51. Gottfried Keller, William Tell (the actor) shoots the apple off his son's head

The community performance of Schiller's William Tell drew a great crowd, and everybody awaited this unforgettable, exciting scene, William Tell's shooting the apple off his son's head.  Tell was played by a serious and sober actor who in real life was an innkeeper.  Several generations of his family had managed the inn before him, and most likely, more generations succeeded him.   Thus, he himself was an icon.   Altdorf is where the original event took place.   Mr. Gessler is the enemy.

This is my final installment of passages from Gottfried Keller's Green Henry, though this is not the finale in the play.      


[Note: Permission to quote from Gottfried Keller's book was granted to me on May 2, 2013 from Alma Books / Alma Classics, London House, 243-253 Lower Mortlake Road, Richmond, Surrey TW9 2LL, United Kingdom.]
    

Excerpt from Chapter 14

Tell

by Gottfried Keller

Then quite unexpectedly, Tell appeared, going on his way alone with his boy.  He was a competent, solid innkeeper, and a marksman, a respected and dependable man of about forty years old, who had been spontaneously and unanimously chosen for Tell.  He had dressed himself just as the people had always imagined the old Swiss to be dressed -- in red and white with a great deal of puffing and braiding, red and white feathers in his little crenellated red and white hat.   In addition, he wore a silk scarf across his breast, and even if all this were anything but appropriate for the simple huntsman, yet the seriousness of the man showed how greatly he was honouring the conception of the hero, as he understood it, by this pomp;  for in this sense, Tell was not merely a plain huntsman, but was also a political protector and a saint, who could not be imagined otherwise than in the colours of his country, in velvet and silk, with waving plumes.   But in his honest simplicity, our Tell had no suspicion of the irony of his splendid attire;  he walked composedly on... with his young son who was decked out like a kind of little god...

At last we arrived at the small market town which for today was our Altdorf.   When we rode through the ancient gateway, we found the little town which consisted simply of one rather large square, quite lively already, full of music and banners, and all the houses decorated with branches of fir.   Mr. Gessler was just riding out to commit a few evil deeds in the surrounding neighbourhood... 

[People] soon streamed in at the gateway;  for... the majority of them did want very much to see the chief events which were so venerated and so full of significance, and above all, Tell's shot.   Already, from the window of the town-hall, we could see the pikemen arriving with their detested pole, setting it up in the middle of the market-place, and proclaiming the decree to the beating of drums.   Now the square was cleared, all the people, in costume and otherwise, were made to stand aside, and the crowds swarmed at all the windows, on the steps, on the wooden balconies, on the roofs.   The two guards were marching up and down near the pole; now came Tell, walking across the market square with his boy, greeted by roaring applause;  he did not hold the conversation with the child but at once engaged in the sinister dispute with the officers, which the people followed in tense excitement...

Now we rode in, to the sound of the trumpets, and found the scene in full swing, Tell in great distress, and the people all agog, and only too much disposed to snatch their hero away from his oppressors.   But when the Governor began his speech, there was quiet.   The speeches were not delivered theatrically and with gesture, but more in the manner of a public reading, sonorously, monotonously, and in rather a singsong tone, because after all, it was poetry;  they were audible to the whole market-place and if someone, being over-awed, failed to make himself understood, the people called out:  "Louder, louder!"  they were greatly delighted to hear the passage once again, and did not allow the repetition to destroy their illusion... But the national humour asserted itself in the very kernel of the play, when it came to Tell's shot. 

At this point, whenever Tell's deed was enacted in the old fashion, it had from time immemorial been the customary joke for the boy to take the apple off his head during the altercation and coolly to begin to eat it, to the huge delight of the people.   This diversion was smuggled into today's performance too, and when Gessler furiously demanded of the boy what he meant by it, the boy returned impudently:  "Sir!  My father is such a good marksman that he would be ashamed to shoot at an apple as big as this one!   Put an apple on my head that is no bigger than your mercy and my father will be all the better able to hit it!"

When Tell shot, he seemed almost to regret that he had not his rifle in his hand but had to content himself with a "stage shot."  He really did tremble involuntarily as he took aim, so keenly did he feel the honour of being allowed to enact this sacred scene.  And when he held the second arrow threateningly under the tyrant's eyes, while all the people looked on in breathless anxiety, then the hand holding the arrow trembled again, his eyes gave Gessler a piercing look, and for a moment his voice raised to such a pitch of passion that Gessler turned pale, and a shiver of terror went through the whole market-place.  Then a glad, deep-voiced murmur arose, they all shook hands and said the innkeeper was a real man, and so long as we had such men as he, we were in no danger.   

[excerpts from pp. 268-272]

50. Gottfried Keller, The Merrymaking begins at dawn on Shrove Tuesday

[Note: Permission to quote from Gottfried Keller's book was granted to me on May 2, 2013 from Alma Books / Alma Classics, London House, 243-253 Lower Mortlake Road, Richmond, Surrey TW9 2LL, United Kingdom.]

Excerpt from Chapter 13

The Carnival Play

by Gottfried Keller

The dawn of the momentous, eagerly-longed-for day came, bringing the loveliest morning;  the sky was bright and cloudless, and this February it was already so warm that the trees were in bud and the meadows were growing green.  At sunrise, just as the white horse was standing beside the sparkling little river being washed, there was the sound of Alpine horns and cow-bells coming down through the village, and a procession of more than a hundred magnificent cows, wearing garlands and bells, came along, accompanied by a great crowd of young men and girls, going up the valley into the villages, giving the impression of a ceremonial escorting of the cattle to their mountain pasturage.   The people had only needed to don their ancient traditional Sunday costume, excluding any novelties that had come into use, and with the addition of some choice ornaments belonging to parents or grandparents, to look perfectly splendid and very picturesque... 

Then they stopped in front of our house and the mill next door, and as they greeted each other, and vociferously called for drinks, there was a sudden joyous confusion of singing, shouting and laughter, and we got up from the abundant breakfast..   Quickly we went into the crowd with the wine jars and number of glasses that had been put ready beforehand, my uncle and his wife coming after with great baskets full of the local confectionery.   This preliminary merrymaking, far from being an indication that everybody would be tired out very early, was the sure herald of a long day of pleasure... My aunt inspected the beautiful cattle and pronounced them to be fine, stroked and softly scratched famous cows that were well known to her, and cracked a thousand jokes with the young people;  my uncle poured out wine incessantly... 

In the middle of the crowd we ran into the people from the mill who had attacked the enemy from the other side, led by the young miller who, in the person of an armour-clad knight, was ponderously clattering around, and allowing his ancient iron garment to be looked at and fingered with respectful veneration.   

At last, however, the procession moved on.. Outside the village, we saw masses of bright, glittering colour on all sides, moving towards us, and [in] a quarter of an hour, we came to a tavern at a cross-roads... In the next village... came a procession with drum and fife, bearing the Hat on the pole, to proclaim the insulting law in the surrounding neighbourhood.   For this was the beauty of it all, that none of the theatrical limitations were kept to, they did not aim at surprise, but went about freely hither and thither, as they might in real life, and met, as if of their own accord, where the action was to take place.  There was something to see and laugh at everywhere, though at the same time, where the serious acting was going on, everybody turned up and was reverently attentive.   

Our procession had already grown considerably, augmented further by the addition of a number of men on horseback, and pedestrians too, all belonging to the knightly retinue.  

[excerpts from pp. 265-267]

49. Gottfried Keller, Narrative describing the choice of costumes and clothing for the play William Tell

If you ever had to design a costume for Halloween, you will enjoy Green Henry's description of how he designed and prepared the "historical" clothing and costumes for himself and Anna, a real teenager who was just younger than Green Henry.  Anna was shy and had to be coaxed into the actress mode.  

As a youngster Green Henry wore green garments ("a suit for Sundays and one for week-days").   That is how he got his name.   His mother made these clothes out of his (deceased) father's uniforms and civilian clothes -- which were all green.   Henry got a reputation for wearing renewed green garments and he states,  "... I made use of my green popularity..." 

In this passage, the character Gessler was the enemy the tyrant.   Green Henry acted the role Rudenz, a less important character (whose role had few speaking parts).   Anna was playing a girl's part and had no lines to recite.  

[Permission to quote from Gottfried Keller's book was granted to me on May 2, 2013 by Alma Books / Alma Classics, London House, 243-253 Lower Mortlake Road, Richmond, Surrey TW9 2LL, United Kingdom.]     

Excerpt from Chapter 13

The Carnival Play

by Gottfried Keller

In my uncle's house I was a veritable factotum, trying hard to make the clothing of the sons as historical as possible, and to restrain the daughters in their desire to dress themselves up in very modern fashion...  All my uncle's children wanted to take part, and they tried too to persuade Anna...  But she absolutely refused to consent... until the schoolmaster, who had for a long time been enthusiastic over this matter of making the old crude buffoonery into something more dignified, definitely desired her to do her share too...  She could easily grace Gessler's knightly train as a silent character.   Gessler's train had formerly been presented, in accordance with the popular sense of humour, as rather shoddy and uncouth-looking, the tyrant in particular being very grotesque and ridiculous; but I had now carried my point that the governor's procession must be most brilliant and lordly, because there was nothing striking in a victory over an abject-looking foe...  The most difficult thing was to make [Anna] ride;  in my uncle's stable there was a white horse, round as a ball and easy-tempered, which had never hurt a hair of anybody's head, and which my uncle used to ride across the country.  In the loft there was a lady's saddle, forgotten relic of the old times;  this was covered afresh with red plush taken from a venerable armchair, and the first time Anna was in the saddle everything went splendidly, especially as the miller, our neighbour and an expert rider, gave her a few lessons, and in the end Anna had a good deal of pleasure from the old horse.   A great curtain of bright green Damask which had once been the hangings of a four-poster bed was cut up and transformed into a riding-habit, and the schoolmaster possessed as an old heirloom a crown made of plaited silver filigree, such as brides used to wear.   Anna's bright golden hair was delicately braided about the temples, but below it was spread out and hung down its full length, and then the crown was set on it;  she wore a broad gold necklace too, and on my advice some rings, put on over her white gloves, and when she tried on this whole costume for the first time, she looked not only like a knight's lady, but like a Queen of the Fairies too, and the whole household was lost in admiration of her loveliness...  Meanwhile I had not been idle; I and my cousins had been dabbling in the saddler's craft, and had covered my uncle's not over-clean bridle reins with some red silk stuff that we had bought cheap... for it would not do for Anna's hands to come into contact with the old leather.  

I had long since made the arrangements for my own costume, choosing one that was green and sportsmanlike, and on account of its extreme simplicity within reach of my moderate means.   Yet it was still tolerably true to period;  a big cinnamon-brown quilt was, without being injured, turned into a cloak with voluminous folds and it covered the deficiencies; on my back I carried a crossbow, and on my head I wore a grey felt hat.   But, since there is a weak side to everybody, I buckled around me the long sword of Toledo [Spain] steel from the attic;  I had admonished all the rest to be historically correct, had myself fetched from the armouries quantities of weapons of the right period, and yet I chose this Spanish spit, and I cannot to this day imagine what my idea was!   

[excerpts from pp. 263-265] 

48. Gottfried Keller, How arms and armour were chosen for the play, William Tell

Gottfried Keller's Green Henry describes a Swiss community pageant that took place sometime in the early 1800's.   The story of William Tell was performed by the whole community, with important speaking roles going to prominent individuals.   The actors and spectators proceeded from town to town enacting the story as they went along.   In order to tell Tell's story in an authentic way, the most important props are ancient arms and armour!   

Reflect for a minute and imagine how many individual pieces were forged over the centuries for the many wars in Europe (and elsewhere).  Thousands of arms and suits of armour have survived and may be viewed in museums all over the world.    Large collections exist of swords and shields, spears, clubs, crossbows, halberds, helmets, guns, and all manner of iron and steel accessories.   Suits of armour may come in whole body or half, and parts of the body can be enclosed by steel and iron (without sacrificing movements of parts).     These items are available at auctions all over the world.   For instance, you might obtain a complete set of armour at auction for $30,000, though it may be a little beat up from use and the passage of time.     

So it was over the centuries that the towns and villages inherited their own collections of arms and armour, and it was to those armouries (in this case, Swiss) that the man Green Henry trudged with his sponsors to borrow hardware to furnish the village actors with props.    

Here is another selection from Green Henry the semi-autobiography of Gottfried Keller.  
[Note:  Permission to quote from Gottfried Keller's book was granted to me on May 2, 2013 from Alma Books / Alma Classics, London House, 243-253 Lower Mortlake Road, Richmond, Surrey TW9 2LL, United Kingdom.] 

Excerpt from Chapter 13,

The Carnival Play

by Gottfried Keller

I proved useful during the preparations and was entrusted with several matters which had to be attended to in the town.  I rummaged through all the shops where there was likely to be mock jewelry and fancy costumes, and tried to recommend whatever was most fit for the purpose...   I even came into contact with the officials of the Republic, and had occasion to prove myself a valiant champion of my district, for I was given the choice and charge of the old weapons which the authorities conceded to us on condition that every care was taken of them.   But as there were several similar festivals taking place just at this time, nearly all the supplies had to be given out, and only the most valuable trophies, those associated with certain definite memories, were left.   Besides this, the delegates of the various communities disputed over the weapons; they all wanted the same thing, although the same thing was not suitable for all; a number of great broadswords, and cudgels with iron spikes, which I had selected for my company, were on the point of being absolutely wrested from me by a rival, in spite of my pointing out to him that for the period from which his people had chosen their scene, he ought to have something altogether different.  In the end I appealed to the man in charge of the weapons who said I was right, and the sturdy innkeeper from the village, who was standing behind me to carry the things away, was triumphant and gave me his friendly approval.   But my rivals now thought I was a dangerous fellow who seized the best before anyone else had a chance, and they dogged my footsteps into all the old armouries, picking out just what I had my eye on, so that it was only by dint of the greatest persistence that I was able to get hold of one more load of iron helmets and halberds for my tyrant's mounted troops.   So I felt very important as I settled with the curators the inventory of the things they were handing over to us, although the innkeeper was the real guarantor, and had to sign it.   

[excerpts from pp. 262-263]

47. Gottfried Keller, Description of a Swiss village production of the play William Tell

Gottfried Keller (1819-1890) was a Swiss author.   His short stories and novels are from the 19th century German-language literature of the "realistic school."   His semi-autobiographical book Green Henry which portrays life around Zurich, Switzerland during the early 1800's, is considered by some critics to be among the greatest Swiss literature.   The first edition of Green Henry was published about 1854-55.  It was translated into English in 1960.
 

Keller, Gottfried, Green Henry, Translator A.M. Holt:   

John Calder, London, England, 

This English translation of 'Der Gruene Heinrich' by Gottfried Keller 

first published in 1960 by 

 John Calder (Publishers) Ltd, 

17 Sackville Street,  London, w.1

Printed in Great Britain by the Ditchling Press, Hassocks, Sussex.

c 1960. 

When I came upon these chapters in Green Henry, I was enthralled.   I hope you too like this account.  In the next posts, I quote some selections from Keller's book.   Keller describes how a "neighborhood" (a collection of small villages) in a region around Zurich, Switzerland, collaborated to present a theatrical production for the celebration of Shrove Tuesday (the day before Ash Wednesday, the beginning of Lent leading up to Easter Sunday).   "Henry" was invited to help organize this performance for his village.   This event (or others like it) occurred around the 1840's. 

Previous to becoming Reformed territory, this former Catholic region celebrated the day with "buffoonery."   After the buffoonery was abandoned, the people wanted to commemorate the end of winter and to celebrate a form of "Carnival" in February, but with more dignity.    They opted for the theme of patriotism, and a retelling of the story of our favorite Swiss hero, William Tell from the play by Schiller.

[Note: Permission to quote from Gottfried Keller's book was granted to me on May 2, 2013 from Alma Books / Alma Classics, London House, 243-253 Lower Mortlake Road, Richmond, Surrey TW9 2LL, United Kingdom.]
      
The following is a passage from the book.  

Excerpt from Chapter 13 

"The Carnival Play"

by Gottfried Keller

Some weeks after the New Year... several places in the neighbourhood were going to join... and make the Shrove-tide celebrations more splendid by holding a grand dramatic pageant.   The Catholic Carnival fun of olden days had been preserved by us in the form of a general Spring festival, and in recent years the previous uncouth buffoonery had gradually given way to patriotic theatrical performances in the open air...  Sometimes a Swiss battle would be enacted, sometimes an episode in the life of a famous hero, and these performances were rehearsed and carried out with more or less seriousness and display according to the measure of the culture and wealth of the district...  My own village... had been invited by a neighbouring small market town to join in a great performance of "William Tell," so my relations invited me back to the village to take part in the preparations, because I was credited with some experience and skill, especially in painting... I did not have to be asked twice, but went out there for a day or two every week, and these regular expeditions in the early part of the year, when the fields and forests were often thick with snow, were the greatest delight to me.   I was able to see the country in winter now, and the country people's winter work and recreation, and how they get ready for the coming of Spring. 

As a foundation for their play, they took Schiller's "Tell" of which there were a great many copies to be had, in a school edition... It is a book that the people are very familiar with, because it admirably expresses their opinions and everything they hold for truth; and of course a mortal will seldom take it amiss if [Tell] is idealized a little, or even a great deal, poetically.

By far the greater part of the mass of actors were to represent the people, in the form of shepherds, peasants, fishermen and hunters, and had to go in a crowd from one stage to another, wherever the action was taking place, carried on by those who considered themselves qualified to play a prominent part.   There were young girls in the crowd too, mostly there in order to take part in the general singing, the individual female parts being played by boys.   The scenes of the real action were allotted variously to the different localities... so that both those who were in costume, and the crowds of spectators, had to progress solemnly from one spot to another.

[excerpts from pp. 261-262]