DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.74283#0052
34 ORIGIN OF THE SCHEMBARTLAUF
in the introductory poem,46 and we may assume that it is not his-
torical, but rather an invention, in keeping with the traditions of
the guilds but sanctioned by the attitude of the Council. A perusal
of the Ratsverldsse leads to the conclusion that permission had to
be obtained by the burghers for even the slightest activity. Cer-
tainly public processions and all performances of a theatrical
nature required official approval.47 There would be less danger of
refusal where the function had in its pedigree a royal privilege.
In Germany, popular festivals were apt to be graced by a pseudo-
historical legend, 48 dating from some momentous event such as a
war or a feud or a plague; and the butchers in every community
have always claimed a signal honor to their craft as the motive for
their festivals.49 It is doubtful whether proof can be found for
the truth of these "historical" beginnings; the origin of the butch-
ers' dance in Nuremberg is more likely hidden deep in the
shrouded past of folk traditions.
Our MS shows us the Metzgertanz in a double-folio miniature
(f. I, cf. Fig. 3) following the introductory verses.50 The dancers
are represented against a gray background, and each holds to a
brown leather ring51 as they are led through the simple steps
of the Reigen, the popular round-dance of the medieval period,
"An absurd explanation of the privilege is suggested in MS No. 21 (1600),
f. 145V, cf. Hampe (Theaterwesen), p. 12: "Hetten wol mit besseren freiheiten
konnen begabt werden, so sie es begehret, aber damit ihnen nicht zugemessen wurde,
als hetten sie aus anderer leut schaden ihren nutz gesucht, haben sie villeicht ein
solch schimpflich ding begehrt."
47 Cf. Hampe (Theaterwesen) for many instances, e.g., p. 16, n. 4, 6; p. 44,
Nos. 5, 7. This control by the authorities was, of course, not limited to Nuremberg;
cf., for example, L. Petit de Julleville, Les Comediens en France an moyen age
(Paris: L. Cerf, 1885), p. 248, for a privilege granted to Les Connards to hold a
procession in 1541; cited below as "Petit de Julleville (Les Comediens)."
48 For a summary of festivals and their privileges, cf. K. Reuschel, Deutsche Volks-
kunde, "Aus Natur und Geisteswelt," Nr. 645 (Leipzig, 1923), pp. 62-3; further
F. M. Bohme, Geschichte des Tanzes in Deutschland (Leipzig: Breitkopf & Hartel,
1886) pp. 62, 66, 67; cited below as "Bohme."
49 Cf. W. Krebs, Alte Handwerksbrduche, 'Schriften der Schweizerischen Gesell-
schaft fur Volkskunde," XXIII, 1933, pp. 196, 257, 271, 280; cited below as
"Krebs."
50 A similar miniature is contained in the following MSS: Nos. 8, 10, 14, 24, 28,
29, 36, 37, 38, 42, 44, 47, 48, 50, 52, 54, 58, 60, 64.
51 Some commentators have followed Will, p. 9, in comparing these rings to
liver sausages; cf. Bbhme, p. 67, Drescher, p. xi.
in the introductory poem,46 and we may assume that it is not his-
torical, but rather an invention, in keeping with the traditions of
the guilds but sanctioned by the attitude of the Council. A perusal
of the Ratsverldsse leads to the conclusion that permission had to
be obtained by the burghers for even the slightest activity. Cer-
tainly public processions and all performances of a theatrical
nature required official approval.47 There would be less danger of
refusal where the function had in its pedigree a royal privilege.
In Germany, popular festivals were apt to be graced by a pseudo-
historical legend, 48 dating from some momentous event such as a
war or a feud or a plague; and the butchers in every community
have always claimed a signal honor to their craft as the motive for
their festivals.49 It is doubtful whether proof can be found for
the truth of these "historical" beginnings; the origin of the butch-
ers' dance in Nuremberg is more likely hidden deep in the
shrouded past of folk traditions.
Our MS shows us the Metzgertanz in a double-folio miniature
(f. I, cf. Fig. 3) following the introductory verses.50 The dancers
are represented against a gray background, and each holds to a
brown leather ring51 as they are led through the simple steps
of the Reigen, the popular round-dance of the medieval period,
"An absurd explanation of the privilege is suggested in MS No. 21 (1600),
f. 145V, cf. Hampe (Theaterwesen), p. 12: "Hetten wol mit besseren freiheiten
konnen begabt werden, so sie es begehret, aber damit ihnen nicht zugemessen wurde,
als hetten sie aus anderer leut schaden ihren nutz gesucht, haben sie villeicht ein
solch schimpflich ding begehrt."
47 Cf. Hampe (Theaterwesen) for many instances, e.g., p. 16, n. 4, 6; p. 44,
Nos. 5, 7. This control by the authorities was, of course, not limited to Nuremberg;
cf., for example, L. Petit de Julleville, Les Comediens en France an moyen age
(Paris: L. Cerf, 1885), p. 248, for a privilege granted to Les Connards to hold a
procession in 1541; cited below as "Petit de Julleville (Les Comediens)."
48 For a summary of festivals and their privileges, cf. K. Reuschel, Deutsche Volks-
kunde, "Aus Natur und Geisteswelt," Nr. 645 (Leipzig, 1923), pp. 62-3; further
F. M. Bohme, Geschichte des Tanzes in Deutschland (Leipzig: Breitkopf & Hartel,
1886) pp. 62, 66, 67; cited below as "Bohme."
49 Cf. W. Krebs, Alte Handwerksbrduche, 'Schriften der Schweizerischen Gesell-
schaft fur Volkskunde," XXIII, 1933, pp. 196, 257, 271, 280; cited below as
"Krebs."
50 A similar miniature is contained in the following MSS: Nos. 8, 10, 14, 24, 28,
29, 36, 37, 38, 42, 44, 47, 48, 50, 52, 54, 58, 60, 64.
51 Some commentators have followed Will, p. 9, in comparing these rings to
liver sausages; cf. Bbhme, p. 67, Drescher, p. xi.