenging, no one found it ridiculous. Comparing the different impressions left by the Roswitha in Callimachus and the Roswitha in Paphnutius highlights the difficulty of separating what the playwright intended from what the performer conveyed, a challenge that becomes even tougher when the script isn’t available. Now that Callimachus can be read, it will be easier for those who witnessed its unique performance to realize that it was misrepresented on stage.

Imagination, sympathy with Roswitha’s uncompromising religious faith, a few sets of curtains, or an interchangeable scene, actors capable either by nature or training of extracting a pound of effect out of an ounce of dialogue, are the foundations on which performances of these plays can be built. Paphnutius, Abraham, and Callimachus are obviously more actable than the others, but I feel that a great deal might be done with Sapientia. Perhaps one day it will be possible to arrange a Roswitha “cycle” for the edification of a few enthusiasts. Meanwhile those who share my belief that plays are not plays until they are acted, can amuse themselves by thinking over different methods of representation.

Imagination, empathy with Roswitha’s unwavering religious faith, a few sets of curtains, or a changeable scene, and actors who can naturally or through training draw a significant impact from minimal dialogue are the essential elements for staging these plays. Paphnutius, Abraham, and Callimachus are clearly easier to perform than the others, but I believe a lot could be achieved with Sapientia. Maybe one day we’ll be able to create a Roswitha “cycle” for the enjoyment of a small group of fans. In the meantime, those who agree with me that plays aren’t truly plays until they’re performed can entertain themselves by considering various ways to present them.


  1. Since this was written, an English translation of one of the plays, Abraham, has been issued by a private press.

    Since this was written, a private press has released an English translation of one of the plays, Abraham.

  2. I have adopted this form of the name in preference to “Hrotsuitha,” “Hrotswitha,” or “Hrosvitha,” as being more easily pronounced and more pleasant to the eye. The name is said to be derived from the old Saxon word “Hrodsuind” (strong voice), a derivation accepted by Roswitha herself in her preface to her plays, when she writes “ego, clamor validus Gandeishermensis,” and approved by Grimm.

    I have chosen this version of the name instead of “Hrotsuitha,” “Hrotswitha,” or “Hrosvitha,” because it’s easier to pronounce and looks nicer. The name is believed to come from the old Saxon word “Hrodsuind” (strong voice), a connection that Roswitha herself acknowledges in her preface to her plays when she writes “ego, clamor validus Gandeishermensis,” and which Grimm also approved.

  3. Believing that the representation of the plays is possible, even desirable, I have also aimed at making the dialogue speakable.

    Believing that it's possible, even beneficial, to represent the plays, I have also focused on making the dialogue speakable.

  4. The manuscript is now in the Munich City Library. Recently another manuscript, containing four of the six dramas, is reported to have been discovered among the state archives of Cologne. (Times Berlin Correspondent, May 9, 1922.)

    The manuscript is now in the Munich City Library. Recently, another manuscript containing four of the six dramas has reportedly been found in the state archives of Cologne. (Times Berlin Correspondent, May 9, 1922.)

  5. Since this was written Callimachus (translation by Arthur Waley) has been produced by the Art Theatre. Paphnutius, in my translation, was produced by Miss Edith Craig for the Pioneer Players at the Savoy Theatre on June 4, 1914, Miss Ellen Terry appearing in the part of the Abbess.

    Since this was written, Callimachus (translated by Arthur Waley) has been performed by the Art Theatre. Paphnutius, in my translation, was staged by Miss Edith Craig for the Pioneer Players at the Savoy Theatre on June 4, 1914, with Miss Ellen Terry playing the role of the Abbess.

  6. Celtes prints this as part of the text; Magnin as a direction, on the ground that it is introducuntur, not introducautur in the MS.

    Celtes includes this in the text; Magnin marks it as a direction, arguing that it is introducuntur, not introducautur in the manuscript.

  7. Another “stage direction” omitted by Celtes.

    Another “stage direction” omitted by Celtes.

  8. This admonition to “spectators” is in the MS and seems inexplicable if Roswitha wrote her plays to be read, not performed.

    This warning to "viewers" is in the manuscript and seems unclear if Roswitha wrote her plays to be read, not acted out.

  9. When Paphnutius was acted, the dialogue of the “disciples” was allotted to several different actors, with the interesting result that some definite characters emerged.

    When Paphnutius was performed, the dialogue of the “disciples” was given to several different actors, resulting in some distinct characters emerging.

  10. It has been my duty to preserve this rather tiresome numerical discourse, which no doubt Roswitha introduced to impress the “learned men” to whom she submitted her work, because it throws an interesting light on the studies pursued in such a monastery as Gandersheim in the 10th century. Equivalent modern English terms have been employed where the original, by change of usage, has become misleading. For example, “divisor” and “quotient” have been substituted for “denomination” and “quantity.”

    It has been my responsibility to keep this somewhat tedious numerical discussion, which Roswitha likely presented to impress the "scholarly men" to whom she submitted her work, because it sheds light on the studies undertaken in a monastery like Gandersheim in the 10th century. Equivalent modern English terms have been used where the original wording, due to changes in usage, has become misleading. For instance, "divisor" and "quotient" have replaced "denomination" and "quantity."


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