Jester Till Full Movie

[Melanie Wendelberger]

Eulenspiegelis a native of the Duchy of Brunswick-Lneburg whose picaresque career takes him to many places throughout the Holy Roman Empire. He plays practical jokes on his contemporaries, at every turn exposing vices. His life is set in the first half of the 14th century, and the final chapters of the chapbook describe his death from the plague of 1350.

Eulenspiegel's surname translates to "owl-mirror"; and the frontispiece of the 1515 chapbook, as well as his alleged tombstone in Mlln, Schleswig-Holstein, render it as a rebus comprising an owl and a hand mirror. It has been suggested that the name is in fact a pun on a Low German phrase that translates as "wipe-arse".[1]

Modern retellings of the Eulenspiegel story have been published since the latter 19th century. The Legend of Thyl Ulenspiegel and Lamme Goedzak, by Charles De Coster (1867), transfers the character to the period of the Reformation and the Dutch Revolt; the novel's Ulenspiegel (in modern Dutch, Tijl Uilenspiegel) was adopted as a symbol by the Flemish Movement.

According to the chapbook, Eulenspiegel was born in Kneitlingen in Lower Saxony near Brunswick around 1300. As a vagrant (Landfahrer), he travelled through the Holy Roman Empire, especially Northern Germany, but also the Low Countries, Bohemia, and Italy. He is said to have died in Mlln, Schleswig-Holstein, near Lbeck and Hamburg, of the Black Death in 1350.

There are several suggestions as to the author of the 1510 chapbook, none of which has gained mainstream acceptance. Candidates include Thomas Murner,[5] Hermann Bote, Hieronymus Brunschwig, or an author collective surrounding Johannes Grninger, including Thomas Murner, Johannes Adelphus, Tilemann Conradi and Hermannus Buschius.[6]The author of the 1515 edition in a short preface identifies himself only as "N". He gives the year 1500 as the date when he originally began to collect the tales, stressing the difficulty of the project and how he wanted to abandon it several times, saying that he is now publishing it after all to "lighten the mood in hard times". The preface also announces the inclusion of material from Pfaff Amis and Pfaff vom Kahlenberg, but no such material is present in the 1515 edition.[7]

The literal translation of the High German name "Eulenspiegel" is "owl-mirror" (hence owle-glasse). It is both innocuous and indicative of his character and has been explained as a garbled form of an expression for "wipe-the-arse".[1]

Many of Till's pranks are scatological in nature, and involve tricking people into touching, smelling, or even eating Till's excrement.[9][10]Scatological stories abound, beginning with Till's early childhood (in which he rides behind his father and exposes his rear-end to the townspeople) and persisting until his death bed (where he tricks a priest into soiling his hands with feces).[3]

In modern scholarship, there have been some attempts to find evidence for the historicity of Till Eulenspiegel's person. Hucker (1980) mentions that according to a contemporary legal register of the city of Brunswick one Till van Cletlinge ("Till from/of Kneitlingen") was incarcerated there in the year 1339, along with four of his accomplices, for highway robbery.[11]

Anno 1350 is dusse / steen upgehaven und / Tyle ulen spegel lenet / hier under begraven. / Marcket wol und / dencket dran. wat / ick gwest si up eren. / All de hir vor aver / gan. moten mi / glick weren.

The inscription (including the date of 1350) was allegedly copied from an older tombstone, now lost. This older tombstone is referred to in the chapbook of 1515, and it is mentioned as still being extant in 1536.[12][unreliable source?]The 1544 stone is mentioned by Fynes Moryson in his Itinerary of 1591.Moryson also reports that in his time, the citizens of Mlln held a yearly festival in Eulenspiegel's honour, on which occasion they would present the clothes worn by Eulenspiegel when he died.[13]

The two earliest printed editions, in Early New High German, were printed by Johannes Grninger in Strasbourg. The first edition was unknown before sixteen folia of printing proofs were discovered in 1971 in the binding of a Latin edition of Reynard.Peter Honegger dated these pages to 1510/11 based on the type used,[14] but this date has since been called into question. Only a single specimen of the first edition has been preserved, discovered in 1975.[15] Thirty folia are missing, including the title page. A previous owner has replaced the missing pages by pages torn from an Eulenspiegel edition of c. 1700.It was most likely published in 1512. The sixteen folia discovered by Honegger are likely printing proofs for this edition.It consists of 100 folia with 66 woodcuts of high quality.[citation needed]

The text is divided into 95 chapters (numbered to 96 as chapter number 42 is missing).The 1515 edition is decidedly inferior, missing many of the illustrations of the older edition, and showing signs of careless copying of the text.[citation needed]It is uncertain how many of these chapters were present in the earlier edition of 1510/12, although some of the chapters appear to be later additions. The initials of the final six chapters form the "acrostic" ERMANB, which has been taken as a hidden reference to the book's author.The first chapters are dedicated to Till's childhood. In chapter nine, Till leaves his mother and begins his life as a vagrant. He takes up diverse occupations, but each chapter ends with his moving on to another place.The final seven chapters are dedicated to his death and burial.

In the chapbooks, Eulenspiegel is presented as a trickster who plays practical jokes on his contemporaries, exposing vices at every turn, greed and folly, hypocrisy and foolishness. As Peter Carels notes, "The fulcrum of his wit in a large number of the tales is his literal interpretation of figurative language."[16] (Previously, Goethe made a similar observation.[17]) Although craftsmen are featured as the principal victims of his pranks, neither the nobility nor the pope is exempt from being affected by him.

The 'Antwerp group' of Eulenspiegel editions comprises a number of Flemish, French and English publications. The dating of these publications is still an issue of contention. The Antwerp printer Michiel Hillen van Hoochstraten is believed to have printed the first Dutch-language version of the Till Eulenspiegel story. In the past, the Hillen edition was dated to 1512 or 1519, but recent scholarship places it in the period between 1525 and 1546. Michiel Hillen van Hoochstraten appears to have used for his translation a German text, in manuscript or printed, that is now lost, which antedated the Grninger edition.[18] Jan van Doesborch is believed to have printed the first English translation in Antwerp possibly as early as 1520. In this edition the name Ulenspiegel is rendered Howleglas (as it were "owl-glass"). Later English editions, derived from the Antwerp group, were printed by William Copland in London, in 1547 and 1568.[19]

The first modern edition of the chapbook of 1519 is by Lappenberg (1854). Lappenberg was not yet aware of the existence of the 1515 edition.The 1515 and 1519 editions were published in facsimile by Insel-Ferlag in 1911 and 1979, respectively.An English translation by Paul Oppenheimer was published in 1972.[20]

Editions of Eulenspiegel in German, Dutch, Flemish, French and English remained popular throughout the early modern period. By the late 17th century, Eulenspiegel and his pranks had become proverbial, with the French adjective espigle "impish, mischievous" derived from his name.[21] The German noun Eulenspiegelei (as it were "owlglassery") is recorded in the early 19th century.[22]

In the eighteenth century, German satirists adopted episodes for social satire, and in the nineteenth and early twentieth century versions of the tales were bowdlerized to render them fit for children, who had come to be considered their chief natural audience, by expurgating their many scatological references.[16]

The Legend of Thyl Ulenspiegel and Lamme Goedzak, an 1867 novel by Belgian author Charles De Coster, has been translated, often in mutilated versions, into many languages. It was De Coster who first transferred Ulenspiegel from his original late medieval surroundings to the Protestant Reformation. In this version, Ulenspiegel was born in Damme, West Flanders and became a Protestant hero of the Dutch Revolt. The author gives him a father, Claes, and mother, Soetkin, as well as a girlfriend, Nele, and a best friend, Lamme Goedzak. In the course of the story Claes is taken prisoner by the Spanish oppressors and burned at the stake, while Soetkin goes insane as a result. This tempts Thyl to start resistance against the Spanish oppressors. Thanks to the 1867 novel, Ulenspiegel has become a symbol of Flemish nationalism, with a statue dedicated to him in Damme.

Willy Vandersteen drew two comic book albums about Uilenspiegel, "De Opstand der Geuzen" ("The Rebellion of the Geuzen") and "Fort Oranje" ("Fort Orange"), both drawn in a realistic, serious style and pre-published in the Belgian comics magazine Tintin between 1952 and 1954. They were published in comic book album format in 1954 and 1955. The stories were drawn in a realistic style and in some instances followed the original novel very closely, but sometimes followed his own imagination more.[24]

Between 1985 and 1990, Willy Vandersteen drew a comics series named De Geuzen of whom the three main characters are Hannes, his girlfriend Veerle and Tamme, Hannes' best friend. All are obviously inspired by Tijl Uilenspiegel, Nele and Lamme Goedzak.[24]

In Moscow in 1974, Grigoriy Gorin adapted De Coster's novel as a play originally entitled The Passion of Tyl. A Two-Part Farcical Comedy (The Passion of had to be removed later) which alluded to the state of the Soviet Union. Performed at the Lenkom Theatre with music by Gennady Gladkov it had elements of rock opera.[28][29] In 2019, the original libretto was restored and official soundtrack released.[30][31]

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