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The article analyses the polemics used in the Fastnachtspiel (Shrovetide Play) Der Juden Messias – in scholarship also known as Spil vom Herzog von Burgund − by the meistersinger Hans Folz (1435/40-1513), a barber-surgeon from Nuremberg. The play belongs to a group of Shrovetide plays within Folz’s oeuvre which, under a religious cover, negotiates the given sociological divide in the city of Nuremberg between the Christian and the Jewish communities at the end of the fifteenth century. In its first part, the play systematically stabilizes the Christian side and destabilizes the other, i.e. the Jewish side by directing polemical attacks through the devices of self-accusation and self-flagellation by the Jewish characters. The effect is that the actions of the Christian side are legitimized and any moral hurdles towards condemning the Jewish characters are removed by ultimately equating them with feces and swine. The second part contains a rather ambiguous message since on the one hand the ruler expressis verbis gives his permission to the mob, represented by the jester characters, to rob, rape and oust the Jewish characters. This consenting, on the other hand, prompts a uniting of the mob characters with the ruler. In other words, any moral authority of the ruler – who clearly is a metaphor for the later emperor Maximilian I – is put on a par with the mob and is therefore denied. Whether or not this latter message was appreciated by the city council of Nuremberg at the time remains an open question since there is, to date, no archival proof of the play’s staging nor of its rejection.

Polemics investigated in a late fifteenth-century Fastnachtspiel (Shrovetide play)