Analysis

The portrayal of the werewolf in Marie de France's "Bisclavret" and in Lucas Cranach the Elder's woodcut "Werewolf" illuminates the changing perceptions of this mythical creature across different periods, deeply influenced by social and religious contexts.

In "Bisclavret," the werewolf is not just a creature of folklore; it is a tragic yet noble figure. The protagonist, a knight, suffers from an unfortunate curse that turns him into a werewolf. However, unlike the monstrous depictions common in later periods, Bisclavret's humanity and nobility remain intact despite his transformation. His affliction is seen as a personal tragedy rather than a source of horror, indicating a sympathetic and nuanced early medieval perspective on such supernatural occurrences.

Contrastingly, Lucas Cranach the Elder's depiction in his woodcut presents the werewolf as a symbol of savagery and moral decay. This dramatic shift from the tragic hero of "Bisclavret" to the ferocious beast in the woodcut mirrors the growing fears and anxieties of the time, especially towards those marginalized as social outcasts. The woodcut's werewolf, depicted in tattered clothes and amidst chaos, symbolizes not just a physical transformation but also a descent into social and moral degradation. This stark representation could be seen as an allegory for the period’s apprehensions about moral and societal stability.

The differences in these portrayals may also reflect a class distinction. Bisclavret, a genteel and well-positioned knight, contrasts sharply with the impoverished and lowly status implied by the werewolf in Cranach's work. This disparity could suggest varying perceptions and treatments of werewolves based on social standing, where a noble character like Bisclavret receives a more sympathetic portrayal compared to the vilified lower-class werewolf in the woodcut.

David I. Shyovitz offers a compelling insight into this evolution. He discusses how Christian thinkers’ views of Jews and monsters were interlinked, often demonizing Jews as monstrous beings like werewolves. These perceptions intensified in the late Middle Ages, shaping the narrative around such mythical creatures. The Hnisdei Ashenaz, a Jewish moral school, interpreted the werewolf as a being whose external transformation did not affect its human essence, viewing this as a metaphor for divine transfiguration. Such interpretations influenced romanticized depictions of werewolves during the twelfth and thirteenth centuries, as seen in works like "Bisclavret."

However, as time progressed, the conflation of werewolves with witchcraft emerged, shifting the narrative. J.P. Davidson, in her work, notes that texts like the "Flagellum Maleficorum" propagated the belief that those claiming transformation into werewolves were deluded by the devil. This marked a departure from earlier theological symbolism, aligning werewolves with witchcraft and heresy. As witch hunts escalated, werewolves were increasingly seen as mere figments of imagination, associated with malevolence and delusion.

This evolution from the dignified, tragic figure of "Bisclavret" to the demonized creature in Cranach's "Werewolf" encapsulates the profound shifts in societal and religious attitudes from the early to late medieval period. It signifies a transition from viewing the supernatural as a source of moral lessons to seeing it as a threat to the Christian social order, reflecting the changing dynamics of the time and the impact of these changes on the portrayal of mythical entities like the werewolf.