The most curious if not original literary phenomenon of the time of Bruno and his great brother was the nun Hrotsvitha, of Gandersheim, a Saxon cloister supported by the royal Saxon house. A niece of Otto’s was the Abbess, and she it was who introduced Hrotsvitha to the Latin Classics, after the completion of her elementary studies under another _magistra_, likewise an inmate of the convent. The account bears witness to the taste for Latin reading among this group of noble Saxon dames. Hrotsvitha soon surpassed the rest, at least in productivity, and became a prolific authoress. She composed a number of sacred _legendae_, in leonine or rhymed hexameters.[392] One of them gave the legend of the Virgin, as drawn from the Apocryphal Gospel of Matthew. She also wrote several _Passiones_ or accounts of the martyrdoms of saints, and the story of the Fall and Repentance of Theophilus, the oldest poetic version of a compact with the devil. Quite different in topic was the Deeds of Otto I. (_De gestis Oddonis I. imperatoris_) written between 962 and 967, likewise in leonine hexameters. It told the fortunes of the Saxon house as well as the career of its greatest member. Possibly more interesting were six moral dramas written in formal imitation of the _Comedies_ of Terence. As an antidote to the poison of the latter, they were to celebrate the virtue of holy virgins in this same kind of composition which had flaunted the adulteries of lascivious women--so the preface explains. Again, Hrotsvitha’s sources were _legenda_, in which Christian chastity, martyred though it be, triumphs with no uncertain note of victory.[393] These pious imitations of the impious Terence do not appear to have been imitated by other mediaeval writers: they exerted no influence upon the later development of the Mystery Play. They remain as evidence of the writer’s courage, and of the studies of certain denizens of the cloister at Gandersheim.