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Der Stricker: Daniel of the Blossoming Valley
A lesser-known but important Arthurian romance (ca. 1210-25) is here translated complete for the first time into English. The original Middle High German poem - in all likelihood the first German Arthurian romance not based on a French model - relates, in 8,482 lines, the adventures of the hero in his contests against dwarfs and giants. Resler's introduction examines the life and works of the poet, his sources and influences, the question of originality, and points of departure from the "classical" Arthurian romances. Full textual notes, bibliography, and index are provided.
- GenresArthurian
288 pages, Paperback
First published August 1, 2005
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July 29, 2023
Daniel of the Blossoming Valley stands alone as the only known original Germanic Arthurian work not based on French source material. Certain episodes in the story, such as the abduction of King Arthur by the enraged father of two slain giants, resembles a Provençal Arthurian legend called Jauffré, but on the whole the story appears to be the invention of its author, known only as Der Stricker. Like all medieval poets, Der Stricker claims his story was derived from a prior source in order to lend it credibility. In this case, French poet Alberich de Besançon is the reported source. Since scholars haven’t found any evidence of this being true, or of any precursor for this story, it is agreed that Der Stricker came up with it largely on his own, excepting a few scenes or ideas here and there borrowed from other myths of the day.
This is the only complete English translation of Daniel of the Blossoming Valley, and the presentation is superb. Throughout the book are illustrations taken directly from the 1340 manuscript, created well over a hundred years after the story was first written. This is close enough to be considered of the same period, so the artwork bears authenticity and might as well have been from its original publication.
Daniel becomes a vassal of Arthur, and very little back story is provided. The general plot is that King Matur, a distant king, has demanded that Arthur give his loyalty and lands to him and surrender to him as vassal. He has sent his giant as messenger, commanded to bring Arthur back to swear his service. Arthur and his knights don’t take well to this, and decide to stall the giant for a while as they work on a plan. In this time, Daniel sets out to prove his valor and strength. Most of the story follows him on his own path, and as he comes back into the fold with Arthur and his knights at various points.
The only thing that might indicate this romance was not based on a French model is that it deviates in some ways from certain Arthurian traditions — Arthur is not portrayed as the usual “retired” king who stays at his castle, but is instead an active part of the story, engaging in battles and jousts; and in one the least important differences but one that was presumed to explain this story’s lack of popularity in the Middle Ages is its lack of explicit courtly love, an admittedly small part of any Arthurian romance, but certainly present in most of the French stories.
After marching to Cluse with his army, Arthur slays Matur through single combat, calling down hell upon him and his men from the seven armies of the land. Daniel seeks heroism against the giants but must obtain a weapon first to allow him to do so. In his questing, he avenges the maiden of the Dark Mountain against a dwarf named Juran, who he then beheads for the lady. He takes the dwarf’s sword which can cut through anything. With this he slays the giant brothers.
In his other questing he rescues the maiden of the Bright Fountain from a creature who uses a head much like Medusa’s, but that kills its adversaries on the spot. Daniel uses mirrors to defeat him and throws the head into the nearby waters, so that it will never be used again. This maiden’s husband, the Count of the Bright Fountain, vows to go into Daniel’s service, but is later lost within the walls to the kingdom of Cluse after following a mysterious knight. Daniel vows to find him and rescue him.
Daniel of the Blossoming Valley still abides by many of the Arthurian traditions, the heroic and chivalric spirit, the grand adventure, the presentation of fantastical evil and danger and of triumph over perils. Both Arthur and Daniel exhibit a refined sense of moral clarity following the resolution of violent events that result in tragedy for others, showing their capacity for compassion even after enduring harrowing battle. It is a great story, deserving to be better known. It is easily as good as Hartmann von Aue’s adaptations, and considering its originality, may be more praiseworthy. Ulrich von Zatzikhoven’s Lanzelet also deviated appreciably from its French sources to the point it was an almost entirely unique and new thing, and Wolfram von Eschenbach’s Parzival had such an epic and all encompassing scope that it brought forth many scenes and people and events not in the French original. Der Stricker’s work belongs with any of the German greats.
Daniel’s quests are weaved throughout the events happening with Arthur and his army, as they are beset by the armies of Cluse, a new army each day. They fight many huge battles, giving room for each of the heroes Gawain, Iwein, Parzival, and Daniel to perform acts of valor and power.
There is another episode of heroism by Daniel, and like the others seems to borrow ideas from myths and legends. The ogre of the Green Meadow comes to a town and slays the men and fills a vat with their blood and bathes in it once a week to alleviate an illness. His words make those who hear them lose their senses and do his bidding, unquestioningly. He has people killed for his purposes, so he can later use their blood.
He controls the lord of the land, commanding him to go around vanquishing men and bringing back their blood for the bath. This lord has a magical net erected to catch wanderers, given to him long ago by a mermaid queen of the ocean. It cannot be seen or cut through. Daniel is trapped in it. He learns of the ogre situation, and for his freedom offers the daughter of this lord his service in slaying the cruel creature. Upon entering the town he also finds his comrade, the Count of the Bright Fountain, who has been stuck here, in a mental fog, unable to recognize Daniel when they reunite. Through cunning, Daniel is able to slay the beast and free the people from the hypnotic spell, and learn of many more travesties that have befallen them. As repayment for rescuing the few who remain in the town, they swear him allegiance, and those who are still alive march with him back to Arthur, to help with the endless battle.
It’s a really good romance of new and never repeated Arthurian lore. Much of what is in Daniel can be found only here. All the well known figures of Arthurian legends, except for Arthur, have only minor roles, with Daniel as the stand out champion who performs all the greatest glories and feats. Arthur, in his more active and prominent role, is shown to be the glorious, generous, great king that most other Arthurian stories only hint at. Here his traits for which he is renown are shown in full. There may be no other Arthurian story that is so abruptly new and original, featuring such a marked difference from established Arthurian norms, except maybe the High Book of the Grail.
This is the only complete English translation of Daniel of the Blossoming Valley, and the presentation is superb. Throughout the book are illustrations taken directly from the 1340 manuscript, created well over a hundred years after the story was first written. This is close enough to be considered of the same period, so the artwork bears authenticity and might as well have been from its original publication.
Daniel becomes a vassal of Arthur, and very little back story is provided. The general plot is that King Matur, a distant king, has demanded that Arthur give his loyalty and lands to him and surrender to him as vassal. He has sent his giant as messenger, commanded to bring Arthur back to swear his service. Arthur and his knights don’t take well to this, and decide to stall the giant for a while as they work on a plan. In this time, Daniel sets out to prove his valor and strength. Most of the story follows him on his own path, and as he comes back into the fold with Arthur and his knights at various points.
The only thing that might indicate this romance was not based on a French model is that it deviates in some ways from certain Arthurian traditions — Arthur is not portrayed as the usual “retired” king who stays at his castle, but is instead an active part of the story, engaging in battles and jousts; and in one the least important differences but one that was presumed to explain this story’s lack of popularity in the Middle Ages is its lack of explicit courtly love, an admittedly small part of any Arthurian romance, but certainly present in most of the French stories.
After marching to Cluse with his army, Arthur slays Matur through single combat, calling down hell upon him and his men from the seven armies of the land. Daniel seeks heroism against the giants but must obtain a weapon first to allow him to do so. In his questing, he avenges the maiden of the Dark Mountain against a dwarf named Juran, who he then beheads for the lady. He takes the dwarf’s sword which can cut through anything. With this he slays the giant brothers.
In his other questing he rescues the maiden of the Bright Fountain from a creature who uses a head much like Medusa’s, but that kills its adversaries on the spot. Daniel uses mirrors to defeat him and throws the head into the nearby waters, so that it will never be used again. This maiden’s husband, the Count of the Bright Fountain, vows to go into Daniel’s service, but is later lost within the walls to the kingdom of Cluse after following a mysterious knight. Daniel vows to find him and rescue him.
Daniel of the Blossoming Valley still abides by many of the Arthurian traditions, the heroic and chivalric spirit, the grand adventure, the presentation of fantastical evil and danger and of triumph over perils. Both Arthur and Daniel exhibit a refined sense of moral clarity following the resolution of violent events that result in tragedy for others, showing their capacity for compassion even after enduring harrowing battle. It is a great story, deserving to be better known. It is easily as good as Hartmann von Aue’s adaptations, and considering its originality, may be more praiseworthy. Ulrich von Zatzikhoven’s Lanzelet also deviated appreciably from its French sources to the point it was an almost entirely unique and new thing, and Wolfram von Eschenbach’s Parzival had such an epic and all encompassing scope that it brought forth many scenes and people and events not in the French original. Der Stricker’s work belongs with any of the German greats.
Daniel’s quests are weaved throughout the events happening with Arthur and his army, as they are beset by the armies of Cluse, a new army each day. They fight many huge battles, giving room for each of the heroes Gawain, Iwein, Parzival, and Daniel to perform acts of valor and power.
There is another episode of heroism by Daniel, and like the others seems to borrow ideas from myths and legends. The ogre of the Green Meadow comes to a town and slays the men and fills a vat with their blood and bathes in it once a week to alleviate an illness. His words make those who hear them lose their senses and do his bidding, unquestioningly. He has people killed for his purposes, so he can later use their blood.
He controls the lord of the land, commanding him to go around vanquishing men and bringing back their blood for the bath. This lord has a magical net erected to catch wanderers, given to him long ago by a mermaid queen of the ocean. It cannot be seen or cut through. Daniel is trapped in it. He learns of the ogre situation, and for his freedom offers the daughter of this lord his service in slaying the cruel creature. Upon entering the town he also finds his comrade, the Count of the Bright Fountain, who has been stuck here, in a mental fog, unable to recognize Daniel when they reunite. Through cunning, Daniel is able to slay the beast and free the people from the hypnotic spell, and learn of many more travesties that have befallen them. As repayment for rescuing the few who remain in the town, they swear him allegiance, and those who are still alive march with him back to Arthur, to help with the endless battle.
It’s a really good romance of new and never repeated Arthurian lore. Much of what is in Daniel can be found only here. All the well known figures of Arthurian legends, except for Arthur, have only minor roles, with Daniel as the stand out champion who performs all the greatest glories and feats. Arthur, in his more active and prominent role, is shown to be the glorious, generous, great king that most other Arthurian stories only hint at. Here his traits for which he is renown are shown in full. There may be no other Arthurian story that is so abruptly new and original, featuring such a marked difference from established Arthurian norms, except maybe the High Book of the Grail.
Displaying 1 of 1 review