Unternährer and Dahinden fled to the Entlebuch alps before the arrival of the troops of general Sebastian Peregrin Zwyers; Zemp escaped to the Alsace. The first film about Tell was made by French director Charles Pathé in 1900; only a short fragment survives. (1996). This work is based on the legend of a Swiss hero (see the story below). In the 1840s, Joseph Eutych Kopp (1793–1866) published skeptical reviews of the folkloristic aspects of the foundational legends of the Old Confederacy, causing "polemical debates" both within and outside of academia. The assassination attempt — an exceptional act in the culture of the Old Swiss Confederacy — was widely recognized and welcomed among the peasant population, but its impact was not sufficient to rekindle the rebellion. He was important as a symbol during the formative stage of modern Switzerland in the 19th century, known as the period of Restoration and Regeneration, as well as in the wider history of 18th- to 19th-century Europe as a symbol of resistance against aristocratic rule, especially in the Revolutions of 1848 against the House of Habsburg which still ruled Austria five hundred years later. [12], Dahinden and Unternährer returned in their roles of Tells, joined by Hans Stadelmann replacing Zemp. [26], The historicity of William Tell has been subject to debate. The first reference to Tell, as yet without a specified given name, appears in the White Book of Sarnen (German: Weisses Buch von Sarnen). Gessler then noticed that Tell had removed two crossbow bolts from his quiver, so he asked why. [32] This book offended Swiss citizens, and a copy of it was burnt publicly at the Altdorf square. He passed by the hat, but publicly refused to bow to it, and was consequently arrested. [7], The Chronicon Helveticum was compiled by Aegidius Tschudi of Glarus in the years leading up to his death in early 1572. The Tell legend has been compared to a number of other myths or legends, specifically in Norse mythology, involving a magical marksman coming to the aid of a suppressed people under the sway of a tyrant. William Tell's name is mentioned as early as 1475, but without all the detail offered by Tschudi, whose source for the story is unknown. The hunter William Tell hears Baumgarten’s story. William Tell loved his wife and his children very much, and they all lived happily together in a pretty little cottage at Bürglen. He is sculpted in stone, in bronze, in wax, in wood and in chocolate-100 percent Swiss, of course. [27], The skeptical view of Tell's existence remained very unpopular, especially after the adoption of Tell as depicted in Schilller's 1804 play as national hero in the nascent Swiss patriotism of the Restoration and Regeneration period of the Swiss Confederation. As with William Tell, Palnatoki is forced by the ruler (in this case King Harald Bluetooth) to shoot an apple off his son's head as proof of his marksmanship. According to popular legend, he was a peasant from Bürglen in the canton of Uri in the 13th and early 14th centuries who defied Austrian authority, was forced to shoot an apple from his son’s head, was arrested for threatening the governor’s life, saved the same governor’s life en route to prison, escaped, and ultimately killed the governor in an ambush. William Tell was a real man who lived during the 1300's in Switzerland. Later proposals for the identification of Tell as a historical individual, such as a 1986 publication deriving the name Tell from the placename Tellikon (modern Dällikon in the Canton of Zürich), are outside of the historiographical mainstream.[31]. Tschudi also has an account of Tell's death in 1354, according to which he was killed trying to save a child from drowning in the Schächental River in Uri.[5]. Von Haller underwent a trial, but the authorities spared his life, as he made abject apologies.[33]. [9], The first recorded Tell play (Tellspiel), known as the Urner Tellspiel ("Tell Play of Uri"),[10] was probably performed in the winter of either 1512 or 1513 in Altdorf. so that Tschudi's version of the legend is not only used as a model in Friedrich Schiller's play William Tell (1804) The music written about William Tell is far more well-known to American audiences than is the man William Tell.
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