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39 pages 1 hour read

Howard Pyle

Otto of the Silver Hand

Fiction | Novel | Middle Grade | Published in 1888

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Symbols & Motifs

The Medieval Era

Content Warning: This section of the guide includes descriptions of child abuse and graphic violence.

The Medieval Era is the most prominent motif in the story, and Pyle uses this historical setting to create a story that showcases The Dichotomy of Good and Evil and examines the nuanced motivations of the people who lived during this era. The story features a rivalry between two Castles during 13th-century Germany and the reign of Rudolph of Habsburg. Pyle describes it as “a great black gulf in human history, a gulf of ignorance, of superstition, of cruelty, and of wickedness” (1). Baron Conrad rules over his castle and supplies it by robbing from others. Aside from his wife, who tries to stay his hand, no one complains about the Baron’s methods for acquiring goods. Feuds are constant, and people often do not return; if they do, they are often badly injured. Health care was scarcely existent during this time frame, and the common methods of bloodletting and the use of leeches were ineffective at best and deadly at worst. 

Children during this time frame were viewed as more vulnerable than adults, but they were also seen as smaller adults who were expected to learn the ways of their households and to answer the call of war when it came. At the mere age of 12, Otto is captured, and his hand is cut off in an act of revenge against his father, showing that The Tension between Family Legacy and Personal Ethics could be a costly burden. During this era, most people died of disease or violence, rather than of old age, with the exception of people from the wealthiest ruling classes. The brutality that persisted during this era stands in direct contrast with the pacifistic moral framework that Otto is taught.

Otto’s Silver Hand

Otto’s silver hand is a symbol of Choosing Love over Violence, and by the end of the novel, this image comes to represent the protagonist’s refusal to engage in the brutalities of war and bloodshed. Otto’s hand is initially severed as an act of revenge against his father, and he nearly dies as a result of this injury. When he heals, he is taken to the emperor and asks the ruler of Germany not to take revenge on Castle Trutz-Drachen. Even though he has suffered greatly at the hands of Baron Henry, Otto sees that more violence against the Baron’s household will not solve anything, and he chooses instead to embrace forgiveness, understanding, and gentleness.

The silver hand that Otto is given to replace his missing hand becomes a symbol of Otto’s distinct morality in a time of “cruelty and of wickedness” (1). The story ends with a phrase in Latin that reads, “Manus argentea quam manus ferrea mefior est” (173), which means “A silver hand is more powerful than an iron hand.” In other words, by leading with love and kindness in a world where such a thing is seldom known, Otto has the potential to enact positive change.

Christianity

Christianity is an important motif in Otto of the Silver Hand because it lays the foundation for Otto’s moral framework and creates a strong representation of The Dichotomy of Good and Evil in the Middle Ages. Pyle’s foreword describes a time in which lawlessness, violence, and greed ruled the land, and in which few managed to rise above these brutal ways. Those who did were often those who lived in monasteries and abided by the teachings of Christ, promoting radical values such as peace and unconditional kindness.

Otto grows up in the monastery, far away from the brutality of war and violence. His father brought him there to honor what he believed would have been the Baroness’s wish for her son to have a peaceful upbringing. In the monastery, Otto forms close bonds with Abbot Otto and Brother John, and he delights in hearing of Brother John’s spiritual visions. In one such vision, Brother John hears the Angel Gabriel describe the cycle of life and death: a binary opposition that often appears in novels set in the Middle Ages. Otto also loves looking at pictures of the stories told in the Bible, particularly one of the birth of Christ. Because of this upbringing, Otto returns to his father’s castle with a mindset unlike anyone around him, and he utterly refuses to engage in violence. By taking this stance, Otto focuses on Choosing Love over Violence and makes a name for himself as a wise and trustworthy advisor.

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