The Visitatio Sepulchri sequence recorded in the tenth-century manuscript of the Regularis Concordia includes rubricated directives which have led critics to label its mechanisms of pretence as ‘mimetic’ or ‘representational’. Indeed, what else could be more appropriate to a text that exhorts the brothers to move ‘in likeness of ’ (ad similitudinem) the women seeking the tomb, and when all actions executed before the sung dialogue are to be in the manner of ‘a copying, an imitation’ (ad imitationem)? But it is possible, as I will argue throughout this article, that imitation does not always mean imitation, and that modern critical terminology is wholly unsuitable for the form of ‘agreed pretence’ at work not only in such liturgical performances, but also in other forms of pre-modern drama (I borrowed this expression from Butterworth, Staging Conventions in Medieval English Theatre). This paper will investigate the implications of the terms imitatio and similitudo within the context of sung liturgical performances, as well as considering how such instructions might complicate critical understandings of pre-modern drama. Furthermore, I will contend that these terms are employed with a flexibility that forces a wider and more accommodating engagement with pre-modern dramatic forms and practices.
{"title":"Forms of Pretence in Pre-Modern Drama: From the Visitatio Sepulchri to Hamlet","authors":"S. Brazil","doi":"10.1484/J.EMD.5.114454","DOIUrl":"https://doi.org/10.1484/J.EMD.5.114454","url":null,"abstract":"The Visitatio Sepulchri sequence recorded in the tenth-century manuscript of the Regularis Concordia includes rubricated directives which have led critics to label its mechanisms of pretence as ‘mimetic’ or ‘representational’. Indeed, what else could be more appropriate to a text that exhorts the brothers to move ‘in likeness of ’ (ad similitudinem) the women seeking the tomb, and when all actions executed before the sung dialogue are to be in the manner of ‘a copying, an imitation’ (ad imitationem)? But it is possible, as I will argue throughout this article, that imitation does not always mean imitation, and that modern critical terminology is wholly unsuitable for the form of ‘agreed pretence’ at work not only in such liturgical performances, but also in other forms of pre-modern drama (I borrowed this expression from Butterworth, Staging Conventions in Medieval English Theatre). This paper will investigate the implications of the terms imitatio and similitudo within the context of sung liturgical performances, as well as considering how such instructions might complicate critical understandings of pre-modern drama. Furthermore, I will contend that these terms are employed with a flexibility that forces a wider and more accommodating engagement with pre-modern dramatic forms and practices.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"20 1","pages":"181-201"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The presentation of religion in many medieval and Tudor plays is minatory, dwelling upon the danger of damnation and offering sometimes terrifying warning about the consequences of wickedness for the afterlife. This apprehension was intensified by anxiety and uncertainty about which faith was the true one and the need to find a description of it. In an attempt to broaden the religious experience offered in some six interludes, this essay is concerned with rather more optimistic elements which would have helped to counterbalance the general apprehension. Because of the perceived need to train the young, it addresses the school and academic contexts of some interludes, and in doing so it shows how entertainment is made part of coming to terms with more sombre aspects. John the Evangelist is unusual in that it takes a Catholic approach and in so doing puts emphasis upon solitary devotion. The other interludes discussed here are strong in their advocacy of scripture as a guide and inspiration, and their emphasis upon the promises of God towards salvation. These features are perhaps more evident because for much of the time the authorities were sympathetic to the Protestant change rather that to the old religion. Individually the plays bring out measures of hope and thanksgiving. The existence of such aspects is directed towards making faith acceptable especially by means of pleasurable theatrical entertainment which spread widely across Tudor interludes. The mockery of the devil was a notable aspect of this strategy, as was the relationship between faith and education, as well as the possibility of worldly success and the proper use of wealth by the faithful. The elements identified here show a concern for making religious experience acceptable in the community and strengthening its place there in spite of the difficulties of belief which are apparent in the religious crises in the sixteenth century.
{"title":"Interludes as Stages of Faith","authors":"P. Happé","doi":"10.1484/J.EMD.5.114453","DOIUrl":"https://doi.org/10.1484/J.EMD.5.114453","url":null,"abstract":"The presentation of religion in many medieval and Tudor plays is minatory, dwelling upon the danger of damnation and offering sometimes terrifying warning about the consequences of wickedness for the afterlife. This apprehension was intensified by anxiety and uncertainty about which faith was the true one and the need to find a description of it. In an attempt to broaden the religious experience offered in some six interludes, this essay is concerned with rather more optimistic elements which would have helped to counterbalance the general apprehension. Because of the perceived need to train the young, it addresses the school and academic contexts of some interludes, and in doing so it shows how entertainment is made part of coming to terms with more sombre aspects. John the Evangelist is unusual in that it takes a Catholic approach and in so doing puts emphasis upon solitary devotion. The other interludes discussed here are strong in their advocacy of scripture as a guide and inspiration, and their emphasis upon the promises of God towards salvation. These features are perhaps more evident because for much of the time the authorities were sympathetic to the Protestant change rather that to the old religion. Individually the plays bring out measures of hope and thanksgiving. The existence of such aspects is directed towards making faith acceptable especially by means of pleasurable theatrical entertainment which spread widely across Tudor interludes. The mockery of the devil was a notable aspect of this strategy, as was the relationship between faith and education, as well as the possibility of worldly success and the proper use of wealth by the faithful. The elements identified here show a concern for making religious experience acceptable in the community and strengthening its place there in spite of the difficulties of belief which are apparent in the religious crises in the sixteenth century.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"20 1","pages":"163-180"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Assassination vehicles in Elizabethan and Jacobean tragedies sometimes involve meta-theatrical court festival massacres: court performances embedded within full-length drama, resulting in violent death or trauma to characters in the play. During his career as a playwright (c. 1600–08), John Marston pioneered the masquerade-within as a popular sub-category of court festival massacre. Were such underhand festival appropriations wholly inspired by stage precedents? Or did they also occur in real life? Whether its deaths were accidental or resulted from a botched assassination plot, the 1393 Bal des Ardents was hugely culturally and politically influential. Its continuing cultural afterlives bear witness to the geographical, chronological and social shockwaves of a medieval event whose impact illuminates the persistent collective trauma generated by extreme modern assassinations. My researches identify the conspiracy rumours encouraged in the wake of the 1393 Paris disaster and two English conspiracies of 1397 and 1400 linked to court festivals, as key to a fresh approach to the meta-theatrical court festival massacre, and to interpretation of two plays traditionally discussed together, which refer to these English conspiracies, Shakespeare’s Richard II and the anonymous Thomas of Woodstock. My analysis supports a post-Elizabethan dating of Woodstock, and encourages the hypothesis that it could be the so-called Scots’ Mine Play of 1608, the lost Jacobean play thought by some to have ended Marston’s career as a playwright.
{"title":"The Bal des Ardents (1393), Thomas of Woodstock (1397) and Richard II (1400): Three Medieval Conspiracy Rumours and the Scots’ Mine Play (1608).","authors":"M. Katritzky","doi":"10.1484/J.EMD.5.114451","DOIUrl":"https://doi.org/10.1484/J.EMD.5.114451","url":null,"abstract":"Assassination vehicles in Elizabethan and Jacobean tragedies sometimes involve meta-theatrical court festival massacres: court performances embedded within full-length drama, resulting in violent death or trauma to characters in the play. During his career as a playwright (c. 1600–08), John Marston pioneered the masquerade-within as a popular sub-category of court festival massacre. Were such underhand festival appropriations wholly inspired by stage precedents? Or did they also occur in real life? Whether its deaths were accidental or resulted from a botched assassination plot, the 1393 Bal des Ardents was hugely culturally and politically influential. Its continuing cultural afterlives bear witness to the geographical, chronological and social shockwaves of a medieval event whose impact illuminates the persistent collective trauma generated by extreme modern assassinations. My researches identify the conspiracy rumours encouraged in the wake of the 1393 Paris disaster and two English conspiracies of 1397 and 1400 linked to court festivals, as key to a fresh approach to the meta-theatrical court festival massacre, and to interpretation of two plays traditionally discussed together, which refer to these English conspiracies, Shakespeare’s Richard II and the anonymous Thomas of Woodstock. My analysis supports a post-Elizabethan dating of Woodstock, and encourages the hypothesis that it could be the so-called Scots’ Mine Play of 1608, the lost Jacobean play thought by some to have ended Marston’s career as a playwright.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"20 1","pages":"105-139"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66679026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
One of the major vehicles for religious instruction and debate in the late Middle Ages was drama that reflected the doctrinal position of the Roman Catholic Church. During the forty years of religious turmoil of the English Reformation (1535-75), the reformers’ use of plays for propaganda purposes was a major factor in the government’s struggle to persuade the people to embrace the new religion, using a traditional tool of the old religion against it to achieve their ends. This article traces the twists and turns of this campaign from the early days of the Henrician reformation under Thomas Cromwell to the systematic suppression of community religious drama by Elizabeth’s ecclesiastical commissions.
{"title":"Protestant Drama and the State in England 1535-75","authors":"A. Johnston","doi":"10.1484/J.EMD.5.110742","DOIUrl":"https://doi.org/10.1484/J.EMD.5.110742","url":null,"abstract":"One of the major vehicles for religious instruction and debate in the late Middle Ages was drama that reflected the doctrinal position of the Roman Catholic Church. During the forty years of religious turmoil of the English Reformation (1535-75), the reformers’ use of plays for propaganda purposes was a major factor in the government’s struggle to persuade the people to embrace the new religion, using a traditional tool of the old religion against it to achieve their ends. This article traces the twists and turns of this campaign from the early days of the Henrician reformation under Thomas Cromwell to the systematic suppression of community religious drama by Elizabeth’s ecclesiastical commissions.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"19 1","pages":"1-31"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article intends to direct the reader’s attention to a play that will soon be published in a modern edition: Johannes Agricola’s Tragedia Johannis Huss. The tragedy, that closely follows the Relatio of Peter Mladoňovicz, depicts the intrigues which led to the death of Jan Hus at the Council of Constance. There is some evidence that Agricola followed the initiative of Johann Friedrich, Elector of Saxony, who saw the need for publicity against the Council of Mantua, which was announced by Pope Paul III, and directed against Martin Luther, whose Schmalkalden Articles were heavily discussed at the time. It is obvious that the tragedy was performed in Torgau Castle, in the presence of the Elector, and of Luther and Melanchthon - and it seems to have been very effective, even though Luther and Melanchthon (for different reasons) never mention it.
{"title":"Der Märtyrer und die Politik: Johann Agricolas Tragedia Johannis Huss - Zur Entstehung eines protestantischen Kampfdramas 1537","authors":"Hans-Gert Roloff","doi":"10.1484/J.EMD.5.110743","DOIUrl":"https://doi.org/10.1484/J.EMD.5.110743","url":null,"abstract":"The article intends to direct the reader’s attention to a play that will soon be published in a modern edition: Johannes Agricola’s Tragedia Johannis Huss. The tragedy, that closely follows the Relatio of Peter Mladoňovicz, depicts the intrigues which led to the death of Jan Hus at the Council of Constance. There is some evidence that Agricola followed the initiative of Johann Friedrich, Elector of Saxony, who saw the need for publicity against the Council of Mantua, which was announced by Pope Paul III, and directed against Martin Luther, whose Schmalkalden Articles were heavily discussed at the time. It is obvious that the tragedy was performed in Torgau Castle, in the presence of the Elector, and of Luther and Melanchthon - and it seems to have been very effective, even though Luther and Melanchthon (for different reasons) never mention it.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"16 1","pages":"33-45"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The earliest dramatic text in Hungarian language is a translation of Hroswitha’s Dulcitius. It has come down to us in the sixteenth century Sandor-kodex, preserved in Budapest. Hroswitha’s works might have found their way to Hungary via the German Humanist Conrad Celtis, but the codex seems to have been written by nuns, most probably of the Order of St. Claire. An examination of the codex reveals a clear interest in Hroswitha’s work: the codex is entirely focused on virginity as a ‘living martyrdom’. While the text of the play seems to be intended for reading purposes only, there is another Hungarian translation and transformation of Dulcitius from the sixteenth century, which was obviously used for school performances in Transylvania.
{"title":"The Reception of Hroswitha of Gandersheim in Hungary","authors":"M. Pintér","doi":"10.1484/J.EMD.5.110745","DOIUrl":"https://doi.org/10.1484/J.EMD.5.110745","url":null,"abstract":"The earliest dramatic text in Hungarian language is a translation of Hroswitha’s Dulcitius. It has come down to us in the sixteenth century Sandor-kodex, preserved in Budapest. Hroswitha’s works might have found their way to Hungary via the German Humanist Conrad Celtis, but the codex seems to have been written by nuns, most probably of the Order of St. Claire. An examination of the codex reveals a clear interest in Hroswitha’s work: the codex is entirely focused on virginity as a ‘living martyrdom’. While the text of the play seems to be intended for reading purposes only, there is another Hungarian translation and transformation of Dulcitius from the sixteenth century, which was obviously used for school performances in Transylvania.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"19 1","pages":"77-94"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1484/J.EMD.5.110745","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Looking for the sanctity in the music of medieval theatre, the article deals with the fact that in nearly all Passion plays Gregorian chants or other liturgical chants are inserted as incipits or as entirely recorded pieces. One example is the Passion play from the Benedictine monastery Admont (Styria, second half of the sixteenth century or later), the manuscript of which has many insertions of liturgical songs in Gothic notation, both complete Gregorian chants as well as reading tones for chanting the Passion. However, many of these insertions are not consistent or made in a professional manner. The reason for the insertions lies in the character of the music: as the Christian liturgy is in service of God and therefore holy, the liturgical chants are also sanctified. Mystery plays are not liturgical plays; nevertheless, they were performances of sacred rites and therefore needed the authority of sacred chants so as not to be considered heretical. The chants are not only ornamental but also involved in t...
{"title":"Das Heilige in der Musik des Theaters im Mittelalter","authors":"S. Engels","doi":"10.1484/J.EMD.5.110747","DOIUrl":"https://doi.org/10.1484/J.EMD.5.110747","url":null,"abstract":"Looking for the sanctity in the music of medieval theatre, the article deals with the fact that in nearly all Passion plays Gregorian chants or other liturgical chants are inserted as incipits or as entirely recorded pieces. One example is the Passion play from the Benedictine monastery Admont (Styria, second half of the sixteenth century or later), the manuscript of which has many insertions of liturgical songs in Gothic notation, both complete Gregorian chants as well as reading tones for chanting the Passion. However, many of these insertions are not consistent or made in a professional manner. The reason for the insertions lies in the character of the music: as the Christian liturgy is in service of God and therefore holy, the liturgical chants are also sanctified. Mystery plays are not liturgical plays; nevertheless, they were performances of sacred rites and therefore needed the authority of sacred chants so as not to be considered heretical. The chants are not only ornamental but also involved in t...","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"19 1","pages":"117-135"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The descensus ad inferos (descent into hell), one of the key scenes in vernacular Easter Plays, is well suited to exemplify Rainer Warning’s controversial thesis that Easter Plays are a ‘Remythisierung der Heilsgeschichte’ (remythologizing of Salvation history). This article examines, systematically, the analytical consistency of this thesis. At first, it reconstructs Warning’s terminology, and then it revises the same terminology on the basis of descent scenes in selected German plays (Easter Plays of Muri, Innsbruck, Osnabruck, and Redentin).
{"title":"Inszenierung des Dogmas oder (Re-)Mythisierung? Christi Höllenfahrt in den Osterspielen des Mittelalters","authors":"Jörn Bockmann","doi":"10.1484/J.EMD.5.110748","DOIUrl":"https://doi.org/10.1484/J.EMD.5.110748","url":null,"abstract":"The descensus ad inferos (descent into hell), one of the key scenes in vernacular Easter Plays, is well suited to exemplify Rainer Warning’s controversial thesis that Easter Plays are a ‘Remythisierung der Heilsgeschichte’ (remythologizing of Salvation history). This article examines, systematically, the analytical consistency of this thesis. At first, it reconstructs Warning’s terminology, and then it revises the same terminology on the basis of descent scenes in selected German plays (Easter Plays of Muri, Innsbruck, Osnabruck, and Redentin).","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"19 1","pages":"137-163"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As a consequence of Zwingli’s rigorous ban on the veneration of saints, the genre of saints’ plays flourished in Catholic parts of the Swiss confederation after the Reformation and after the Council of Trent. Lucerne, the heart of Swiss Catholicism, saw its first representation of a saints’ play in 1585 when Jakob Wilhelmi staged the lives and martyrdoms of the apostles on the Wine-Market. The manuscript of this play, as well as those of other vernacular saints’ plays staged in the following years (St. Wilhelm, St. Catherine, St. Leodegar), originates from the collegiate convent at Beromunster, where it was staged in 1560. Several circumstances could explain the lively theatre activity in Beromunster. Among these are some problems in collegiate discipline, which caused the implementation of Catholic reform. The staging of the apostle play in the convent could have been a demonstration of loyalty to the Catholic faith.
{"title":"Theater, Frömmigkeitspraktiken, Politik: Ein Versuch zur Situierung der Beromünsterer Heiligenspiele","authors":"H. Greco-Kaufmann","doi":"10.1484/J.EMD.5.110746","DOIUrl":"https://doi.org/10.1484/J.EMD.5.110746","url":null,"abstract":"As a consequence of Zwingli’s rigorous ban on the veneration of saints, the genre of saints’ plays flourished in Catholic parts of the Swiss confederation after the Reformation and after the Council of Trent. Lucerne, the heart of Swiss Catholicism, saw its first representation of a saints’ play in 1585 when Jakob Wilhelmi staged the lives and martyrdoms of the apostles on the Wine-Market. The manuscript of this play, as well as those of other vernacular saints’ plays staged in the following years (St. Wilhelm, St. Catherine, St. Leodegar), originates from the collegiate convent at Beromunster, where it was staged in 1560. Several circumstances could explain the lively theatre activity in Beromunster. Among these are some problems in collegiate discipline, which caused the implementation of Catholic reform. The staging of the apostle play in the convent could have been a demonstration of loyalty to the Catholic faith.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"54 1","pages":"95-115"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678830","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1602, Wolfgang Waldung staged a Latin play about the martyrdom of St Catherine as part of the Protestant Academy of Altdorf’s Dies Academicus. At first glance, the choice of the subject is rather surprising, considering that the saint was very popular in Jesuit drama. This paper gives an introduction to the legend and cult of St Catherine, and to the Academy of Altdorf, before it analyses the text: Waldung uses a humanist poem by Baptista Mantuanus and turns it into a play that clearly supports Luther’s teaching and stresses the authorities’ duty to care for proper erudition of youth. It picks up the topics of the orations that were given at the same ceremony, and can well be understood as a panegyric to the Altdorf Academy and to the patricians of Nuremberg, who formed the council of the Academy.
{"title":"Nürnbergs ‘zweite Stadtheilige’ im protestantischen Schultheater: Wolfgang Waldungs Catharinæ martyrivm","authors":"Cora Dietl","doi":"10.1484/J.EMD.5.110744","DOIUrl":"https://doi.org/10.1484/J.EMD.5.110744","url":null,"abstract":"In 1602, Wolfgang Waldung staged a Latin play about the martyrdom of St Catherine as part of the Protestant Academy of Altdorf’s Dies Academicus. At first glance, the choice of the subject is rather surprising, considering that the saint was very popular in Jesuit drama. This paper gives an introduction to the legend and cult of St Catherine, and to the Academy of Altdorf, before it analyses the text: Waldung uses a humanist poem by Baptista Mantuanus and turns it into a play that clearly supports Luther’s teaching and stresses the authorities’ duty to care for proper erudition of youth. It picks up the topics of the orations that were given at the same ceremony, and can well be understood as a panegyric to the Altdorf Academy and to the patricians of Nuremberg, who formed the council of the Academy.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"19 1","pages":"47-76"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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