Reading the Pied Piper of Hamelin
John and Paul’s Day was celebrated throughout Europe on June 26 but was originally a pagan festival commemorating the summer solstice. On this day it was custom for huge throngs of people to gather and dance around a bonfire, play music, sing, and augur the future. According to Petrarch, it was the custom of women in Cologne to bathe in the Rhine River on the evening before St. John’s Day. The surging waters supposedly washed away all evil and misfortune from the bathers. The custom was apparently practiced throughout Germany in its largest rivers and was considered to be distinctly pagan. Processions and parades, dancing and singing, bathing in the river and jumping through or dancing around bonfires were all part of the revelry. Frowning on the unbridled passion of townspeople engaged in such activities, the early Christian Church appropriated the day. It linked the custom of river bathing to John the Baptist and symbolical purification through water. These summer celebrations coincided with the sun reaching its highest point in the sky and usually lasted several days. The dates given in the Pied Piper of Hamelin are the exact days this celebration would have been held and the saga accurately incorporates elements of this folk tradition.
In the Pied Piper of Hamelin we find the elements of playing music and processing down to a river (and immersing oneself in the water) to eradicate pestilence. The figure charged with the expulsion of rats and mice is distinctly pagan. He uses magic and music to take control of the rats first and children second. He is a wandering rogue of a most peculiar sort. His clothing and visage are described in some detail. His coat of many colors is reminiscent of that other famous wanderer in Germanic mythology, Woton (as called by Southern Germanic tribes) or Odin (as called by Northern Germanic tribes). Woton traditionally wears a blue cloak with golden flecks and broad hat. The Germanic God Woton underwent many transformations at the hands of Christian priests, who attempted to Christianize the deity. Wotan alternately became the Archangel Michael, the Holy St. Martin, the Wild Huntsman and finally the devil. In his role as Wild Huntsman, Wotan was said to lead a fearsome procession that raced through the air and lasted 12 days. Other pagan figures lead similar parades or processions including Frau Holla and True Eckhart, and Tannhäuser and Frau Venus. These duos always have the same destination: the inside of a mountain. In many folk tales and saga, entering a mountain as part of a procession is actually a metaphor
for dying (see Gratzug). In fact there were many mountains throughout Europe that were considered sacred to Woton (Othensberg, Odensberg, Godesberg, Gudenesberg and Wodenesberg to name a few).
There are sagas and legends from the Middle Ages which reflect the dismay and even anger of the deposed deities toward the rising power and prestige of Christian intruders. Tannhäuser and Frau Venus are perhaps the most well-known examples. But is it possible to interpret the tantalizing character of the Pied Piper and the disappearance of 130 children within the context of an enraged (and perhaps, dislodged) deity?
This extraordinary tale reads like an historical narrative with eye-witness accounts to bolster its veracity. I am inclined to view the story as a cautionary tale to a population wavering between the older pagan belief and the newer Christian belief systems. Participating in pagan revelry, with its gods, music, dancing and wildness, can have dire consequences. The old deities are no longer mourning their loss of status, but ready to take revenge. At the end of the tale, a ban on music is imposed and presumably the pagan revelry and festivities that accompanied it. But the surface message of the tale is also quite clear. The mendacity of town leaders contradicts the Gospel message that “a laborer is worthy of his hire.”
The mountain where the children disappeared has been renamed Calvary, or the Place of the Skull (Köppen = obsolete German word for head or skull). As Europe became Christianized, it was common to rename pagan sites to give them Christian significance. Calvary or site of the Crucifixion would be a fitting name for a place of great tragedy. After reading this tale it is easy to imagine that the story is based on a folk memory of a tragic event involving the loss of children.
Ancient Bone and Ivory Flutes
The Pied Piper is playing one of the oldest known musical instruments: the flute or pipe. Archaeologists have found numerous flutes fashioned from bone or ivory throughout Germany and Switzerland. At the Cloister in Müstair, Switzerland, archaeologists found two bone flutes which they have dated to the Carolingian period and two from the 11th/12th and 14th centuries. They are made from the tibia bone of a sheep or goat and have three finger holes. These Müstair flutes are capable of producing a five-tone or eight-tone scale respectively.
A flute that is believed to be between 30,000 – 37,000 years old was found in pieces in the Geissenkloesterle Cave in Southern Germany. It was made in the Upper Paleolithic Era, a time when Europe was occupied by the last Neanderthals and the first modern humans. This flute was carved from solid ivory and was capable of playing relatively sophisticated tunes. Based on experiments, it seems the flute followed the pentatonic scale.
The sound of these flutes was shaped by human breath. After singing, playing the flute was the most immediate form of communication. Because of its special sound and shape, the flute was also used in religious and cultic ceremonies. The music of the flute or pipe was said to have magical and healing properties. The shepherd played the pipe to calm his flock and keep them together. And in the saga, the Pied Piper uses the magical tones of the flute to exercise control over both animals and humans. The ancient Greeks mistrusted flute music as being overly powerful and seductive and according to Indian tradition, when Lord Krishna played his flute, listeners forgot their individuality and were drawn irresistibly to the music.