The Pied Piper Of Hamelin

The Pied Piper Of Hamelin

"Pied Piper" redirects here. For other uses, see Pied Piper (disambiguation).

The Pied Piper of Hamelin (German: Rattenfänger von Hameln) is the subject of a legend concerning the departure or death of a great number of children from the town of Hamelin (Hameln), Lower Saxony, Germany, in the Middle Ages. The earliest references describe a piper, dressed in multicolored clothing, leading the children away from the town never to return. In the 16th century the story was expanded into a full narrative, in which the piper is a rat-catcher hired by the town to lure rats away with his magic pipe. When the citizenry refuses to pay for this service, he retaliates by turning his magic on their children, leading them away as he had the rats. This version of the story spread as a fairy tale. This version has also appeared in the writings of, amongst others, Johann Wolfgang von Goethe, the Brothers Grimm and Robert Browning.

The story may reflect a historical event in which Hamelin lost its children. Theories have been proposed suggesting that the Pied Piper is a symbol of the children's death by plague or catastrophe. Other theories liken him to figures like Nicholas of Cologne, who is said to have lured away a great number of children on a disastrous Children's Crusade. The current theory, generally accepted by scholars and historians,[1] ties the departure of Hamelin's children to the Ostsiedlung, in which a number of Germans left their homes to colonize Eastern Europe including the area now referred to as Transylvania.


Plots

In 1284, while the town of Hamelin was suffering from a rat infestation, a man dressed in pied clothing appeared, claiming to be a rat-catcher. He promised the mayor a solution for their problem with the rats. The mayor in turn promised to pay him for the removal of the rats. The man accepted, and played a musical pipe to lure the rats with a song into the Weser River, where all but one drowned. Despite his success, the mayor reneged on his promise and refused to pay the rat-catcher the full amount of money. The man left the town angrily, but vowed to return some time later, seeking revenge. On Saint John and Paul's day while the inhabitants were in church, he played his pipe yet again, dressed in green, like a hunter, this time attracting the children of Hamelin. One hundred and thirty boys and girls followed him out of the town, where they were lured into a cave and never seen again. Depending on the version, at most three children remained behind. One of the children was lame and could not follow quickly enough, the second was deaf and followed the other children out of curiosity, and the last was blind and unable to see where he was going. These three informed the villagers of what had happened when they came out of church.

Another version relates that the Pied Piper led the children into following him to the top of Koppelberg Hill, where he took them to a beautiful land and had his wicked way,[2] or a place called Koppenberg Mountain,[3] or that he made them walk into the Weser river like he did with the rats and all the children drowned. Some versions state that the Piper returned the children after payment, or that he returned the children after the villagers paid several times the original amount of gold.

History


The earliest mention of the story seems to have been on a stained glass window placed in the Church of Hamelin c. 1300. The window was described in several accounts between the 14th and 17th centuries.[4] It was destroyed in 1660. Based on the surviving descriptions, a modern reconstruction of the window has been created by historian Hans Dobbertin. It features the colorful figure of the Pied Piper and several figures of children dressed in white.

This window is generally considered to have been created in memory of a tragic historical event for the town. Also, Hamelin town records start with this event. The earliest written record is from the town chronicles in an entry from 1384 which states: "It is 100 years since our children left."[5]

Although research has been conducted for centuries, no explanation for the historical event is agreed upon. In any case, the rats were first added to the story in a version from c. 1559 and are absent from earlier accounts.


Natural causes

A number of theories suggest that children died of some natural causes such as disease or accident [6] and that the Piper was a symbolic figure of Death. Analogous themes which are associated with this theory include the Dance of Death, Totentanz or Danse Macabre, a common medieval trope. Some of the scenarios that have been suggested as fitting this theory include that the children drowned in the river Weser, were killed in a landslide, or contracted some disease during an epidemic. Another modern interpretation reads the story as alluding to an event where Hamelin children were lured away by a pagan or heretic sect to forests near Coppenbrügge (the mysterious Koppen "hills" of the poem) for ritual dancing where they all perished during a sudden landslide or collapsing sinkhole.[7]

Others have suggested that the children left Hamelin to be part of a pilgrimage, a military campaign, or even a new Children's crusade (which is said to have occurred in 1212, not long before) but never returned to their parents. These theories see the unnamed Piper as their leader or a recruiting agent.

William Manchester's A World Lit Only by Fire places the events in 1484, 100 years after the written mention in the town chronicles that "It is 100 years since our children left", and further proposes that the Pied Piper was a psychopathic paedophile. However, nowhere in the book does Manchester offer proof of his description of the facts as he presents them. He makes similar assertions regarding other legends, also without supporting evidence.[8]

Emigration theory

Added speculation on the migration is based on the idea that by the 13th century the area had too many people resulting in the oldest son owning all the land and power (majorat), leaving the rest as serfs.[9] It has also been suggested that one reason the emigration of the children was never documented was that the children were sold to a recruiter from the Baltic region of Eastern Europe, a practice that was not uncommon at the time. In her essay Pied Piper Revisited, Sheila Harty states that surnames from the region settled are similar to those from Hamelin and that selling off illegitimate children, orphans or other children the town could not support is the more likely explanation. She states further that this may account for the lack of records of the event in the town chronicles.[5] In his book, The Pied Piper: A Handbook, Wolfgang Mieder states that historical documents exist showing that people from the area including Hamelin did help settle parts of Transylvania.[10] Transylvania had suffered under lengthy Mongol invasions of Central Europe, led by two grandsons of Genghis Khan and which date from around the time of the earliest appearance of the legend of the piper, the early 13th century.

In the version of the legend posted on the official website for the town of Hameln, another aspect of the emigration theory is presented:

Among the various interpretations, reference to the colonization of East Europe starting from Low Germany is the most plausible one: The "Children of Hameln" would have been in those days citizens willing to emigrate being recruited by landowners to settle in Moravia, East Prussia, Pomerania or in the Teutonic Land. It is assumed that in past times all people of a town were referred to as "children of the town" or "town children" as is frequently done today. The "Legend of the children's Exodus" was later connected to the "Legend of expelling the rats". This most certainly refers to the rat plagues being a great threat in the medieval milling town and the more or less successful professional rat catchers.[11]

This version states that "children" may simply have referred to residents of Hameln who chose to emigrate and not necessarily to youths.

Historian Ursula Sautter, citing the work of linguist Jurgen Udolph, offers this hypothesis in support of the emigration theory:

"After the defeat of the Danes at the Battle of Bornhoved in 1227," explains Udolph, "the region south of the Baltic Sea, which was then inhabited by Slavs, became available for colonization by the Germans." The bishops and dukes of Pomerania, Brandenburg, Uckermark and Prignitz sent out glib "locators," medieval recruitment officers, offering rich rewards to those who were willing to move to the new lands. Thousands of young adults from Lower Saxony and Westphalia headed east. And as evidence, about a dozen Westphalian place names show up in this area. Indeed there are five villages called Hindenburg running in a straight line from Westphalia to Pomerania, as well as three eastern Spiegelbergs and a trail of etymology from Beverungen south of Hamelin to Beveringen northwest of Berlin to Beweringen in modern Poland.[12]

Udolph favors the hypothesis that the Hamelin youths wound up in what is now Poland.[13] Genealogist Dick Eastman cited Udolph's research on Hamelin surnames that have shown up in Polish phonebooks:

Linguistics professor Jurgen Udolph says that 130 children did vanish on a June day in the year 1284 from the German village of Hamelin (Hameln in German). Udolph entered all the known family names in the village at that time and then started searching for matches elsewhere. He found that the same surnames occur with amazing frequency in Priegnitz and Uckermark, both north of Berlin. He also found the same surnames in the former Pomeranian region, which is now a part of Poland.

Udolph surmises that the children were actually unemployed youths who had been sucked into the German drive to colonize its new settlements in Eastern Europe. The Pied Piper may never have existed as such, but, says the professor, "There were characters known as lokators who roamed northern Germany trying to recruit settlers for the East." Some of them were brightly dressed, and all were silver-tongued.

Professor Udolph can show that the Hamelin exodus should be linked with the Battle of Bornhoeved in 1227 which broke the Danish hold on Eastern Europe. That opened the way for German colonization, and by the latter part of the thirteenth century there were systematic attempts to bring able-bodied youths to Brandenburg and Pomerania. The settlement, according to the professor's name search, ended up near Starogard in what is now northwestern Poland. A village near Hamelin, for example, is called Beverungen and has an almost exact counterpart called Beveringen, near Pritzwalk, north of Berlin and another called Beweringen, near Starogard.

Local Polish telephone books list names that are not the typical Slavic names one would expect in that region. Instead, many of the names seem to be derived from German names that were common in the village of Hamelin in the thirteenth century. In fact, the names in today's Polish telephone directories include Hamel, Hamler and Hamelnikow, all apparently derived from the name of the original village.[14]

Fourteenth-century Decan Lude chorus book

Decan Lude of Hamelin was reported, c. 1384, to have in his possession a chorus book containing a Latin verse giving an eyewitness account of the event.[15] The verse was reportedly written by his grandmother. This chorus book is believed to have been lost since the late 17th century. The odd-looking name 'Decan Lude' may possibly indicate a priest holding the position of Dean (Latin: decanus, modern German: Dekan or Dechant) whose name was Ludwig; but as yet he has proved impossible to trace.

Fifteenth-century Lueneburg manuscript

The Lueneburg manuscript (c. 1440–50) gives an early German account of the event:[16]

This appears to be the oldest surviving account. Koppen (High German Kuppe, meaning the knoll of a hill) seems to be a reference to one of several hills surrounding Hamelin. Which of them was intended by the verse's author remains uncertain.

Reportedly, there is a long-established law forbidding singing and music in one particular street of Hamelin, out of respect for the victims: the Bungelosenstrasse adjacent to the Pied Piper's House. During public parades which include music, including wedding processions, the band will stop playing upon reaching this street and resume upon reaching the other side.

Sixteenth- and seventeenth-century sources

In 1556, De miraculis sui temporis (Latin: Concerning the Wonders of his Times) by Jobus Fincelius mentions the tale. The author identifies the Piper with the Devil.

Somewhere between 1559 and 1565, Count Froben Christoph von Zimmern included a version in his Zimmerische Chronik.[17] This appears to be the earliest account which mentions the plague of rats. Von Zimmern dates the event only as 'several hundred years ago' (vor etlichen hundert jarn [sic]), so that his version throws no light on the conflict of dates (see next paragraph).


The earliest English account is that of Richard Rowland Verstegan (1548 – c. 1636), an antiquary and religious controversialist of partly Dutch descent, in his Restitution of Decayed Intelligence (Antwerp, 1605); he does not give his source. (It is unlikely to have been von Zimmern, since his manuscript chronicle was not discovered until 1776.) Verstegan includes the reference to the rats and the idea that the lost children turned up in Transylvania. The phrase 'Pide [sic] Piper' occurs in his version and seems to have been coined by him. Curiously enough his date is entirely different from that given above: July 22, 1376; this may suggest that two events, a migration in 1284 and a plague of rats in 1376, have become fused together.

The story is given, with a different date, in Robert Burton's The Anatomy of Melancholy of 1621, where it is used as an example of supernatural forces: 'At Hammel in Saxony, ann. 1484, 20 Junii, the devil, in likeness of a pied piper, carried away 130 children that were never after seen.' He does not give his immediate source.

Verstegan's account was copied in Nathaniel Wanley's Wonders of the Little World (1687), which was the immediate source of Robert Browning's well-known poem (see nineteenth century below). Verstegan's account is also repeated in William Ramesey's Wormes (1668)—"... that most remarkable story in Verstegan, of the Pied Piper, that carryed away a hundred and sixty Children from the Town of Hamel in Saxony, on the 22. of July, Anno Dom. 1376. A wonderful permission of GOD to the Rage of the Devil".

Nineteenth-century versions

In 1803, Johann Wolfgang von Goethe wrote a poem based on the story that was later set to music by Hugo Wolf . He incorporated references to the story in his version of Faust. The first part of the Drama was first published in 1808 and the second in 1832.

Jakob Grimm and Wilhelm Grimm, known as the Brothers Grimm, drawing from eleven sources included the tale in their collection "Deutsche Sagen", first published in 1816. According to their account two children were left behind as one was blind and the other lame, so neither could follow the others. The rest became the founders of Siebenbürgen (Transylvania).

Using the Verstegan/Wanley version of the tale and adopting the 1376 date, Robert Browning wrote a poem of that name which was published in his Dramatic Lyrics in 1842.[18] Browning's verse retelling is notable for its humour, wordplay, and jingling rhymes.

Twentieth-century versions and mentions of the story

  • China Miéville's 1998 novel King Rat reimagines the Pied Piper as a flautist adding samples to drum and bass music and is opposed by sentient rats in London.
  • Wild Magic by Cat Weatherill tells the legend with a twist, following the children as the piper brings them to a world of magic where they are transformed into animals
  • Bill Richardson's novel After Hamelin describes the adventures of the remaining child (in this version a deaf girl) who must rescue the others.
  • Jiří Barta's 1986 film The Pied Piper is a stop-motion animated film version of the legend.

Twenty-first century versions and mentions of the story

  • Once Upon A Time Season 3, this series used the character of Peter Pan as the Pied Piper as well, who in the series, lure the children out of their homes to join him in Neverland with a magical flute. See the Once Upon A Time episode guide.
  • Terry Pratchett's Discworld novel, The Amazing Maurice and his Educated Rodents, published in 2001, gives a version of the tale.
  • Pied Piper appeared as a bounty hunter, paid by Rumpelstiltskin to hunt Shrek and princess Fiona in the movie Shrek Forever After.
  • Donna Jo Napoli's young adult book Breath interprets the tale through the eyes of the lame boy left behind.[according to whom?]
  • In the Japanese movie Suicide Club, there is a wave of suicides caused by the subliminal music of a J-Pop group, there is a mention to the Pied Piper at the beginning of the movie.
  • In the NBC series Grimm, the Pied Piper is said to have been a Reinigen, a rat/human creature who can control the behavior of rats by using a musical ability.
  • Pied Piper appeared in Lost Girl as a Fae that feeds on the eyes of humans and Fae causing their eyes to bleed. The Piper would use his power to blind his victims in a musical trance and control their behavior.
  • The ambient/industrial music duo from India Rat King's debut album The Plague of Hamelin is loosely based on the original Pied Piper.[according to whom?]
  • The Pied Piper is Peter Piper's (who picked the pickled pepper) older brother Max in Bill Willingham's Fables novel Peter & Max
  • In the campaign for the 2013 Italian parliamentary election, Mario Monti likened Silvio Berlusconi to the Pied Piper.[19]
  • In the Japanese light novel series and anime Mondaiji-tachi ga Isekai Kara Kuru Sō Desu yo?, the identity of the Pied Piper and the event which led to the birth of the legend are investigated as part of a game against the Demon Lord Pest, leader of the Grim Grimoire Hamlin community.
  • George Benjamin's opera Into the Little Hill, with text by Martin Crimp, is based upon the Pied Piper of Hamelin.
  • A musical version was released on iTunes in 2012 by the artist JJ's Tunes & Tales.
  • The Episode The Day of the Clown from the Doctor Who's spinoff The Sarah Jane Adventures shows the Pied Piper as an alien on Earth that feasts itself on the others fears (like Sarah Jane's Coulrophobia). He is defeated when Clyde and Rani starts to make jokes on him
  • In Radiohead's Kid A, the eponymous second track has lyrics that refer to the legend of the Pied Piper ("The rats and children follow me out of town").

As metaphor

Merriam Webster definitions
  1. a charismatic person who attracts followers
  2. one that offers strong but delusive enticement
  3. a leader who makes irresponsible promises

[20]

Allusions in linguistics

In linguistics pied-piping is the common, informal name for the ability of question words and relative pronouns to drag other words along with them when brought to the front, as part of the phenomenon called Wh-movement. For example, in "For whom are the pictures?", the word "for" is pied-piped by "whom" away from its declarative position ("The pictures are for me"), and in "The mayor, pictures of whom adorn his office walls" both words "pictures of" are pied-piped in front of the relative pronoun, which normally starts the relative clause.

Some researchers believe that the tale has inspired the common English phrase "pay the piper".[21] Although the phrase is actually a contraction of the English proverb "he who pays the piper calls the tune" which simply means that wealthy people who are prepared to spend their money often exert an undue amount of influence.

Present-day Hamelin and The Pied Piper in modern times

The present-day City of Hamelin continues to maintain on its website information about the Pied Piper legend and possible origins of the story. Interest in the city's connection to the story remains so strong that in 2009, Hamelin held a tourist festival to mark the 725th anniversary of the disappearance of the earlier town's children.[22] The eerie nature of such a celebration was enough to warrant an article in the Fortean Times, a print magazine devoted to odd occurrences, legends, cryptozoology and all things strange which are known now as Forteana[23] The article noted that even to this day, there is prohibition against playing music or dancing upon the Bungelosenstrass, the street where the chilren were purported to have last been seen before they disappeared or left the town. There is even a building, popular with visitors, that is called "the rat catcher's house" although it bears no connection to the Rat-Catcher version of the legend. Indeed, the Rattenfängerhaus is instead, associated with the story due to the earlier inscription upon its facade mentioning the legend. the house was built much later in 1602 and 1603. It is now a Hamelin City-owned restaurant with a pied piper theme throughout.[24] The city also maintains a webshop with rat themed merchandise as well as offering an officially licensed Hameln-Edition of the popular boardgame Monopoply which depicts the lngendary Piper on the cover.[25]

In addition to the recent milestone festival, each year the city marks June 26 as "Rat Catcher's Day". In the United States, a similar holiday for Exterminators based on Rat Catcher's Day has failed to catch on and is marked on July 22. National Geographic discussed both days and the legendary origins of the holiday in 2004 [26]

See also

Children's literature portal

References

Further reading

  • Marco Bergmann: Dunkler Pfeifer – Die bisher ungeschriebene Lebensgeschichte des "Rattenfängers von Hameln", BoD, 2. Auflage 2009, ISBN 978-3-8391-0104-9.
  • Hans Dobbertin: Quellensammlung zur Hamelner Rattenfängersage. Schwartz, Göttingen 1970.
  • Hans Dobbertin: Quellenaussagen zur Rattenfängersage. Niemeyer, Hameln 1996 (erw. Neuaufl.). ISBN 3-8271-9020-7.
  • Stanisław Dubiski: Ile prawdy w tej legendzie? (How much truth is there behind the Pied Piper Legend?). [In:] "Wiedza i Życie", No 6/1999.
  • Radu Florescu: In Search of the Pied Piper. Athena Press 2005. ISBN 1-84401-339-1.
  • Norbert Humburg: Der Rattenfänger von Hameln. Die berühmte Sagengestalt in Geschichte und Literatur, Malerei und Musik, auf der Bühne und im Film. Niemeyer, Hameln 2. Aufl. 1990. ISBN 3-87585-122-6.
  • Peter Stephan Jungk: Der Rattenfänger von Hameln. Recherchen und Gedanken zu einem sagenhaften Mythos. [In:] "Neue Rundschau", No 105 (1994), vol.2, pp. 67–73.
  • Ullrich Junker: Rübezahl – Sage und Wirklichkeit. [In:] „Unser Harz. Zeitschrift für Heimatgeschichte, Brauchtum und Natur“. Goslar, December 2000, pp. 225–228.
  • Wolfgang Mieder: Der Rattenfänger von Hameln. Die Sage in Literatur, Medien und Karikatur. Praesens, Wien 2002. ISBN 3-7069-0175-7.
  • Heinrich Spanuth: Der Rattenfänger von Hameln. Niemeyer Hameln 1951.
  • Izabela Taraszczuk: Die Rattenfängersage: zur Deutung und Rezeption der Geschichte. [In:] Robert Buczek, Carsten Gansel, Paweł Zimniak, eds.: Germanistyka 3. Texte in Kontexten. Zielona Góra: Oficyna Wydawnicza Uniwersytetu Zielonogórskiego 2004, pp. 261–273. ISBN 83-89712-29-6.
  • Jürgen Udolph: Zogen die Hamelner Aussiedler nach Mähren? Die Rattenfängersage aus namenkundlicher Sicht. [In:] Niedersächsisches Jahrbuch für Landesgeschichte 69 (1997), pp. 125–183. ISSN 0078-0561

External links

  • Professor Ashliman of the Grimm's "Children of Hamelin" in full, as well as a number of similar and related legends.
  • Kate Greenaway)
  • The 725th anniversary of the Pied Piper in 2009