a hostile environment targeted by an extrinsic threat that is male in nature, showing the possible focus she gives towards women and feminism as a whole. In "Callimach", a woman, who has been the subject of an attempted rape, prays for death. God grants her prayer and she dies before the man can resume his attack. Taken by her beauty the man goes to her grave and attempts intercourse with her corpse, is killed by a venomous serpent. Both of these plays show a key to Hrothsvitha's work: that religion can provide women with freedom and independence, allowing them to empower themselves. Impact on Theatre Hrothsvitha contributes to the work of women in theatre by supporting the concept that "as long as there is theatre, as long as there are women, as long as there is an imperfect society, there will be women's theatre". Hrothsvitha's plays served the purpose of speaking truth to power and counterbalancing male dominance of the field. The significance of her plays is often overlooked because their dramaturgy diverges from what Sue-Ellen Case and Jill Dolan theorize as to the male values of good playwriting, which excluded Hrotsvitha, rather placing focus upon alternative fields, such as religion, early life, and sexuality, to name a few. Translations As a female author in the 10th century, Hrotsvitha's work was largely ignored until re-discovered and edited by Conrad Celtis in the early 16th century. Since then many authors have taken up the work of translating and editing them. Often these works are filtered through the perceptions and unconscious bias of the translator., It is believed that the naming of Hrotsvitha plays after men and not women may have been done by Celtis and not Hrotsvitha as her works largely center women and their experiences, making these titles appear inconsistent with what is presented in her work. It has been suggested that Celtis may have misrepresented her work due to his own implicit biases. While the translator Christabel Marshall appears to impose her own understandings of what a 10th-century canoness would be like or would have thought by making her seem timid in her translations. Katharina Wilson does a similar thing in Hrothvitha's work by translating her to seem more humble than she actually is. This has led some to posit that Colleen Butler is the person who best represented Hrotsvitha's work, as she discerned the true comedic nature of