htxjzr Jf^^^'^^j^'^ c^ujuf/juoAji xjtr~ .. XIX nted from JULY, 1920 No. 3 THE JOURNAL Q^ NGLISH AND GERMA PHILOLOGY FOUNDED BY GUSTAF E. KARSTEN AR 2 1937 OGlGALB^ Managing Editor JULIUS GOEBEL, University of Illinois Associate Editors H. S. V. JONES AND G. T. FLOM University of Illinois Co-operating Editors HERMANN COLLITZ, Johns Hopkins University GEORGE O. CURME, Northwestern University WILLIAM W. LAWRENCE, Columbia University CLARK S. NORTHUP, Cornell University Subscription Price I3.00 a Volume; Single Numbers |i.oo JSHED QUARTERLY by THE UNIVERSITY OF ILUNOIS URBANA, ILLINOIS, U. S. A. p '*0 DU ARMER JUDAS" The German translation of the concluding strophe of a Latin Easter hymn, "Laus tibi, Christe, qui pateris": O tu miser Juda, quid fecisti, quod tu nostrum dominum tradidisti? ideo in inferno cruciaberis, Lucifero cum socius sociaberis.^ runs as follows; O du armer Judas, Was hast du getan, Dass du deinen herren Also verraten hast Darumb so mustu leiden Hellische pein, Lucifers geselle Mustu ewig sein. Kyrieeleison.^ This German translation and parodies of it enjoyed a very remarkable popularity as satirical songs for several centuries, and the air is not yet forgotten in some parts of Austria.* It is particularly noteworthy as being "one of the few instances in which folk-song has borrowed a tune from the Church."* - P. Wackernagel {Das deutsche Kirchenlied, I [Leipzig, 1864], 210, No. .i47) gives the Latin text and its variants. W. Baumker {Das katholische deutsche Kirchenlied in seinen Singweisen, I [Freiburg i. B., 1886], 462-463) adds nothing of importance on the Latin text. ^ The text and music are conveniently accessible in Rochus, Freiherr von Liliencron, Deutsches Leben im Volkslied urn 1530 {Deutsche National- Litter atur, ed. J. Kiirschner, XIII, Stuttgart, n.d.), pp. 227-228, No. 75 and elsewhere as cited below. The minor variations in the text are fully given by Wackernagel, op. ciL, II (Leipzig, 1867), 468-469, Nos. 616-618. ^ The best study of the Judaslied is by R. Hildebrand in Materialien zur Geschichte des deutschen Volksliedes, I: Das alter e Volkslied, Zeitschrift fiir den deuischen Unterricht, Erganzungsheft 5 to vol. XIV, Leipzig, 1900, pp. 63 ff (I have not identified his citation "Monn., II, 281 ff.") See also Creizenach, "Judas Iscariot in Sage und Legende des Mittelalters," Beiirdge zur Geschichte der deutschen Sprache, II (1876), 185-186 and Solovev, K legendam oh ludyc predatelye, Kharkov, 1898, pp. 116-117. Solovev cites Nordmeyer, "Pontius Pilatus in der Sage," Beilage zur Allgemeinen Zeitung, Miinchen, 22 April, 1895, 111, No. 92; but that article mentions Judas only in passing and is of no service here. '' F. M. Bohme. Altdculsches Liederbuch. Leipzig, 1877. p. 646. 1 — ^ f "0 Du Armer Judas*' The date of the origin of this song is very uncertain. There seems to be no record of the malody much before 1400; and the earliest documentary evidence of its satirical employment is nearly a hundred years later. But, even though such songs may become popular very quickly, still the circumstances of its first recorded use seem to imply that it was known some time before the end of the 15th century. In fact there are passages which occur three or four hundred years earlier which may possibly contain allusions to the song. Miillenhoff suggests that the **armer Judas" of the song is referred to in the "Friedberger Christ und Antichrist," a fragmentary Old High German poem of the eleventh or twelfth century which narrates the life of Jesus und describes Antichrist and the Day of Judgment,' In describing the Last Supper the author says: bit demo brach er daz br6t demo armen Jude er iz b6t. The use of the descriptive adjective "arm," miser, of Judas, and especially at the moment of his betrayal of his Master, is so unexpected that one is perhaps justified in thinking of the song. The editors of the Denkmdler, however, cite other and later instances® in which the same or a similar phrase appears, and it is therefore possible that the adjective is merely conventional, as in "der arme Sunder," and that its use here does not imply familiarity with the Judaslied. ^ Miillenhoff and Scherer, Denkmaler deutscher Poesie und Prosa aus dem V III. -XII. Jahrhundert (3rd ed. by E. Steinmeyer, Berlin, 1892), I, 102, No. XXXIII, C lla; see the notes, II, 197-201, especiaUy p. 198. •The following parallels are given: "den armen Judas er gebilidot" (Ruland, 70, 11); "der arme Judas" ("Urstende," K. A. Hahn, Deutsche Gedichte der 12. und 13. Jakrhunderte, 104, 69) ; "der ermiste man, von dem ich ie vemam, daz was Judas Scariotis" ("Leben Jesu," Hoffmann von Fallersleben, Fund- gruhefiy I, 153, 1. 31). Compare ;ilso Cntriu, Nit dabi was. do der arme Jiadas den wS,ren gotes sun verriet benamen umb ein kleine miet in Seifrid Helbling (ed. J. Seemiiller, Halle, 1886, p. 244 IVII, 174]). For other curious uses of the word "arm" see Helbling, p. 271 (VII, 1013); p. 270 (VII, 980); WigamuTy v. 277; Muspili, v. 66 (cf.Mullenhoff and Scherer,^ II, 34); Otfrid, 1, 17, 51. Hildebrand (Materialien, p. 62, n. 3) remarks that the phrases "armer Teufel," "armer Schacher" are "certainly derived from the medieval stage." Taylor There is an interesting passage in Wolfram von Eschenbach's Parzival,'' in which Bartsch thought he found a reminiscence of the Judas song: Unt der anne JAclas, Der bl eime kusse was An der triuwenlosen vart, Da lesus verraten wart. But Martin^ considers the adjective a fixed epithet, which was perhaps suggested by a passage in Brandan • Ich bin ez der arme Judas der ie ungetriuwe was. . }^ Solovev, moreover, finds an allusion to the Judaslied in the following lines from the Klage of Hartmann von Aue: Und daz diu arme sele min Ewechlichen miieze sin In der tiefen helle Jiidases geselle, Dk niemen froude haben mac, Unz an den jungesten tac' Bech*s note on this passage, however, makes it evident that the wish expressed here is a part of the medieval oath which employed the name of Judas and other notorious Biblical sinners for their terrifying effect.^^ In the generation just preceding the Reformation we meet the first demonstrable allusion to the Judas song, and find that it was then utilized as a song of mockery. Emperor Maximilian caused the Judaslied, ''carmen illud maledictionis,"" to be »Ed. Lachmann, 219, 25 (Book IV, vv. 1212-1216); ed. Bartsch,* I {Deutsche Klassiker des Mittdalters, IX, Leipzig, 1875), p. 230; ed. E. Martin, I {Germanistische Handbibliothsk, IX, 1, Hille a. S., 1903), p. 76. * Vol. II (1903), Kommentar, p. 204, cf. Berichtigungen und Nachtrage, p. xcvii. "» Ed. Schroder, vv. 965-966. Martin's reference to v. 1351 is apparently- incorrect. I see no reason for thinking that Wolfram was acquainted with these lines; the phrase "der arme Judas" as a commonplace. " Vv. 1430 ff. (Deutsche Klassiker des Mittelalters, V, Hartmann von Aue, III, 3rd ed., Leipzig, 1891, p. 96). *" On this oath see H. Martin, "The Judas Iscariot Curse," American Jour- nal of Philology, XXXVII (1916), 434-451 and my additions in a forthcoming niunber of the same journal. "Liliencron {Die historischen VolksUeder der Deutschen, II [Leipzig, 1866], 184) quotes the phrase from Oefele, Script., I, 224; cf. also Hildebrand, p. 63. "O Du Armer Judas'' played when, on the 26th of May, 1490, he floated down the Danube past the defiant inhabitants of Regensburg. The city had renounced its allegiance to the Holy Roman Empire in 1486 and had tumed to Bavaria, and, on the occasion of the Emperor's visit to that part of the Empire four years later, the rebellious citizens refused him admission. Naturally so effective a weapon of satire was not neglected in the bitter strife which accompanied the Reformation, and in the two generations between 1520 and 1580 the Judas song was parodied repeatedly .^^ Perhaps its first employment for satiri- cal purposes is that in the **Defensio Christianorum de Cruce, id est, Lutheranorum" of 1520, an attack on Murner, the cleverest and foulest of Luther's opponents. He had to endure this far from witty adaptation of the song: Ach du armer MURNarr, Was hastu getan, das du also bllnt in der heilgen schrift bist gan? des mustu in der kutten liden pin, aller gelerten MURR NARR mustu sin. Ohe ho lieber Murnar.'^ And during the feuds which devastated Germany fot the next generation, indeed for more than a century and a half, the Judaslied is heard again and again. In 1525 when the peasants withdrew from the Marienberg just outside of Wiirzburg, the watchman blew the tune to express his scorn of the retreating enemy: Da war ein groszes frohlocken und schreien im ganzen schlosz Marienberg; der thiimer auf dem mittleren thurn blies den bauern das gemein liedlein: hat dich der schimpf gereuen, so zeug du wider heim.** So ward der fordere " I do not find it mentioned in Kopp, "Die niederdeutschen Lieder des 16. Jahrhunderts," Jahrbuch des Vereinsfur niederdeutscke Sprachforschung^ XXVI (1900), 1 ff., 32 ff.; nor in A. Hartmann, Historische Lieder und Zeitgedichte vom 16. his 19. Jahrhundert (ed. H. Abele). "Hoffmann von Fallersleben, Geschichte des deutschen Kirchenliedes/ Hannover, 1861, p. 232. The "Defensio" was written by Matthaus Gnidius, see J. M. Lappenberg, Dr. Thomas Murners Ulenspiegel, Leipzig, 1854, p. 417. " A song which is frequently referred to in the chronicles of this period, but which has not been preserved; see Hildebrand's interesting discussion, pp. 59ff. Taylor thurner herab auf die schut gefiihrt und blies den Wirzburgern den armen Judas: Judas, armer Judas, ach was hastu getan.'= The ballad of Fritz Beck, master of ordnance for the besieged, reports this event with mention of the Judas song: Der thurner blies den Judas, ach was hast du gethan ! es waren selzam laudes, es lacht nicht iederman. er blies: hats dich gerewet, so ziehe wider heim.^® Further south, in Switzerland, the Catholics played the song of Judas, the traitor, on the organ of the cathedral in Bern to show their scorn for the iconoclasts who had taken possession of the building. Hottinger^^ reports the incident as follows: Auch die Musik beym Gottesdienste ward abgeschafft. Am Abende des letzten Vincenzius-Festes [7 Feb., 1528] spiel te der Organist die Tonweise des Liedes: "Ach armer Judas was hast du gethan?" und verliess dann mit Weh- muth die schone Orgel, welche nun sogleich zerschlagen ward. The followers of Luther satirized the Swabians in "Ain anders lied sagt von den schwaben, wy sie von gotts wort abgefallen sindt, im thon *o du armer Judas,' " which is too long to reprint here.^^ The first of the eight stanzas runs: O ir armen Schwaben, was hand ir geton, " Hildebrand (p. 59) cites Gropp, Samml. wiirzb. Geschichtsschr., I, 130. 1 cannot find the passage in question in Collectio Novissima Scriptorum et Rerum Wirceburgensium ... P. Ignatii Gropp, Frankfurt, 1741. See also Anzeiger fiir Kunde der deutschen Vorzeit, II (1854), 271. ^^ O. L. B. Wolff, Sammlung historischer Volkslieder und Gedichte der Deutschen, 1830, p. 258; Liliencron, Die historischen Volkslieder, III (1867), 480, No. 381. ^^ Geschichte der Eidgenossen wahrend der Zeiten der Kirchentrennung, Zweyte Ahtheilung, Zurich, 1829, pp. 117-118. See also E. E. Koch, Geschichte des Kirchenliedes und Kirchengesanges der christUchen, insbesondere der deutschen evangelischen Kirche, Stuttgart, 1867, II, 5; H. Alt, Der christliche Cultus, I (Berlin, 1851), 144; Niklaus Manuel, ed. J. Baechtold (Bibliothek dlterer Schrift- werke der deutschen Schweiz und ihres Grenzgebietes, II, Frauenfeld, 1878), p. xxxv; Bockel, Psychologic der Volksdichtung, Leipzig, 1906, p. 331, n. 4. The story is poetically told in Carl von Winterfeld, Der evangelische Kirchengesang, I (Leipzig, 1843), 114-115. ^* Bartsch, Beitrdge zur Quellenkunde der altdeutschen Literatur, Strassburg, 1886, pp. 308-310, No. 3; K. Steiff, Geschichtliche Lieder und Spruche Wurttem- hergs, 1899 ff., p. 336, No. 69. 5 "0 Du Armer Judas^* das wir unsern Christum so schandtlich hand verlon! darum so must ir liden dSpanier in euwerm land, des kaisers aigen bliben: ist euch ain grosse schand. Perhaps the best stanza is the prophecy of the fate of the city of Ulm: UUm, Ulm, ich thun dir sagen, es wirt dir ubell gan; denen mocht ir hertz schlagen, die by dir musen stan und hertzlich schmertzen liden, die grosse schmach und schand an iren kindt und wiben im gantzen Schwaben land. The author discreetly conceals his identity: Der uns dis lied gesungen hatt, von nuwem hatt gemacht, der hatt der Spanier boshait von hertzen recht betracht, die sy iezund tiben zu Ulm in der statt; darum well gott behliten ein lobliche eidgenossenschaft. The presence of the Spanish in Swabia vexes this anonymous writer, but it so delights Jorg Lang of Simelbrunnen, an oppo- nent of the Reformation, that he shouts "Kyrie, die Spanier seind im land!'* — a stirring refrain to "Von den Reichstetten Ein newes Lied Im Thon *Ach du armer Judas' " of 1546, which begins: We euch, ir armer reichstett, wie gross vermessenheit dass ir euch widern frommen kaiser, die hocViste oberkait, on ursach dorften setzen auss besonderm neid und hass! furwar, ir solten wollen, ir hettens betrachtet bass, Kyrie, die Spanier seind im land !^" '* Cf. B6hme, p. 646; Liliencron, Die historischen Volkslieder, IV (Leipzig, 1869), 369-372, No. 539; Hildebrand and Soltau, Deutsche Historische Volks- lieder, Zweites Hundert, Leipzig, 1856, pp. 221-229, No. 30; Hildebrand, p. 64, n. 2; Hoffmann von Fallersleben, p. 232. I Taylor The poet then in a leisurely manner goes about his task of caUing the imperial cities to account. These cities, he says, have fallen away from the true faith because of their pride and par- ticularly because of their acceptance of the Lutheran heresies; Wann ir aber thut fragen, was euch dahin hab bracht: furwar ich will euch sagen, ir habt euch zu hoch geacht und ewerer predicanten new falsch erdachte let; wann ir sie alle hankten, die thetens nimmer mer. Kyrie, die Spanier seind im land I Next having reviewed the failure of the Peasants* War, in which the imperial cities participated, he admonishes them not to be angered at the judgment of God to be seen in its outcome: Furwar ir solt nit zumen, dann es kain wunder ist; wann gott der herr thut bschirmen, so hilf t kain gwalt noch list. The sins of the imperial cities, which are of course the sins of Luther's adherents, are numerous: nine stanzas are required to summarize them. The cities have refused obedience to their lord, the Emperor, have expelled priests, monk», and nuns, have sacked the churches and monasteries, have desecrated the holy images, mocked the mass, falsified Holy Writ, disregarded the times for fasting and have eaten meat on Friday, have scorned Charles V, their lawful ruler, and have rebelled against him. All this makes a very telling indictment of sins for which God's vengeance will not be long delayed: ob es sich schon lang hat verzogen; gott ist kain Bair nit, er hat noch niemand betrogen und kumbt zu rechter frist. K)nrie, die Spanier seind im land?" The concluding strophes in which he turns more to the personali- ties are distinctly weaker, and more than once degenerate into the vilest abuse. *• Stanza 13, vv. 5-9. Hildebrand and Soltau {loc. cit.) conjecture that the author of the satire was, in spite of these lines, a Bavarian. 'V Du Armer Judas'' Another employment of the Judas song is preserved in the manuscript of the unpublished chronicle of Thuringia and Erfurt by Konrad StoUe. The portion of the chronicle which can be certainly ascribed to Stolle closes with the year 1493 and up to that date the manuscript is in his autograph. There follow in various hands miscellaneous songs concerning events which took place in and after 1526, and among these songs occurs '*Ein O Armer Judas von den newen Christen": O jr \-iel armen christen was hand jr getan, das jr euch Priapisten, hant so verfueren Ian, darumb muest jr noch leiden vil hellische pein, sanct Peters schiffla meiden fait jn das mher hinein kyrieleison. Nit neyd die hohen schulen, w-uthet nit mit schalle sie land nit also wulen. vde es euch gefal. wissen kein grund noch glauben, bey potencia, seint jr die selen brauben \Tither f alschem schein kyrieleyson. jr reudigen scheflSe, wer hat euch verblendt, das ir funvitzig effle, nit ewem hirten kendt, den wolffen thut nach lauffen, gand willig zu dem tod, got vs-irt euch schwerlich straffen, jr thuts an alle noth, kirieleyson.21 Nor did Luther himself fail to seize this weapon and turn it against his enemy, Duke Henry of Brunswick, saying, '*Wenn 21 Hesse, "Aus Konrad Stolles Erfurter Chronik," Zeitschrift fiir deutsches Alterthum, VIII (1851), 339-340 (Blatt 314 of the Chronik). Stolle remarks in another place that he was sixteen years old in 1446; it is therefore probable that the entries referring to the religious controversies and among them this song are by another. 8 Taylor ich dis Liedlin ein mal vol mache, wil ich dem zu Meintz seine leisen auch finden." The ''Liedlin" is as follows: AH du arger Heintze, was hastu getan. Das du N-iel Fromer menschen durchs fewr hast morden Ian. Des \^-irstu in der Helle leiden grosse pern, Lucibers geselle mustu ewig sein, K>Tieleison. AH verlom Papisten, Was habt jr gethan, dass jr die rechten Christen, nicht kimdtet leben Ian, des habt die grosse schande, die e-wig beliben sol, sie gehet durch alle Lande vnd solt ihr werden tol, K>Tieleison.^ Haltaus reports that at the instance of Duke Henry the Senate of Brunswick inquired in 1545 whether the gatekeepers of Wolfenbiittel had blown the tune "0 du armer Judas" at the departure of the Senate's messengers, but he does not say whether a satisfactory answer was given.^' Clearly the tune awakened far from pleasant recollections in the Duke's mind. A mediocre song of 1548 aimed against Moritz of Saxony begins with the two foregoing stanzas of Luther's and con- tinues : Moritz, du rechter Judas, was hastu gethan! du bringst zu uns die Spanier, die schenden fraw und man; du bringst her die Maraner in unser vaterland, darzu Italianer, ist dir ein ewig schand ! For a dozen and more strophes the satirist recites in a rather bitter tone the sins of !Moritz and his associates. His wrath is perhaps expressed most forcefully in the last of the twenty- four stanzas: Sie sollen miteinander, die gotteslesterer all, « Wider Hans Worst (1541), ed. J. K. F. Knaake, HaUe, 1880, p. 73 {Neu- drucke deuischcr Liikratum'erke des 16. Ufid 17. Jahrhunderts, No. 28). Cf. Hildebrand, p. 64; Liliencron, Die kistorischen Volkslieder, IV, 175, No. 476; Hassebrauk, '"Die geschichtliche Volksdichtung Braunschweigs," Zeitschrift des Harzvereins, XXXIV (1910), 44. I have not seen Rambach, Luth^rs Ver- diensi, pp. 113-114. ^ C. G. Haltaus, Glossarium Gernmnicum Medii Aevi, Leipzig, 1758, s.v. Judasgruss; he quotes from the Acta Heinrici lulii Ducis Brunsu. contra Ciuita- tem Brunsu., I, 466. Cf. Creizenach, Beitrdge, H, 186, n. 4. "0 Du Armer Judas'' mit bapst und sein vasallen hinfahren ins teufels stall; daselbst sie sollen haben das ewige herzenleid. Herr gott, erschein mit gnaden deiner armen christenheit.^^ In 1552 afler the raising of the siege of Frankfurt the fol- lowers of Margrave Albrecht very savagely attacked Moritz for his treachery in a song to the tune of the Judaslied: O du armer Mauritz, was hastu gethan, das du den edlen kunig so schendlich hast verlan ! darumb mustu leiden ewig spott und schand, man wirt dich zuletz vertreiben von leuten und von land, kistel seckel feger. The remaining stanzas, three in number, heap up abusive and filthy epithets, displaying bitterness of feeling but no skill in expression. The second stanza will give an idea of the others: Wie oft bistu worden zu einem schelmen gross, getreten in Judas orden, verrathen viel ohn mass! kein trau noch ehr betrachtet, wider alle natur verretherei du machtest bist ie ein grosser laur, kisten seckel feger.^ When, a little later, Jacob Herbrot, burgomaster of Augsburg, took sides with Moritz of Saxony against the Emperor, the city was soon occupied by Spanish troops. The citizens relieved their feelings by singing : O du arger Herbrot, was hast dich angemast, dass du die stat Augspurg so grob verraten hast! darumb must du leiden und must billich sein diirrer bruder geselle an dem galgen sein. 2^ Liliencron, Die historischen Volkslieder, IV, 464-466, No. 572. 25 Ibid., IV, 568-569, No. 607. The last line, a parody of the Kyrie eleison, is also found in an Anabaptist mocking song based on the Judaslied, cf. Wacker- nagel, III, 392-393, No. 466. 10 Taylor Each of the five stanzas begins in similar fashion: *'0 du loser Herbrot/' "0 du schneder Herbrot," and so on.'^^ And the last one takes up the concluding * 'Lucifer s geselle mustu ewig sein" so that in structure these satirical verses conform more nearly to their model than is the case with the other parodies. A generation after this Gebhard Truchsess of Cologne was satirized to the tune of "O du armer Judas" (1587)." The song was not forgotten by Roman Catholic partisans in the Thirty Years' War, but they seem to have employed it only against the "Winter King/' Friedrich V. von der Pfalz, the unfortunate ruler of Bohemia; but Protestants, so far as the evidence now goes, made no use of it.^^ In 1620 a parody, which loses its force because of its length, thus threatened the Bohe- mians: O Ihr arme Boheim, was habt jhr gethon, das jhr ewern frommen Konig nit handt regieren lohn? Darumb miissent jhr euch leyden im gantzen Teutschn Landt, dess Kaysers gunst vermeiden, ist es nit ein schandt? Kyrie, thuns nimmer mehr. 2» They have been false to their coronation oath and the emperor will not forgive their perjury: Bey der Cronung handt jhr geschworen einen falschen Aydt, sehent, das jhr nit werden verlohren darzu in ewigkeit, welches ist geschehen in manchem schonen Land, darff ich sicher jehen, ist es nit ein schandt? Kyrie, thuns nimmer mehr. . . . ^ Liliencron, IV, 575-576, No. 609. Cf. his Deutsches Leben im Volkslied urn 1530, p. LIV. ^"^ Bohme, Altdeutsches Liederbuch, p. 647 (title only cited). -8 K. Bruchmann, Die auf den ersten Aufenthalt des Winterkonigs in Breslau beziiglichen Flugschriften, Programm, Breslau, 1905, No. 215, contains nothing relevant here. 29 R. Wolkan, Deutsche Lieder auf den Winterkonig (Bibliothek deutscher Schriftsteller aus Bdhmen, VIII), Prague, 1898, pp. 82-86, No. 15, 2, cf. pp. 345-346, No. 68. Hildebrand (p. 64, n. 3) cites Heyse, Biicherschatz der deulschen National-Litteratur des 16. und 17. Jahrhunderts, No. 1338. 11 "0 Dii Armer Judas^' Mein Gnadiger Herr, der Kayser, hat jhm gar recht gethan, das er sich in andere Landtschafft hat f iihren lohn. Da ist er euch gesessen mit Kraut und Loth, \Tid wird ewer nit vergessen, vnnd solt es sein ewer Todt. Kyrie, thuns nimmer mehr. They deserve, the author continues, just such mockery as this song: Last euch nit verdriessen dieses Liedlin schlecht, man solt euch tretten mit f iissen, so gescheh euch eben recht. The bitterest scorn is heaped upon them : Nach disem Leben, jhr arme Bohmerleuth, Vngarer vnnd Mehrer vnd alles Dorngesteyd, was in den Hecken gewachsen ist im Landt, stellt man zu den Bocken am Jiingsten tag zur schandt. Kyrie, thuns nimmer mehr. All of them who revolt against their lawful lord, the Holy Roman Emperor, should, he concludes, be hanged like Absalom: Zur Schandt vnd Spot allem disem Gesindt, die wider den Romischen Kayser also vnriiwig seindt, denen wirdts ergohn, wie dem Absolon, an Baum ist er bUben hangen, mit Spiessen durchstechen lohn. Kyrie, thuns nimmer mehr. Another song to the tune of "O du armer Judas" appeared when the fall of the Winter King became certain: "Ein schon new Gesang Von Konig Fritzen" (1621).^<' The first stanza runs: 30Wolkan, pp. 117-123, No. 23; cf. p. 343, No. 60A; p. 363, No. 116; p. 384, No. 169E. This is presumably the song "O du armer Fritz," cited by Bohme, Altdeutsches Liederhuch, p. 647. See also K. Heyse, Bilcherschatz, No. 1341 and Emil Weller, Lieder des Dreissigjdhrigen Krieges,"^ Basel, 1858, p. xxiii. 12 % Taylor O du armer Konig Fritz, Was hast du gethan, Das du vnserem Keyser Seyn Cron hast nit gelahn? Darumb must du meiden Dein Chur vnd Bohmerland, Pfuy dich der grossen Schande, 1st aller Welt bekant. Kyrie eleyson. King Friedrich is addressed very directly at first : Ey lieber Fritz, mein Heber Gsell, Lass fajiren dise Cron, Bereit ist dir woU in der HoU Fiir dich zu deinem lohn. Dan wer sich selbst erhochen thut, Gott strafift in darauff glich, Fait tieffer in die helle Glut Vnnd kompt von Gottes Rych. Kyrie eleyson. The king's youth affords an opportunity for a home-thrust: O lieber Fritz, du junges Blut, Dir besser wer zu handt Ein gute eingeweichte Rut, Als dise grosse schandt. His fall from high office is certain: Kein Chur Fiirst wirst du nit mehr sein. Das sag ich dir f iirwahr, Fileicht must huten noch den schwein Auf dises kiinfiftig jahr. Vertriben wirst auss Bohmerland. Sich was hast du gethan. An's Zepters statt in deiner handt Den narren kolben han. Kyrie eleyson. After this the author turns more to generalities: the Winter King's plans have gone awry because he was not called to office by the divine will. He would have been much better off as Elec- tor than he is now in a position where the Catholics are watching him from every side. The soldiers of the Catholic 'Tiga" are well paid and in good spirits. The king has stolen from the 13 "0 Du Armer Judas^' priests and they are now in arms. In short, the Winter King must soon pay the piper: Die Zech must jnen zahlen bar, Botz Fritz, du armer tropff, Beschichts nit hiir, vfifs ander jahr Fileicht mit deinem Kopff. Ich raht dier, fliich in Engelland In gute Sicherheit, Dein Pfaltz ist jetzt in ander hand, Mit trewen seis dir gseidt. Kyrie eleyson. Here, if not earlier, the author might well have stopped, but he goes on for seven more stanzas. Friedrich has already suffered one defeat and he may look forward to the fate of Absalom: Sein vatter fromb wolt Absalon Vom Reich verstossen gar, Empfangen hat seinen lohn, Erhenckt sich an seim har. Das ebenbild dich treffen mag, Glaub Liechtenbergers Saag, Bestattet wirst in Esels graab, VoUenden deine tag. Repentance will not save the Winter King from mockery and the consequences of his deeds. The author ends: Die sach wil ich jetzt bleiben lahn, Wo man nit folgen wil, Man sicht wol, wo es auss wil gahn Vnnd geben f lir ein Spil. Wer stercker ist, hat oberhandt, Ohn Gottes gnad ist nicht, Bewahre Catholischen Standt, Derselb behalt den stich. Kyrie eleyson. This song is particularly interesting because it also occurs in a somewhat shorter form — sixteen stanzas instead of eighteen — with considerable verbal differences, called "Lamentatio iiber den Konig in Bohmen, von den Papisten gemacht."^^ For 2^ Opel and Cohn, Der dreissigjahrige Krieg, eine Sammlung von historischen Gedichten und Prosadarstellungen, Halle, 1862, pp. 61-64; reprinted in Ditfurth, Die historisch-politischen Volkslieder des dreissigjahrigen Kriegs (ed. K. Bartsch), Heidelberg, 1882, p. 18. 14 Taylor comparison I print two corresponding stanzas'* in parallel columns: Die Pfafifen hast in haraisch bracht, Die Pfaffen hastu in Harnisch bracht, nit bald bringst sy mehr drauss, Nicht raehr bringst du sie 'raus, Bis dass sy dir den garaus gmacht Bis sie dir ban den Garaus gemacht Vnd lachen dich nur auss, Und konunst in nobis Haus.^ Den spot must sampt den schaden ban Den armen Judas musst du singen^ Mit deiner falscher Lehr, Gar bald, mein lieber Friez, Du hast es dir nur selbst gethan, Vielleicht gar iiber die Klinge springen, Ein ander maJil kommt mehr. Dich wird brennen die Hiefc. To be sure the comparison of these two stanzas alone will not give an entirely fair idea of the degree of similarity existing between the two versions. Perhaps two-thirds of the stanzas agree as closely as the two foregoing, but the remaining third in "Ein schon new Gesang" have no correspondences in the "Lamentatio." Opel and Cohn, like all editors, think their version the more original, and possibly they are right. At any rate the characteristic idioms of the ''Lamentatio'' in the preceding passage appear as commonplaces in the parallel text, and this fact might be adduced in favor of their opinion.'^ The concluding stanza of the ''Lamentatio" — which may be compared with that of the "Gesang" above — shows more than one humorous touch: Ich will der Sachen nicht thun zu viel, Wills itzund bleiben Ian, Weil man kann sehen aus dem Brill, Was der Friez hat gethan. Ware Bier in Fass widerum, 32 On the left the tenth strophe of "Ein schon new Gesang" and on the right the eleventh of the *'Lamentatio." '3 "In nobis Haus kommen" means 'to die,* see Liebrecht, Germania, VII (1862), 500; and XVI (1871), 213; Laistner, ihid., XXVI (1881), 65 ff.; Grimm, Deutsche Mythologie* II, 837; J. Frey, Gartengesellschaft (ed. Bolte), Tubingen 1896, pp. 231-232; Zeits. d. Vers./. Volkskunde, IV (1894), 189; J. W. Muller, Album-Kern, pp. 257-262 (cited in Jahresberichte . . . germ. PhiloL, XXV [1903], 194, §12, No. 55); and a long series of notes in Alemannia, II (1875), 259-261; III (1875), 282; VII (1879), 94; IX (1881), 88; XIV (1886), 40 and in Am Urguell, I, 163 ff.; II, 34 S., 112, 219, 260 ff. The phrase is of considerable interest to the mythologist. ^ On "den armen Judas singen" see note below. ^Wolkan holds two contradictory opinions about the relation of the "Gesang" to the "Lamentatio" ; compare p. vii with p. 343 and see Diemar in Literaturhlaitf. germ, und rom. Philol., XXI(1900), 163. 15 "0 Du Armer Judas^^ So stiinde die Sax:he ga^ uol; Zu geschehen Dingen in der Summ Das Beste man reden soil. The JudasUed is still sung by the Germans of western Bohe- mia^* in the following form: Ach falscher Judas, was hast du getan? Du hast ja unsern Heirrn Gott verraten, jetztmusstduleideninderHollePein! Luci, Luciferi, es muss ge- schehen sein! Kyrieeleyson, Christeeleyson, AUeluja. Wea[r] keina Oia [Eier] haut, Geld nehma a! The last sentence, a request for the singer's pay, is of course not a part of the song; it refers to a custom which is practised in many places in Bohemia on Easter Monday: boys go from house to house singing and collecting eggs or other gifts which they later share among themselves.^^ The Judas song is, as will appear later in the discussion of its tune, intimately con- nected with Easter festivities. This instance of its being sung about Easter time by crowds of boys — presumably accompanied with more or less disorder — renders it probable that certain passages (collected by Creizenach) describing customs in olden times also refer to the JudasUed. On the Saturday before Easter, says Haltaus in a glossary of the German language written in 1758, the children of Leipzig used to go about with drums, bells, and rattles, singing a song in which Judas was mocked — presumably the Judas song: Sonnabends vor Ostern, so bald es nur anfieng zu tagen, liefen die Kinder, lungen und Magdlein, mit Paucken, Schellen und Klappern durch die Stadt herumb, auch in die Kloster und Kirchen, und sungen mit grossem Geschrey ein teutsches lied, welches dem verraeter luda zuschand und unehren, von der geistlichkeit war gemacht worden.^^ And a chronicler of Zwickau, a town of Saxony on the border of Bohemia, who is also quoted by Haltaus, gives a similar descrip- ^ At "Kolosup bei Tuschkau, Mieser Bezirk"; see A. John, Sitte, Branch und Volksglauhe im deutschen Westhohmen {Beitrdge zur deulsch-hohmischen Volkskunde, VI), Prague, 1905, p. 64. "John, p. 67. See C. Peabody, "Certain Quests and Doles," Putnam Anniversary Volume, 1909, pp. 344-367 on this custom in general and the references in Sartori, Sitte und Brauch, III, 4. 3® S.v. Judasgruss. He is quoting "Vogelius in Chron. Lips. MS." 16 Taylor tion'^ of the "Pumpervesper" which was held there on Holy Thursday: Da iederman mit Stecken, Kniitteln, Priigeln, Steinen, Hammern, Beilen — in der Kirchen auf die Stiile und Banke, und wo es nur einen starken Wiederhall gab, schlug. Darbey muste sich der arme Judas viel leiden; iederman redete alles iibel von ihm und wolten ihn also zum Teufel in die Holle jagen. This shows certain reminiscences of phrases in "O du armer Judas." Jorg Wickram, an Alsatian of the sixteenth century, also refers unmistakably to the Judaslied in a collection of anec- dotes entitled Rollwagenhilchlein (first ed., 1555). During Holy Week, he says, we tend to become pious, but when Easter passes, then the piety vanishes: Dann so jagen wir den Judas uber den zaun vnd gan alle Elirchweyhen an; so muss sich Zacheus leiden gleich wie Judas in der fins tern metten; mit dem und iiber den schreigt, singt und boldert man; wenig aber wirt dass leiden Chris ti bedacht."" It is worth noting that in Bohemia something like the Ger- man Judaslied was sung in Holy Week, as the congregation left the church: Jidisi co's ucinil Oh Judas! What have you done? ze's pana Krista Zidum zradil? You have betrayed Christ to the Jews? Musis za to u pecle buti, For this you shall live in Hell S certem d'ablem prebyvati. With the Devil as dues. There is another Bohemian song about Judas which resembles the German song even more closely: O Jidasi neverny! O Judas, unfaithful one! CO jsi ucinil, What have you done ze's sv^ho mistra That you your Master zidum prozradil? Thus have betrayed? musl§ za to For this you must glapat bldto, Tramp in the mud CO nejvlce As much as you can, do cepice. In depth to your cap. My Jida§e honfme, We are chasing Judas klekani zvonime; With kneeling and ringing of bells. kyrie eleyson.^^ 39 Cf. Grimm, Deutsches Worterbuch, VII, 1993 (Polterpassion), 2231 (Pumpermette, etc.), and VIII, 1488 (Rumpelmette) , etc. *° Ed. H. Kurz, Leipzig, 1865, p. 88. "In der finstern metten" alludes to the mass read on Good Friday; the melody of the Judaslied in one early manu- script bears the superscription "Zu dem 'Laus tibi Christe' in der vmster met- ten." *' Both songs are carelessly printed by Solovev (pp. 116-117) from K. J. Erben, Prostondrodni ceske pisnS a rikadla, Prague, 1864, 1, 60. 17 "O Du Armer Judas'' The melody of the Judaslied has a history of its own.*^ It is composed in the Mixolydian Mode, the seventh of the eccle- siastical modes, transposed a fourth higher. It is simple, direct and rather impressive. > C. J j J ±±^ S ? __ — . « — J ■ , J , ^ i^'j J J J :^=5=f J J ■'J-^ ^tttlifia: f^ i:i iiii i ±±3=J J J i^*' -^ :^ tri ^ -»V— *^ ill,— J ''"l''^"^ ^ 31^ ^ 53 ^ This first appears, with minor differences, about the end of the fourteenth century (in a manuscript which can be dated between 1392 and 1400) under the title "Zu dem *Laus tibi Christe,' in der vinster metten."^ A Tegernsee manuscript of the next generation, which contains the melody, also refers <2 F. M. Bohme, Altdeutsches Liederbuch, Leipzig, 1877, pp. 644 ff., No. 539; Liliencron, Die historischen Volkslieder, IV, Appendix, "Die Tone," pp. 2^25; Hoffmann von Fallersleben, pp. 230-232. Wilhelm Tappert {Wandernde Melodien,^ Leipzig, 1890, pp. 80-81) adds nothing of importance. Bohme (p. LXVII), Liliencron {Deutsches Leben im Volkslied urn 1530, pp. 227-228, No. 75), and Erk-Bohme (Deutscher Liederhort, III [Leipzig, 1894], 670, No. 1963) give transpositions into modern musical notation. There is another modern setting in a higher key in Friedrich Arnold, Das deutsche Volks- lied, Prenzlau, 1912, II, 207, No. 139, cf. Anhang, p. 40; Arnold also has it composed in four part harmony. « The melody in modern form is given in Erk-Bohme, III, 671, No. 1964, from whence the above is taken. 18 Taylor to the employment of the tune in the services of the Church on Good Friday. The German text of the song runs : Eya der grossen liebe, die dich gebunden hat, gar hertiglich eim diebe, warer mensch und warer got. du hast her gegeben mit deinem blute rot uns das ewig leben, dank sey dir miher got.** The last strophe of this hymn is the Judaslied. During the sixteenth century the tune was used for a hymn beginning: Wir dancken dir, lieber herre, der bitern marter dein . . , ** And of this again "O du armer Judas" is the last strophe. This combination of the Judas song with a hymn is, as Bohme (p. 646) points out, paralleled in several other instances, e.g., "O du armer Judas" is the last strophe of "Lob wollen wir singen."** He repeats Hoffmann von Fallersleben's conjecture that the "Laus tibi Christe" came originally from an Easter play in which the congregation sang the song in the vernacular; and the last strophe, '*0 tu miser Juda," is, he says, assigned to the congregation in printed texts of Easter plays from the sixteenth century. This fact alone would account satisfac- torily for the people's familiarity with the melody. Easter plays which mention the Judas song are, however, rare. The stage directions in a Frankfort passion play*^ seem to confirm his surmise; at the moment when Judas kisses Christ the choir (persone) sings "O Juda quid dereliquisti." It should be remarked that the words as well as the melody can be traced back several centuries behind this; consequently it is unneces- ** P. Wackernagel, Das deutsche Kirchenlied, II (Leipzig, 1867), 467-468, No. 615 (from a manuscript of the first half of the fifteenth century, cf . Wacker- nagel, I, 365). « Bohme, p. 645, No. 539; Wackernagel, II, 470-471, No. 623; ibid., HI, 392-393, No. 466; E.E. Koch, Geschichte des Kirchenliedes, I (Stuttgart, 1866), 209. « Wajckernagel, II, 472, No. 627. Cf. Heinrich Alt, Der chrisUiche Cultus, II (Berlin, 1860), 494. *' Froning, Das Drama des Mittelalters, II, 355 {Deutsche National-Litteratur, XIV, 2). W. Tappert {Wandernde Melodien,^ Leipzig, 1890, p. 80) says the song was sung in the Easter play when Judas leaves the stage to hang himself; but he does not cite any text in which this is done. 19 "O Du Armer Judas'^ sary to insist on the importance of any Easter play in the dissemination of the Judas song. The first appearance of *'0 du armer Judas" in print was, I think, in Filnf und sechzig teutsche Lieder, which is supposed to have been published in Strassburg between 1520 and 1525.'*^ During the century of the Reformation the melody is found again and again in hymns: "Unser grosse Siinde" (1544), 'Tob und Dank wir sagen" (1555).^^ But "Ein neuer armer Judas, dass iiber uns zu klagen ist, im alten Thone" (1527), an ecclesiastical parody of the Judaslied, seems not to have gained much popularity. Erk and Bohme give the first stanza: Ach wir armen menschen, was hab wir gethan Christum unsern Herrn gar oft verkauffet han! Miisst wir in der Helle leiden grosse Pein, wollte er selbst nicht Heifer und Mittler sein.^° Hermann Bonnus (d. 1548), a chronicler of Lubeck, adapted a Catholic hymn to this Protestant tune: ''Och wy armen sun- ders" (1543). And before long this was translated from Low German into High German as ''O wir armen Sunder," which may still be found in Evangelical hymn-books, both English and German. ^1 Thus one can say that this song about Judas has come down to the present day, for its melody may yet be heard; but the remark is only partly true. Certainly the impetus to the « A. F. W. Fischer, Kirchenlieder-Lexikon, II, 220. *' Bohme (p. 646) lists some ten in all; see also Liliencron, Deutsches Leben im VolksUed um 1530, p. lii. Compare the list of adaptations and parodies given in W. Baumker, Das katholische deutsche Kirchenlied in seinen Singweisen, I (Freiburg i. Br., 1886), 462-463, which adds some titles, e.g., "Der arge pyschof Annas" ; "Pylatus hat gros vnreght." ^° Deutscher Liederhort, 111, 671. ^^ See for an elaborate account of the history of this hymn : A. F. W. Fischer, Kirchenlieder-Lexikon, Gotha, 1886, II, 219-220; cf. also Wackernagel, III, 735-736, Nos. 849, 850; Bohme, p. 646; and (for English translations) J. Julian, A Dictionary of Hynmology, rev. ed., London, 1907, p. 163. I have not seen H. Spiegel, Hermann Bonnus,^ Gottingen, 1892 nor J. Zahn, DieMelodien der deutschen evangelischen Kirchenlieder (cited Jahresberichte . . . germ. PhiloL, XV [1893], 234, §15, No. 76) nor Joseph Kehrein, Kirchenlieder, 1883, p. 153. Wendebourg (Liederleben der evangelischen Kirche, Hannover, 1852, p. 114, No. 45 and pp. 643-644) says that it is not assigned to Bonnus in the early hymnals and he therefore queries the ascription which is otherwise generaUy accepted. 20 Taylor composition of ''Och wy armen sunders" and its early popularity, evinced by its translation into High German, are due to the song. But the hymn has outlived its progenitor. Political songs to the same air no longer awaken the passions of men or their laughter and have now only an antiquarian inter- est. The verbosity of these satires, the narrowness of their outlook on the situation, and the vindictive, offensively personal feeling embodied in them destroy their effectiveness for us. Indeed the satires of the Reformation seem to have been almost, if not entirely, forgotten a hundred years later. The Protes- tants apparently did not think of the Judas song at all, although they had once been the first to employ it, and the Catholics used it only in one episode of the Thirty Years' War against one individual, the Winter King. Thus within a century the song had lost greatly in popularity and since then it has dropped entirely from view. But the root from which the satirical song and the Protestant (and Catholic) hymns sprang is alive in Bohemia where the song is still to be heard, as it was six cen- turies ago, at Eastertime. Archer Taylor Washington University NOTE: ^'DEN ARMEN JUDAS SINGEN" During the period of the greatest popularity of the Judas song as a model for satires the phrase "den armen Judas singen" was occasionally used. One instance has already been pointed out above in the "Lamentatio uber den Konig in Bohmen." It means there as elsewhere ''to sing rather small. "^^ The phrase is employed in the Hegebacher Chronik in describing the attack of Georg Truchsess on the peasants during the Peasants' Warj the chronicler says: "gleich an der gueten mitwochen [Osterwoche] wardent in "der arme Judas.' " With " See J. and W. Grimm, Deutsches Wbrterbucit, IV, ii, 2351, s. v. Judas. Long ago this meaning was remarked by Scherzius {Glossarium Medii Aevi, col. 745) when he defined Jttdasgruss as follows: "acclamatio infamis rhythmica Judae, in ludis scenicis olim decantata ... sic cantilena similis a populo infamatis occini solita. dicebatur der arme Judas ab exordio. hunc & einem den armen Judas nachblasen." Scherzius cites as authority Haltaus, Glossarium Germanicum Medii Aevi, Lips., 1758. 21 Note: "Den Armen Judas Singen*' a similar connotation the phrase appears twice in the Faustbuch of 1587: Es ist hie zu sehen des Gottlosen Fausti Hertz und Opinion, da der Teuffel jhm, wie man sagt, den armen Judas sang, wie er in der Hell seyn muste.'^ and: Als nu der Geist Fausto den armen Judas genugsam gesungen, ist er wiederum verschwunden, und den Faustum allein gantz Melancholisch und verwirrt gelassen." In view of these instances there is no reason for believing (with Hildebrand, p. 65) that the phrase implied that Judas himself sang the song in a play — the possibility that the Judas song came originally from an Easter play is another matter, which has already been discussed. It will be observed that the phrase **den armen Judas singen" was used only durmg the epoch when the Judas song was current and that it died with the disap- pearance of the satirical songs. ^ Ed. W. Braune, Halle, 1878, p. 17, ch. iii at end {Neudrucke deutscher Idtteraturwerke des 16. und 17. Jakrhunderts, Nos. 7-8b); ed. Scheible, Das Klos- ter, II, Stuttgart and Leipzig, 1846, p. 947. " Ed. Braune, p. 113,ch.lxvatend;ed. Scheible, p. 1061. 22