A NEW EUROPE EMERGES: NORTH AND SOUTH 185
power over Germany itself. The most important aspect of Henry II’s reign is the
fact that he brought westward into the German heartlands the Ottonian policy of
enfoeffing and elevating the archiepiscopal, episcopal, and major abbatial territo-
ries of the imperial realm and raising them to the status of the throne’s closest
allies, vassals, and dependents. Theocracy, not democracy, thus emerged as the
dominant element of German politics.
The three Ottos and Henry II are often credited with inspiring a cultural re-
vival known, predictably, as the Ottonian Renaissance. Like the Carolingian revival
before it, the Ottonian version was a modest affair, limited primarily to the im-
perial court itself. Otto II’s Byzantine wife, Theophano, deserves much of the credit
for the Ottonian Renaissance since she brought with her from Constantinople a
stable of painters, sculptors, poets, and scholars who found work in the imperial
capital and at the handful of new schools established by the court. For the most
part their works, while highly accomplished, served chiefly propagandistic pur-
poses: They exalted the majesty of the new dynasty, its power, its enjoyment of
divine favor, and its joint Roman-Carolingian-Byzantine inheritance. By far the
most interesting person in this renaissance was a nun named Hrotsvitha von Gan-
dersheim. Entirely unconnected with the imperial court (although Otto I had
founded her nunnery), she wrote lively and polished verse; much of what survives
is rather conventionally didactic in content, since her poems were intended for the
religious education of the novice nuns under her care, but the language with which
she extols the virtues of chastity, piety, and obedience is often quite impressive.
She also wrote a long narrative poem on the greatness of Otto I, emphasizing
especially his role in establishing and favoring the nunnery at Gandersheim. But
by far her most important and interesting works are a half-dozen extant plays.
Hrotsvitha modeled her plays on the comedies of the Roman writer Terence, the
most popular of the Roman playwrights throughout the Middle Ages; but she
turned the tables on him, so to speak, in the depiction of female characters. Like
most Roman writers Terence had filled his plays with the stock female characters/
caricatures—the shrewish wife, the conniving seductress, the whiny girlfriend, the
clever servant-girl. Hrotsvitha’s plays instead celebrate women as heroic figures,
although, the plays being intended for audiences of nuns and novices, her figures’
heroism usually takes the form of submission to God, dedication to modesty, and
acceptance of martyrdom. Nevertheless, she possessed a genuine talent for witty
dialogue and solid stagecraft.
An important shift in political practice came with Conrad II (1024–1039). Con-
rad, the founder of the new Salian dynasty, strongly opposed the popular ecclesi-
astical reform movement of his time since he feared that it would lead to the
establishment of a Church independent of governmental control. This position
estranged many of the higher clergy who had been the mainstays of the empire
since Otto I. Conrad turned instead to the lay nobility and tried to make himself
into a kind of feudal populist—which sounds like an oxymoron. The great mag-
nates of Germany, despite their supposed vassalage to whoever wore the imperial
crown, held their principalities by hereditary right but steadfastly resisted the rise
of such attitudes among their vassals, the lesser princelings, counts, margraves,
and knights. Conrad championed the hereditary principle for these lesser nobles
in the hope that, having won their support, he could use them to counterbalance
the influence of the great magnates. He helped secure hereditary rights for many
of these lesser nobles; moreover, he also turned to talented commoners from the
urban classes and earned their loyalty by placing them in administrative positions
within the central government. These officers held the title of ministerialis (pl.