Intertextuality: Der Stricker, Hermann Bote (?)’s Till Eulenspiegel , and Modern (Children’s) Literature

Abstract

This paper examines the concept of intertextuality in light of the interrelationship of Der Stricker’s early-thirteenth-century Middle High German Pfaffe Amîs and Hermann Bote’s Early Modern German Till Eulenspiegel , first printed in 1510/1511. Medieval perspectives prove to be highly effective for the exploration of the theoretical model of intertextuality because in the pre-modern world, innovation or poetic genius was of no real value. Bote utilized a handful of tales already fully developed by Der Stricker, but he adapted them for his own purpose, transforming his sources to some extent and incorporating them into his own framework. Whereas Amîs operates only like a rogue to collect money for his parish back home in England where he keeps an open house out of a great desire to demonstrate the most possible degree of hospitality, Eulenspiegel is the rogue per se. Intertextually, there was a direct line from the medieval work to the early modern collection, but the careful comparison also indicates significant transformations and adaptations of the original source. Since the publication of Till Eulenspiegel , a new literary tradition emerged which has been alive and very creative until the present in countless manifestations in translations, adaptations, children’s books, novels, musical compositions, artwork, movies, and so forth. By means of intertextuality, we can deepen our understanding of the dependency of Bote’s work on his medieval source, and then trace the history of reception of Till Eulenspiegel until today.