Otto of the Silver Hand

Otto of the Silver Hand takes place during the Middle Ages in 13th-century Germany. Pyle makes it clear from his foreword that this time frame was very different from today, given that people lived under the constant threat of violence and thievery. This dynamic sets the stage for the complex development of Otto’s unique form of heroism. Historically, few people in this era managed to rise above the brutality that was built into the social realities of feudalism, but Otto will get the chance to learn a different moral code when Baron Conrad brings him to the monastery. Because Otto will grow to share the pacifistic values that the Abbot teaches him, he will never understand the need for violence and burglary. Thus, as Baron Conrad leaves his young son in the hands of the Abbot and returns to the violent status quo of his life in the castle, the author lays the groundwork for an intense conflict between opposing factions and philosophies. Although the author’s descriptions acknowledge the fact that people are complex and multifaceted and cannot be strictly divided by The Dichotomy of Good and Evil, this concept remains a strong factor in the development of the narrative as a whole—especially because it was often easier for the characters to obey an immoral command than to risk death by Choosing Love over Violence.

The story’s setting is therefore designed to serve as a physical representation of its more violent elements and philosophies, and this aspect of the novel is manifested in the two rival castles that constantly feud with one another. One is named Castle Drachenhausen (Dragon House), and the other is Trutz-Drachen, or Scorner of Dragon House. Thus, the latter is positioned purely as an enemy and in rebellion against Baron Conrad, whose practice of providing for his people by stealing from others renders him a villain at worst and a morally compromised character at best. Additionally, there is a strong contrast between the people who live in the castle and the “wild” serfs who live below in “wretched straw-thatched huts” (3). Because the serfs have little resources and no education, they are forced to exist simply as subjects of Baron Conrad’s rule and have no say in the actions that he takes. The author therefore delivers frequent reminders that Castle Drachenhausen is a place built on the immoral actions of Baron Conrad and his men. Conversely, the monastery stands in complete opposition to this brutal way of life. As Otto eventually comes to experience both worlds, he must find a way to reconcile The Tension between Family Legacy and Personal Ethics.

It is also important to note that Pyle’s illustration and writing styles are uniquely his own, and both factors play a significant role in formulating the story and communicating the narrative. While Pyle’s writing style is often flowing and complex, he also includes lay terms for many words that may not otherwise be understood, as when he qualifies the word “bartizan” by immediately explaining that it is a “watch tower.” By pairing both terms within the background of the story, he makes the more obscure term’s meaning clear. Pyle also commonly uses alliteration, onomatopoeia, and visual and auditory imagery to convey the story’s shifts in mood. To this end, he describes castles, lands, and even particular rooms in strong detail:

A huge fire blazed and crackled and roared in the great open fireplace, before which were stretched two fierce, shaggy, wolfish-looking hounds. Outside, the rain beat upon the roof or ran trickling from the eaves, and every now and then a chill draught of wind would breathe through the open windows of the great black dining-hall and set the fire roaring. (12)

With these vividly concrete details, Pyle deliberately conjures the trappings of a medieval way of life, and his illustrations also match this narrative focus. He uses black and white sketches with thick lines and very little negative space, and as a result, each illustration is infinitely detailed. Pyle communicates the powerful emotions of the characters via imagery, as when he depicts Ursela sitting over the fire and contemplating the Baroness’s death or when he sketches the stern look on Baron Conrad’s face upon finding the servant in this stance. In the illustration, Baron Conrad stands behind and above Ursela, making him the most powerful force in the room.

Although Baron Conrad is a flawed character, he does come to be deserving of empathy through the good deeds that he commits to in the name of his family. The suggestion of his multifaceted nature is first delivered when his wife asks him to stop robbing, and he actually pauses to consider it. However, Baron Conrad’s fatal flaw is immediately revealed following this, for when he is called to a raid, he gives no further thought to his wife’s suggestion and instead leaps into his next violent endeavor. The Baroness’s timing in her pleas for an end to the violence are all but coincidental, as the Baron then comes back from battle severely injured. When the sight of his injury kills the Baroness, the Baron is left with the consequences of his recklessness. However, he fails to see his part in the violence and instead blames Baron Frederick for the Baroness’s death. Thus, Otto is born into a world of violence and vengeance, but he gains a brief reprieve when he is quickly taken to a monastery and raised away from the bloodshed that his father embraces.