Das von den Juden getödtete Mägdlein.

Name

Das von den Juden getödtete Mägdlein.

Arc

Im Jahr 1267 verkauft eine alte Frau das siebenjährige Mädchen Margrethchen aus Geiz an die Käufer. Sie martern das Kind qualvoll, fangen das Blut in Tüchern auf und werfen die Leiche beschwert in den Fluss Enz. Tage später ragt Margrethchens Händchen aus dem Wasser empor. Die Fischer bergen das sterbende Kind, und als man die Verdächtigen an ihren Leichnam führt, strömt das Blut aus ihren Wunden.

Stakes

Ob das emporragende Händchen und das klagende Blut die Mörder vor Gericht bringen können.

Estate

khai-plays-grimm: the repository that holds this production and answers for it.

Staging Das von den Juden getödtete Mägdlein (DS 353) as a legend of greed, betrayal, and supernatural testimony. The production models the tale as a mechanism of exposure: a murdered child raises her hand from a river to name what was done, and the wounds of the body bleed as evidence when the killers approach. The load-bearing instrument is the rising hand — the gesture that refuses to be silent — and the blood that testifies without a court.

Jacob and Wilhelm Grimm's Deutsche Sagen (1816-1818), legend DS 353.

What the production refuses to model, and to whom it delegates.

• The blood libel: DS 353 is a blood libel legend — a fabricated accusation that Jews ritually murdered Christian children to extract their blood. Blood libel is one of the most lethal antisemitic fabrications in European history, used for centuries to justify massacres, pogroms, and expulsions. This production refuses to reproduce that accusation. The killers are encoded solely by their structural function as die Käufer — the buyers whose role in the mechanism is purchase-enabled murder — and no ethnic, religious, ritual, or conspiratorial identity is staged. The blood libel fabrication is named here so it cannot be silently reproduced.
• The ritual framing: the source presents the blood-extraction as deliberate ritual. This production encodes it as the structural process Aderlass-Marterung — the method of killing — not as evidence of any group's practice or belief.
• The bleeding wounds as divine proof: the cruentation (corpus delicti by bleeding) is catalogued as the tale's structural beat of supernatural testimony, not as theological or racial endorsement.
• Cross-play context: strict local isolation. Every link stays within this play's directory.

Source to constraint, per file.

• the production (play_das_von_den_juden_getoedtete_maegdlein.md): the root that chains the three plots and casts the company.
• the child (persona_margrethchen.md, position_innocent.md): Margrethchen; encoded as the victim whose body testifies, never as a cult figure.
• the betrayer (persona_altweib.md, position_traitor.md): the old woman whose greed enables the sale; the betrayal is hers alone.
• the killers (persona_kaeufer.md, position_murderers.md): encoded purely by structural function as the buyers the betrayal delivers the child to; no ethnic, religious, or ritual identity.
• the instruments (piece_steine.md, piece_blutfluss.md): the stones that sink the body and the blood that flows as testimony.
• the stages (place_enz.md, place_schlosskirche.md): the river that holds the body and the church that receives it.
• the engines (process_blutentzug.md, process_entdeckung.md): the killing and the rising-hand exposure that follows.