1. Department of History, University of Dhaka, Dhaka, Bangladesh; mamunursd2015@gmail.com

*             Correspondence: mamunursd2015@gmail.com

Keywords: Tyll, Daniel Kehlmann, destructive, war, plague, famine, death

1. INTRODUCTION

The sword is used to punish some nations, while others are punished with famine, and still others are punished with the plague that kills people. “But poor Germany has been sorely whipped with all these three iron whips at the same time […] for more than twenty years space,” Edmund Calamy is quoted as saying by John Matusiak in his book Europe in flames: The Crisis of the Thirty Years War (2018, page 11). Matusiak’s book was published in 2018. It was one of the most brutal conflicts not only in European history but also in the history of the entire world, “spawning a death toll that the most reliable estimates now set at some 8 million souls” (p. 11). It was fought by soldiers “from the four corners of the Continent – Spanish, French, Swedish, Danish, Italian, Croat, Scottish; Catholic, Lutheran, Calvinist; conscripts, mercenaries, and freebooters alike” (p. 11). The following is a quote from Joachim Betke that Matusiak uses to describe the situation in Germany during the conflict: “You travel ten, twenty, or forty miles without seeing a single human being, no livestock, not one sparrow, if there are not some few places where you find one or two old men or women or a child” (p. 12). Tyll Ulenspiegel, the shrewd protagonist of Daniel Kehlmann’s novel, finds himself caught up in the chaos of the military conflict. Tyll is able to navigate the conflict with artistic grace and the stealth of a thief, finding benefactors and friends along the way. He has been toughened by the emotional trauma he experienced as a child. Because he is resourceful, he is able to juggle his circumstances like the stones he played with when he was a child without exerting much effort. The moment things start to get difficult, he pulls himself away from the situation like a switch from a socket. He never gets too involved in the process. On the contrary, he is a tent, not a plant. Acrimonious religious animosity between Catholics and Protestants, as well as between Lutherans and Calvinists among the Protestants, was the root cause of the Thirty Years War. Matusiak cites a Protestant author who wrote in 1610 and expressed his regret that the theologians, who were blinded by religious rage and fervour, “have so greatly aggravated and augmented the disastrous strife among the Christians […] that there seems no hope of all this screaming, slandering, abusing, anathematizing, etc., coming to an end before the advent of the Last Day” (p. 26). The words of Landgrave Maurice of Hesse-Kassel, which were delivered to Louis XIII of France on March 23, 1615, were a prediction that “the states of the Empire, quarrelling fiercely among themselves, may start a fatal conflagration embracing not only themselves […] but also all those countries that are in some way or another connected with Germany.” (page 27) turned out to be extremely prescient in a way that no one could have anticipated. The so-called “conflagration” made Nimrod’s fire appear to be a firecracker. It engulfed entire empires in a fire that smoked not only in the physical world but also in the hearts of men, driving them to commit murder, loot, rape, and inflict desolation on their surroundings. It is the protagonist of Tyll who finds themselves at the centre of this conundrum. Throughout the course of the book, the reader will find that Tyll Ulenspiegel is confronted with a variety of circumstances at various points in his life. This is because the novel is divided into chapters. In the first chapter of the book, titled “Shoes,” he is seen performing in a village and enthralling the audience with his unbelievable tricks. After he leaves, he brings the war to the village that had been peaceful up until that point. Within the chapter of the book that is titled “Lord of the Air,” Tyll is a young boy who is learning the trade that would serve as his means of subsistence for the rest of his whole life. After being abandoned in the woods for two nights, he goes through a traumatic experience that has a significant impact on him and causes him harm. Following his escape from the forest, he finds himself confronted with yet another traumatic experience: the torture and subsequent hanging of his father, who was accused of being in league with the Devil. In the company of Gottfried, a travelling entertainer, Tyll and Nele, another child from the village, make their escape from the village. This is the beginning of his adventure. The chapter of the book that is titled “Zusmarshausen” immediately jumps to the battle that it is named after, which was the last battle of the war that lasted thirty years. The Kaiser has assigned Martin von Wolkenstein the task of retrieving Tyll from an Abbey that has been partially destroyed. While they were on their way back, they discovered that they had become unwitting participants in the conflict, narrowly avoiding death by the skin of their teeth. The section of the book titled “Kings in Winter” does not feature Tyll for a considerable amount of time. Instead, the focus of this section is on Frederick V, also known as the “Winter King,” and his English wife, Elizabeth, who are living in exile and attempting to regain the splendour that they had lost. Bringing Nele along, Tyll makes his entrance and offers to become their court jester. Nele will accompany him. At the conclusion of the chapter, the Winter King has passed away. Prior to this, Tyll had retrieved Nele and his donkey from the stables. However, the circumstances surrounding the King’s passing are unknown. In the section titled “Hunger,” Tyll and Nele are reminded of their childhood and the torment they endured at the hands of Pirmin, a cruel teacher who did not share his food with them and punished them for their performances. As the chapter comes to a close, the two of them are seen holding hands and expressing their hunger. The fire is about to go out. As Athanasius Kircher and a few other German scholars assist the polymath in his search for a dragon, the section titled “The Great Art of Light and Shadow” focuses on the individual who is the subject of the section. They are faced with Tyll’s circus. During the time that Tyll is leaving the scene, one of the scholars takes Nele with him to be his wife. As its name suggests, the section titled “In the Shaft” takes place in a mineshaft that is in the process of collapsing during the Siege of Brno. As the shaft continues to collapse, Tyll and three other companions became trapped beneath the debris. They eventually perished as the shaft continued to collapse. The chapter comes to a close with Tyll’s adamant declaration that he will not die, either at that moment or at any other time in the future. Elizabeth, the Winter Queen, is brought back to the forefront of the story in the section titled “Westphalia.” In this section, she makes an effort to elevate her son to the same level of status as his father and remove herself from the state of scarcity to which she has been reduced. She does this by utilising her diplomatic skills to her advantage. The only time Tyll makes an appearance is at the very end, and he delivers yet another riveting performance. The final stunt involves him disappearing into thin air. Having made good on his intention to not die, he communicates to Elizabeth that his intention is to “never die.” He keeps his promise to not die.

2. LITERATURE REVIEW

There are some nations that are punished with the sword, while others are punished with famine, and still others are punished with the plague, which is a disease that kills people from the inside out. “But poor Germany has been sorely whipped with all these three iron whips at the same time […] for more than twenty years space,” Edmund Calamy is quoted as saying by John Matusiak in his book Europe in flames: The Crisis of the Thirty Years War (2018, page 11). Matusiak’s book was published in 2018. The year 2018 saw the publication of Matusiak’s book. It was one of the most brutal conflicts not only in the history of Europe but also in the history of the entire world, “spawning a death toll that the most reliable estimates now set at some 8 million souls” (p. 11). One of the most brutal conflicts in the history of the world. The battle was fought by military personnel “from the four corners of the Continent – Spanish, French, Swedish, Danish, Italian, Croat, Scottish; Catholic, Lutheran, Calvinist; conscripts, mercenaries, and freebooters alike” (p. number eleven). The following is a quote from Joachim Betke that Matusiak uses to describe the situation in Germany during the conflict: “You travel ten, twenty, or forty miles without seeing a single human being, no livestock, not one sparrow, if there are not some few places where you find one or two old men or women or a child” (p. 12). Matusiak uses this quote to describe the situation in Germany. In the novel written by Daniel Kehlmann, the shrewd protagonist, Tyll Ulenspiegel, finds himself caught up in the chaos of the military conflict. Tyll is able to navigate the conflict with artistic grace and the stealth of a thief, and he is able to find friends and benefactors along the way. Because of the emotional trauma he endured when he was a child, he has become even more resilient. As a result of his resourcefulness, he is able to effortlessly navigate his circumstances, much like the stones he used to play with when he was a child, without making a significant amount of effort. He removes himself from the circumstance as quickly as he can, like a switch being removed from a socket, the moment things begin to become challenging. When it comes to the process, he never gets too involved. On the contrary, he is not a plant but rather a tent itself. The Thirty Years War was sparked by acrimonious religious animosity between Catholics and Protestants, as well as between Lutherans and Calvinists among Protestants. This animosity was the root cause of the conflict. Matusiak cites a Protestant author who wrote in 1610 and expressed his regret that the theologians, who were blinded by religious rage and fervour, “have so greatly aggravated and augmented the disastrous strife among the Christians […] that there seems no hope of all this screaming, slandering, abusing, anathematizing, etc., coming to an end before the advent of the Last Day” (p. 26). Matusiak’s statement is cited in the article. In a letter that was delivered to Louis XIII of France on March 23, 1615, Landgrave Maurice of Hesse-Kassel made a prediction that “the states of the Empire, quarrelling fiercely among themselves, may start a fatal conflagration embracing not only themselves […] but also all those countries that are in some way or another connected with Germany.” This prediction was made in reference to the fact that the states of the Empire were quarrelling with each other. The things that were written on page 27 turned out to be extremely prophetic in a way that nobody could have anticipated. The so-called “conflagration” gave the impression that Nimrod’s fire was simply a firecracker as it was. Not only did it smoke in the physical world, but it also smoked in the hearts of men, driving them to commit murder, loot, rape, and inflict desolation on their surroundings. It engulfed entire empires in a fire that smoked in both the physical world and the hearts of men. As the protagonist of Tyll, they are the ones who find themselves in the middle of this dilemma. The reader will discover that Tyll Ulenspiegel is put in a variety of situations at various points in his life throughout the course of the book. These situations occur at various points in time. Part of the reason for this is that the book is broken up into chapters. It is in the first chapter of the book, which is titled “Shoes,” that he is seen performing in a village and enthralling the audience with his unbelievable tricks. The war is brought to the village that had been peaceful up until that point, and it is brought there by him after he leaves. Tyll is a young boy who is learning the trade that would serve as his means of subsistence for the rest of his entire life. This chapter of the book is titled “Lord of the Air,” and it is located within the book. He goes through a traumatic experience that has a significant impact on him and causes him harm after being abandoned in the woods for two nights. This experience causes him harm. Following his escape from the forest, he finds himself confronted with yet another traumatic experience: the torture and subsequent hanging of his father, who was accused of being in league with the Devil. He was subsequently executed. With Gottfried, a travelling entertainer, Tyll and Nele, two more children from the village, make their escape from the village. Gottfried goes with them. This is the first step in his journey of discovery. The battle that the chapter of the book that is titled “Zusmarshausen” is named after, which was the final battle of the war that lasted for thirty years, is immediately brought up in the chapter. In order to retrieve Tyll from an Abbey that has been partially destroyed, the Kaiser has entrusted Martin von Wolkenstein with the responsibility of doing so. While they were on their way back, they came to the realisation that they had become unwitting participants in the conflict. They narrowly avoided death by the skin of their teeth. There is a significant amount of time that passes in the book that is titled “Kings in Winter” in which Tyll does not appear. Instead, the focus of this section is on Frederick V, also known as the “Winter King,” and Elizabeth, his English wife, who are currently living in exile and attempting to regain the splendour that they had lost throughout their reign. Bringing Nele along with him, Tyll makes his entrance and offers to become their court jester. Nele is going to be by his side. Upon the conclusion of the chapter, it is revealed that the Winter King has passed along. A moment earlier, Tyll had retrieved Nele and his donkey from the stables where they were kept. On the other hand, our knowledge of the circumstances surrounding the King’s death is limited. In the section titled “Hunger,” Tyll and Nele are reminded of their childhood and the torment they endured at the hands of Pirmin, a cruel teacher who did not share his food with them and punished them for their performances. Pirmin was punished for their performances and did not share his food with them. As the chapter draws to a close, the two of them are seen holding hands and expressing their hunger to one another. The flames are about to be extinguished. During the time that Athanasius Kircher and a few other German scholars are assisting the polymath in his search for a dragon, the section that is titled “The Great Art of Light and Shadow” focuses on the individual who is the subject of the section. It is Tyll’s circus that they must contend with. During the time that Tyll is leaving the scene, one of the scholars takes Nele with him to be his wife because he is going to marry her. The section of the story titled “In the Shaft” takes place in a mineshaft that is in the process of collapsing during the Siege of Brno. The name of this section gives away the location of the action. During the course of the shaft’s ongoing collapse, Tyll and three other companions found themselves getting trapped beneath the debris. As the shaft continued to collapse, they eventually reached the point of no return. Tyll’s resolute assertion that he will not pass away, either at that very moment or at any other point in time in the future, serves as the concluding statement of the chapter. The section of the story that is titled “Westphalia” is where Elizabeth, the Winter Queen, is brought back to the forefront of the narrative process. It is in this section that she makes an effort to remove herself from the state of scarcity to which she has been reduced, as well as to raise her son to the same level of status as his father. The way that she accomplishes this is by making effective use of her diplomatic abilities. The one and only time that Tyll makes an appearance is at the very end, and he offers yet another performance that is absolutely captivating. He vanishes into thin air as the final act of the theatrical performance. In light of the fact that he has fulfilled his intention to avoid death, he conveys to Elizabeth that his intention is to “never die.” He is true to his word and does not pass away.

3. RESULT AND DISCUSSION

In Tyll, Daniel Kehlmann inserts “Till or Tyll Eulenspiegel, a figure in German literature well-known since the 15th and 16th centuries, and seen as a typical hero of a rough farce” (Schweissinger, 2019, p. 138) into the Thirty Years War. Kehlmann examines the artist’s tenacity in the face of insurmountable odds, odds that bend the backs of emperors and warriors, by placing the hero of “a rough farce” in the ruin of one of humanity’s bloodiest wars. Germany faces the Four Biblical Horsemen of the Apocalypse—War, Plague, Famine, and Death—in the In Tyll. Death lets his horsemen wreck Germany and its innocents, who are his victims. The novel begins: “We lived in fear and hope and tried not to draw God’s wrath down upon our securely walled town” (Kehlmann, 2020, p. 3). As the Four Horsemen of the Apocalypse ravaged Germany, the masses feared the apocalypse. Tyll walks with grace in the thick of war. In the first chapter, “He neither teetered nor tried to find his balance—he simply walked” in the village (p. 12). The rope becomes the unwalkable war, and Tyll makes it look easy. Unusually, the rope is tied “to the window grille of the church tower” (religion) and “flagpole jutting out of the wall next to the window of the town hall” (administrative authority) (p. 12). The war continues because of religious intolerance and decisive authorities’ refusal to choose peace, like buildings holding the rope. Thanks to Tyll, the first chapter brawl is a microcosm of the thirty-year war. Kehlmann describes a fight between two villagers: “Moritz Blatt and […] Simon Kern pummelling each other so fiercely that someone who thought they were fighting over shoes would not have understood, as Moritz’s wife was promised to Simon as a child” (p. 16). For example, “Lore Pilz and Elsa Kohlschmitt had hated each other for so long that even they had forgotten why” (p. 16). The latter characters resemble Germany and France, two countries with a long history of brutal war. According to Kehlmann, war can destroy lives, as shown by Martha in the first chapter: “One day she would tell her husband and later her incredulous grandchildren […]” (p. 5). Martha’s prediction is unfounded as she and her fellow villagers are killed that night, depriving her of her future, including her husband, children, and grandchildren (p. 19). How many died from war not becoming what they could? The Count and his party pass “[t]he village of Markl” on their way to retrieve Tyll, which has “walls full of holes, cracked beams, rubble in the road, a few old people begging for food next to the filthy well.” Vivid images establish war and the agents of war compound it. After the enemy took everything, friendly troops took what the villagers could hide, and even what they could conceal was taken by more enemy forces (p. 138). No matter which side they support, war victims suffer disease, poverty, and death. The strong exploit the weak without remorse, morality, or national brotherhood. As the journey continues, war remains. It “lay waste to the north, turned west, extended one arm eastward and one southward, then heaved its full weight into the south, only to settle again for a while in the north” (p. 138). War has destroyed entire cultures, leaving “No people far and wide.” Only an escaped goose stood ragged next to a well (p. 135). The landscape is described as “The forests had disappeared, the villages had burned down, the people had fled, God knows where” (p. 147), which sounds like a Biblical conflagration that wiped out all life. Nimrods ignite war for their own gain, and the masses fuel it. Korff represents the many people who kill others. Korff is ruthless and unethical, making him invaluable to his master. His fighting and killing experience is extensive. When trapped in the shaft with Tyll and Matthias, he says war is possible. Perform your will on others (p. 296). He’s enjoyed the freedom to do what he wants to people. The final chapter laments the war: “The war has been going on so long that most people alive today have never seen peace. That only the old remember peace (p. 319). This claim isn’t inflated. Most young people who remembered peace died in war. Fatigue drove fighters to seek peace. Despite his better fortune, Tyll is caught in war. In the first chapter, when he jumps on the war rope, he must land again because “even he had weight and couldn’t fly” (p. 14). His efforts can temporarily separate him from the war. At various times, Tyll cannot escape the reality of war faced by many. Tyll “came to Brno” without expecting “Torstensson would march here with half the Swedish army” (p. 290). He was forced to join the army and buried in a mineshaft. Tyll also fights in the Battle of Zusmarshausen despite having no allegiance. His reflexes and quick thinking save him, but he is injured (p. 160). Tyll faces war and narrowly escapes death, which is closing in on its slippery target, only to watch it escape. War disturbs the artist, but his resilience and refusal to give up are more powerful than soldiers’ swords and shields. Pestilential Plague Kehlmann uses plague to show the gruesomeness of war, which was partly caused by poor hygiene. He writes that “cleanliness didn’t prevail when thousands upon thousands of soldiers along with their supply train were camping in one place” (p. 202). The plague strikes the camp. Men with sores, bumps on their faces, watering eyes, and drooling mouths are plague victims. It was hard to tell if some were dead or dying as they lay motionless and bent (p. 205). All camps had plague victims. Nobody talked about it because no one wanted to think about it; no one could do anything. War was a plague for Germany and her people, festering and spreading, inexorable and indomitable. The misfortune-stricken hero Tyll survives plague. Winter King dies from plague he contracted days earlier (p. 232). Tyll remains with him until his death (p. 234). The trickster artist is unaffected by being near a plague victim. He appears as a demon who occasionally manipulates fate to avoid illness. Tyll may be most affected by famine. Not even a wily man can create food from thin air to survive. He always brings hunger. He appears to the fat Count as “a scrawny man with hollow cheeks” (p. 148). “There’s nothing left to eat here, everything is falling apart” (p. 149) describes his home. Germany and his immediate home are his current residences. Tyll stood “bent forward, his cheeks were hollow, his eyes were set deep in their sockets,” according to Kehlmann (p. 150). Tyll appears “incredibly gaunt” with “set deep in their sockets” to Kircher (p. 275). No surprise, the description has changed little over time. Everyone but thieves and kings goes hungry in a famine-stricken land. Tyll escapes death several times in the novel. In ‘Lord of the Air’, he falls in the stream. He spends two nights alone in a forest. Despite his trauma, he survives. He bleeds from the back of his head after a metallic kiss from death in ‘Zusmarshausen’. In ‘Hunger’, he endures a dark forest night on an empty stomach, recalling past memories. While buried under rubble, he recalls “[t]hat time in the forest he was closest to Godfather Death, he felt his hand” (p. 297) in ‘In the Shaft’. Fair flower, beware. Tyll and his two companions sing “So fresh and green, so bonny and bright today, tomorrow with his scythe so keen, he’ll cut your life away” (p. 298) while buried in the mineshaft, a song of death. Death is as present as air and sunlight, despite appearing to be absent. It claims the hapless villages in ‘Shoes’, Claus Ulenspiegel in ‘Lord of the Air’, soldiers in ‘Zusmarshausen’, the Winter King in ‘Kings in Winter’, Korff, Matthias, and Iron Kurt in ‘In the Shaft’, and Tyll sleeps with death and wakes up alive. He dances away from death, his determination to live allowing him to escape while others die. In the section “Zusmarshausen”, the narrator/Kehlmann points out the fallacies in the Count’s account of his quest to find Tyll and bring him to the Kaiser, highlighting the Count’s memory loss and self-embellishment. The Count’s account is as credible as what may have happened. Likewise, what did not happen is as plausible. The Count writes, “the loud silence of the forest enveloped us, birds shrieked, branches broke, and the wind whispered to us from the treetops” after assuming he and his party walked for two hours. Ironically, Kehlmann’s point is made easier by the claim’s contradiction. This is just one of many instances in the novel. Grimmelshausen, whose account the count stole/recycled, “had himself been unable to describe it and instead had stolen the sentences of an English novel translated by Martin Opit.” The account “didn’t quite fit, because that passage was about the Battle of Wittstock, but it didn’t bother anyone, no one ever raised any questions.” The authors appear trapped in their inability to authentically share their experience, relying on their predecessors, who are no better. Elizabeth Stuart and Frederick V have meagre memories compared to Martin von Wolkenstein. Elizabeth is remembered for convincing Frederick to accept the Bohemian crown. However, Frederick recalls that “he had finally persuaded her, as he had persuaded everyone else” (p. 211) to accept the Bohemian crown. They also have different wedding night memories. Three rose petals floated like little ships after they broke a carafe, according to Elizabeth. She distinctly remembered three (p. 185). There were five petals for Frederick. He remembered clearly (p. 210). History’s fallibility is magnified by this small detail. Divergent royal couple memories demonstrate “the multiplicity and dispersion of truth(s)” (Hutcheon, 1988, p. 108). The protagonist follows suit. Memory plays him like a fiddle, like others. Nele and Tyll disagree on Pirmin’s death and who killed him. Nele says “Tyll killed him” (Kehlmann, 2020, p. 197). Tyll writes, “Nele cooked [Pirmin] a mushroom dish that he did not soon forget, or rather, he forgot it immediately, that is, he died from it” (p. 226). When telling Tyll a fairy tale, Nele thinks of how “once you have begun, [the story] continues of its own accord, and the parts assemble themselves, sometimes one way and sometimes another, and you have a fairy tale” (p. 236). This is similar to how the Count writes his ‘historical’ account of finding Tyll. While trapped in the mineshaft, Tyll thinks, “You get more confused here. You can still remember distant events, but whatever was close to the bang a short time ago is more soupy and runny in your mind (p. 291). The shaft symbolises war. The witnesses and writers who recounted it are muddled and confused, like their memories. Along with memory loss and inability to condense recalcitrant words, comfort and convenience lead to reality distortion. Kircher says, “To save time, [he has] already written the chapter in Rome” (p. 261), meaning he already knows what happened before time and before being there where it ‘happened.’ Later, his secretary reads for him what happened when nothing has happened and probably won’t, since the account includes finding a dragon. Kehlmann dismisses history again and claims that time, the greatest, “would be powerless against this” (p. 262). Tyll is Germany. Germany bears all his hardships. He survived with the courage to continue despite his scars. I have two feet, as do judges with robes and guards with halberds. They have the same number of feet as me. Tyll lives by the motto “No one has more” (p. 118). The words demonstrate his resilience, clarity, and determination to stick to his beliefs despite the odds. He is resourceful and always solves problems. Tired of hunger at the Abbey of Andechs, he informs the Kaiser of his location, sparking a search and rescue mission. He tells the fat Count: “His Majesty, His Idiotic Majesty with his golden crown on his golden throne, heard about me because I sent for you” (p. 149). He defies authority like an artist, flaunting his fool’s licence in public. Despite the risks, he maintains his identity and expresses himself. “I’m not going to die here,” Tyll shouted. I won’t die today. I won’t die!(p. 307) is Germany’s and his. In complete darkness underground with no way out, he refuses to die. Like Germany in war, his situation is dire. Both defeat their enemies—factions or environmental forces. In a decades-long battle with the Four Horsemen, who have destroyed empires, they win.

4. CONCLUSIONS

Tyll’s conviction to never die is similar to the Holy Roman Empire. Though both have stopped existing, they are both alive in history and fiction, like Tyll itself. With his artistic expertise and accomplishments, he becomes immortal in the annals of history, literary and otherwise. Had Germany not been beleaguered by belligerents, there is no telling what fame and fortunes he would have garnered, similar to Germany herself. Both Tyll and Germany suffer because of the war and shoulder immense losses, but are persistent to persist. Through the character of Tyll Ulenspiegel, Kehlmann preaches the immortality of the artist. Tyll is one of “the marginalized, the peripheral figures of fictional history”, the protagonists of historiographic metafiction (Hutcheon, 1988, p. 114). He is the son of a miller and the highest station he has ever enjoyed is of being a court jester of a King without country. And yet, he carves out his place in history, similar to finding his place in the Winter King’s court. He is pursued by the Four Horsemen of the Apocalypse and emerges the better one in the competition. It is Tyll’s art that elevates him above his companions, allowing him to blaze through the stratosphere of history and make his existence known, thus making good on his conviction to never die. Tyll is a tale of war, of history, and of the artist trapped in the whirlwind of both, trying to survive and find his way out. With his clever use of historiographic metafiction and narrative strategies of the war novel, Daniel Kehlmann constructs a story that has the artist’s adroitness and vitality as its brick and mortar. Tyll Ulenspiegel, with his élan and cunning, sashays across the landscape of the novel and the war, never halting in his performance, the wounds inflicted upon him too trivial to trounce him

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• Simon, C. (2020, February 6). In Daniel Kehlmann’s darkly brilliant ‘Tyll,’ a fool worth following. Boston Globe. Theroux, M. (2020, February 1).
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• Tyll by Daniel Kehlmann, trans. Ross Benjamin review — a folklore unto himself. The Times. Kehlmann, D. (2020). Tyll (Trans. R. Benjamin). riverrun.
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