Single Combat and Warfare in German Literature of the High Middle Ages: Stricker’s ‘Karl der Große’ and ‘Daniel von dem Blühenden Tale’ by Rachel E. Kellett

Abstract

270 Reviews Single Combat and Warfare inGerman Literature of the High Middle Ages: Strieker's 'Karl der Grofie' and 'Daniel von dem Bliihenden Tale'. By Rachel E. Kel lett. (MHRA Texts and Dissertations, 72; Bithell Series ofDissertations, 33) London: Maney. 2008. vii+277 pp. ISBN 978-1-905981-48-9. It is commonly accepted that representations of pitched battles are restricted to the chanson de geste (or epic') genre and that the ritualistic combat between two duelling knights ismore characteristic of the romance genre, where a knight seeks to prove his 'honour against his opponent or, in the case ofWolfram's character Parzival, as a contributory means of achieving theGrail quest ('den gral erstriten); but the distinction is hardly clear-cut. Hence, as Rachel Kellett points out in her meticulously documented dissertation, 'the central premise of the judicial combat, that the combat is a conflict between justice and injustice, between right and wrong, remains central to almost all literary single combats' (p. 29). For that reason the single combats inKarl der Grofie, like those of the epic's source, the Rolandslied, remain 'uncomplicated' (p. 54): they are designed to demonstrate the superiority ofKarl and Roland over the Saracens invictories which demonstrate theChristian God's support. There isa noticeable cleaving to theunreflecting 'De levult' doctrine of the French archetype here and a corresponding absence of that doubt which enters into Wolfram's treatment of some form of La Bataille d'Aliscans, Willehalm, as indeed Kellett laterpoints out (p. 159). Close study ofDer Strieker's Daniel von dem Bliihenden Tal, on the other hand, leads to ratherdifferentassessments of its intellectual and poetic achievement. Here the results of sundry combats lead to rather comic and inconclusive outcomes, such as when Parzival's defeat proves to be as ignominious as that of the traditional courtly buffoon, Sir Keii (a figure used inmore conventional Arthurian romances as a foil for themoral and chivalric superiority of the protagonist). However, as Der Pleier implicitly registered in constructing his 'courtly corrective', Garel von dem Bliihenden Tal, Daniel is not (and on a number of counts) an exemplary Arthurian romance. Most signally, 'thebattles inDaniel are neither central to the narrative, nor do they resolve its crisis [. . .] It isDaniel's actions (primarily liste) and qualities (primarily wisheit) towhich Strieker attaches the greatest importance' (p. 195). Der Strieker confounds reader expectations inhis depiction of battles by blending in reminiscences of a number of sources (Kellett adduces inparticular the Alexanderlied, where, too, battles in themselves prove to be relatively indecisive). By making combats less determinative of outcomes than is the case in his Karl, Der Strieker produces themore innovative text of the two and demonstrates his versatility inworking in a number of genres. More importantly,however, he shows a willingness 'toquestion basic themes ofmedieval literature, such as the role and function of combat' (p. 202). The pedigree of a number of Kellett's theses will be apparent tomany in se condary literature dating back in some cases to themiddle of the last century, but the thoroughness of her restudy is a welcome reinforcement ofmany of the more impressionistic inferences drawn by previous scholars. The work will prove MLR, 105.1, 2010 271 essential reading for those interested in the variegated oeuvre of the man who referred to himself (perhaps rather toomodestly) as 'Der Strieker. University of Reading Neil Thomas Die Bibel auf der Buhne: Exempelfiguren und protestantische Theologie im lateini schen und deutschen Bibeldrama der Reformationszeit. ByWolfram Washof. (Symbolische Kommunikation und gesellschaftliche Wertesysteme. Schriften reihe des Sonderforschungsbereichs, 496,14) Minister: Rhema. 2007. 536 pp. 56. ISBN 978-3-930454-63-1 Martin Luther's evaluation of theApocryphal books Judith and Tobias as praise worthy didactic dramas has often been taken as constituting an authorization for his contemporaries towrite biblical plays. And many did so. In this study Wolfram Washof considers 120 dramas written during theperiod of confessionalization (de fined here as 1520s to 1570s), themajority by Lutheran authors who recognized the homiletic possibilities of thismedium. Unlike some earlier studies,which sought to evaluate the dramatic merit of these plays (and often found themwanting), Washof follows the tendentious aims of the authors, focusing on the doctrines and ethical values they intended to disseminate...