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Callimachus (The Resurrection of Drusiana and Calimachus)

Part 1 — rated For Everyone

.·:*¨༺ ༻¨*:·. Callimachus .·:*¨༺ ༻¨*:·.

The Story

The resurrection of Drusiana and of Callimachus, who loved her, not only while she was alive; For disappointed in desire, on account of the curse of unlawful love, even after she was dead he loved her still beyond. Because of this he died an evildeath, bitten by the Snake. In the end he was resurrected, together with Drusiana, by the holy prayers of St. John the Apostle, and was reborn in Christ at last.

Scene I:

(A public place in Ephesus. Two or three young men stand talking together in the street. Callimachus enters, sees the, and goes to join them.)

CALLIMACHUS: "My friends, I need to speak with you."

FRIEND I: "We are happy to see you, and will talk as long as you like."

CALLIMACHUS: "Ah, good! But not here-- if you don't mind, I'd like to be with you alone."

FRIEND II: "Whatever you prefer is fine with us."

CALLIMACHUS: "Then can we find a private place away from passerby and interruptions?

FRIEND II: "Of course. Let us do that, dear friend. We're quite at your disposal."

— end of Scene I

Gandersheim, Hrotswitha of. The Plays of Hrotswitha of Gandersheim. Translated by Larissa Bonante, Bolchazy-Carducci Publishers, Inc., 2003.

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The (in)Dignity of the Cat Owner

While I do love my cats and am very aware that they are little creatures included in "all creatures great and small" ... I do feel that they would do better to glorify their Maker by being more meek and mild than working to knock all of my things off my desk and stealing all of my snacks

little mischievous creature #1

little mischievous creature #2

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Dulcitius (The Passion of the Virgin Saints) Part 2 — Rated Mature

ʚ ═══･୨ ꕤ ୧･═══ ɞ Dulcitius ʚ ═══･୨ ꕤ ୧･═══ ɞ

Scene II:

(A courtyard of the great palace. A door, stage left, leads to the prison; stage right, the entrance to the kitchen and pantry building. This connects with the building in the back, which has only a high window with grating. Dulcitius and a half dozen soldiers are standing center stage. Dulcitius, the governor, is a hearty figure, lecherous in a conventional manner. His lack of dignity makes him take his soldiers into his confidence, and treat them with a familiarity quite out of of keeping with his position as governor. The contrast with the quiet dignity of the girls is striking, At the moment, Dulcitius is very excited at the thought of the pleasure he will enjoy with all three girls. It is possible that rumors he has heard about exotic Christian practices and orgies leads him to believe they will be cooperative. He is rubbing his hands in anticipation.)

DULCITIUS. "All right, men, quickly now, let's see these girls you have been guarding in this prison."

(Soldiers bring out the three girls, stage left. Having saluted, they stand at attention, impassive, during the whole scene.)

DULCITIUS. "Good, very good!" (Look at them each in turn.) "Oh, how beautiful, how delectable! What perfectly exciting girls!"

SOLDIER. "They are lovely, sir."

DULCITIUS. "I a overcome by the sight of them!"

SOLDIER. "We do not wonder, sir."

DULCITIUS. "I must make them want me!"

SOLDIER. "We do not believe you'll succeed, sir."

DULCITIUS. "Why not?"

SOLDIER. "Because, sir, their faith is too strong."

DULCITIUS. "Suppose I were to coax them, lure them on with promises?"

SOLDIER. "They don't care for things like that, sir."

DULCITIUS. "Well, suppose I were to scare them with threats of dreadful punishment?"

SOLDIER. "It would not make much different to them, sir."

DULCITIUS. "What can I do, then?"

SOLDIER. "I suggest you think of some plan, sir."

DULCITIUS. (thinks a while... then, as if struck by a sudden idea.) "I know. Lock them up in the pantry— There, beside the kitchen, where the cooking utensils are kept."

SOLDIER. "Why in there, sir?"

DULCITIUS. "So I can visit them alone there as often as I want."

SOLDIER. "Just as you say, sir!"

(Take girls into door at stage right. Dulcitius exit stage left.)

— end of Scene II

Further reading: Part 1, Scene I

Gandersheim, Hrotswitha of. The Plays of Hrotswitha of Gandersheim. Translated by Larissa Bonante, Bolchazy-Carducci Publishers, Inc., 2003.

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God's creation is so beautiful, and we are blessed enough to see such things with each new sunrise.

— Romans 1:20

"Ever since the creation of the world his eternal power and divine nature, invisible thought they are, have been understood and seen through the things he has made."

Fall

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Sound on 🐾🤍

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We may all worship in different places, but we only worship one God.

“Wherever two or three are gathered in my name I am with them” Matthew 18:20

No matter what denomination, what type of building or church, no matter what your culture, family life, circumstances; When we gather together, in the name of Jesus, he is with us.

Please remember this when we all fall into the snare where we judge one way a person prays and compare it with the way another does. Or where there is disagreements between what is scripturally correct. We are his servants. Called to love each other and support the weak, the poor, the marginalized, the widow, the orphan and the fatherless.

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With all our weaknesses and frailties, we need the strong support and security of a community of believers in Jesus. Let’s press on together as He leads us!

Our Daily Bread

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Dulcitius (The Passion of the Virgin Saints) Part 1 — Rated Mature

ʚ ═══･୨ ꕤ ୧･═══ ɞ Dulcitius ʚ ═══･୨ ꕤ ୧･═══ ɞ

The Story:

The martyrdom of the Holy Virgins Agape, Chione, and Irena. Governor Dulcitius went to them secretly, in the silence of the night, eager to enjoy their embraces. As soon as he entered, however, he suffered hallucinations. His mind became so confused that he began to kiss the pots and pans, thinking he was embracing the girls, so that his clothes were all horribly blackened with dirt and soot. Then he turned the girls over to Count Sisinnius to be punished. He too, was miraculously deceived in several different ways; finally he ordered Agape and Chione to be burned at the stake and Irena to be pierced through with arrows.

Scene I:

(An imaginative reconstruction of the Palace of Diocletian, at the time of the Christian persecutions of the early fourth century A.D. Two guards stands at attention at the door. The emperor, dressed in splendid purple robes, is seated on a high throne. Before him stand three very young girls dressed in white. Agape, Chione, and Irena are sisters. They belong to one of the best families in Rome, and should, by rights, take their place in society. Their family's conversion to Christianity, however, has kept them from taking part in any of the social functions of the court.)

DIOCLETIAN. (moved to indulgence by their youth and apparent helplessness.) "Because of your high rank, good family and great beauty, You are to be married to the noblest of our court. I myself will order your marriages to take place -- if you will deny Christ and offer sacrifices to our gods"

AGAPE. (proudly.) "Do not concern yourself, do not burden yourself with preparations for our marriage. Nothing can make us deny His Name, nor can anything force us to soil the purity of our maidenly estate."

DIOCLETIAN. (taken aback.) "What is this outburst of madness?"

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

DIOCLETIAN. "Is it not clear enough? A serious sign!"

AGAPE. "What do you mean?"

DIOCLETIAN. "Why, this above all, that you abandon the religion of your ancestors, leave its sacred rites, and follow in its stead this vain new Christian superstition."

AGAPE. "Beware! For you do not slander the power of omnipotent God. It is a dangerous path you follow!"

DIOCLETIAN. (amazed at her insolence.) "Dangerous? For whom?"

AGAPE. "Dangerous for you, and dangerous for the state you rule."

DIOCLETIAN. "This girl is surely insane. Soldiers, take her away!"

(The guards take Agape, hand her to the guards outside, and return to their posts.)

CHIONE. "My sister is not insane. It is your folly she sees, and most justly does she reprove it."

DIOCLETIAN. (to the guards.) "This girl's ravings exceed by far those of her sisters. Remove her from my sight as well, and let the third one be questioned."

(Guards move up, stand on either side of Irena, who looks even smaller between these towering figures.)

IRENA. "You will find her just as stubborn and as rebellious to your unjust commands."

DIOCLETIAN. (gently.) "Irena, though you are the youngest in years, show me you are the oldest in dignity."

IRENA. "Please, tell me, Sire, how I can do this."

DIOCLETIAN. "Bow your head to the gods. Be an example of obedience for your sisters. If you do this, you will set them free."

IRENA. "Let those who wish to incur the wrath f God Almighty bow down to idols. I will not dishonor my head, anointed with the regal ointment of my faith, by placing myself at the feet of idols."

DIOCLETIAN. (reasoning with her.) "The worship of gods carries no disgrace, but rather brings the greatest honor."

IRENA. "And what disgrace is more infamous, and what is a greater dishonor, than to worship a slave as if he were a master?"

DIOCLETIAN. "I am not asking you to worship slaves, but masters and gods or emperors."

IRENA. "Something that is bought with money from a dealer is a slave. Such are the idols of the gods!"

DIOCLETIAN. "Your insolent words cry for punishment!"

IRENA. "Punishment is the reward we seek! We yearn for the day we can embrace it, we long to be torn asunder for the love of Christ!"

DIOCLETIAN. (to the guards.) "Then let these stubborn girls. who have opposed our decrees, be put in chains, and wait in a foul prison for Governor Dulcitius' questioning."

— end of Scene I

Gandersheim, Hrotswitha of. The Plays of Hrotswitha of Gandersheim. Translated by Larissa Bonante, Bolchazy-Carducci Publishers, Inc., 2003.

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To my readers

｡˚ ⋆ ✧･ﾟ: *✧･ﾟ Before reading my work, read this! ｡˚ ⋆ ✧･ﾟ: *✧･ﾟ

Not all of my work is adaptation or fanfiction, like my open letters or poetry.

But, since I also love things like adaptation and fanfiction, when you're reading my work that is thematic, please keep this open letter in mind.

｡˚ ⋆ ✧･ﾟ: *✧･ﾟ ｡˚ ⋆ ✧･ﾟ: *✧･ﾟ ｡˚ ⋆ ✧･ﾟ: *✧･ﾟ ｡˚ ⋆ ✧･ﾟ: *✧･ﾟ ｡˚ ⋆ ✧･ﾟ: *✧

Dear Reader,

While these characters are mine, I must confess that they, like many other dramatic works, are based on the ideas of another. All of my research on the source material that my dramatic works are based on has been based around primary text, except for one to do with the passion of St. Pelagius, which I will admit is more based on a story told about the story, not the work itself, so if anyone were to feel that what I may write on that subject feels misinformed, please just know that it was not my intention. 

If someone were to ask why I am working to write dramatic works based on ones that have already existed, I would explain that because while I enjoy the dramatic works of other writers, my own moral values have compelled me to find ways to take their ideas and rework them into texts that I would much rather those around me read than the latter. This all really came about because of the popularity of works by authors like the Roman dramatist, Terence, that seems to amuse so many of my peers here at the Abbey of Gandersheim that I have lost count of how many spend their time talking about how much they enjoy his work. And while I, in no way, mean to shame those around me, or any one else who may come across my little blog who enjoys Terence and others like him and may and feel offended by what they think I am insinuating, I am merely attempting to find a way to take the very interesting and dynamic ideas of writers like Terence, and rework them into texts that I would much rather read myself as a woman of God, and would hope that my peers, both here in this Abbey and here, on this social media platform, would do the same. I feel that in a way I have become the voice for this place, as if these little works are my voice standing out among the crowd, the Strong Shout of Gandersheim.

And, to understand all of this a little bit better, think of these little dramatic works of mine like fanfiction within the genre of AU, a genre that seems to celebrate so much creative license that I feel comfortable associating myself with it, as I too am making a very, very liberal use of such a categorization.

I will admit that having to read through all these dramatic works that my own are based on did make me a little apprehensive because I found them to be so vulgar (again, I am not trying to shame those that enjoy them, that is their own sin to reckon with). But, since I knew that my heart was set on this creative endeavour, I did push through to read all of them, so if you are worried about my knowledge on the subject of these dramatic works, just know, like I said earlier actually, that I did do legitimate research for this.

And I do feel that I should clarify that I mostly wanted to write all of these little dramatic works because I have felt that God wanted me to, not because I am trying to insinuate that I am some great writer. If God did not want me to write these little things, I fear I, in my own weakness and fragility, would be unable to find the creativity needed within myself for such a thing. Unlike Terence and other writers that I am basing my works on, I am not a brilliant mind. Which, this opinion of these writers before me may surprise you since I am rewriting their ideas. But just because I do not approve of someones morals does not mean I inherently doubt their genius. I am merely working to accomplish an idea inspired by God and nothing more, and my only hope is that there may be others who can appreciate my attempts at depicting righteous, pure, and strong women who glorify God and can be examples of what I feel God would have us all strive for.

If there are others who dislike my attempts or find offense in them, I can only apologize and hope that you give me a second chance to redeem myself. But for those of you who may enjoy and support such an idea of mine, I do hope that as I continue to post these little dramatic adaptation, you will enjoy and share them with others around you and further spread the wishes of the Good Lord Himself.

｡˚ ⋆ ✧･ﾟ: *✧･ﾟ ｡˚ ⋆ ✧･ﾟ: *✧･ﾟ ｡˚ ⋆ ✧･ﾟ: *✧･ﾟ ｡˚ ⋆ ✧･ﾟ: *✧･ﾟ ｡˚ ⋆ ✧･ﾟ: *✧

— “Hrotsvit, nun of Gandersheim.” Epistolae, Center for Teaching and Learning at Columbia Epistolae: Hrotsvit, nun of Gandersheim (columbia.edu), University, Accessed 17 Nov. 2024.