Wotan Quotes

I have found it an amusing strategy, when asked whether I am an atheist, to point out that the questioner is also an atheist when considering Zeus, Apollo, Amon Ra, Mithras, Baal, Thor, Wotan, the Golden Calf and the Flying Spaghetti Monster. I just go one god further.

Where is the graveyard of dead gods? What lingering mourner waters their mounds? There was a time when Jupiter was the king of the gods, and any man who doubted his puissance was ipso facto a barbarian and an ignoramus. But where in all the world is there a man who worships Jupiter today? And who of Huitzilopochtli? In one year - and it is no more than five hundred years ago - 50,000 youths and maidens were slain in sacrifice to him. Today, if he is remembered at all, it is only by some vagrant savage in the depths of the Mexican forest. Huitzilopochtli, like many other gods, had no human father; his mother was a virtuous widow; he was born of an apparently innocent flirtation that she carried out with the sun. When he frowned, his father, the sun, stood still. When he roared with rage, earthquakes engulfed whole cities. When he thirsted he was watered with 10,000 gallons of human blood. But today Huitzilopochtli is as magnificently forgotten as Allen G. Thurman. Once the peer of Allah, Buddha and Wotan, he is now the peer of Richmond P. Hobson, Alton B. Parker, Adelina Patti, General Weyler and Tom Sharkey. Speaking of Huitzilopochtli recalls his brother Tezcatlipoca. Tezcatlipoca was almost as powerful; he consumed 25,000 virgins a year. Lead me to his tomb: I would weep, and hang a couronne des perles. But who knows where it is? Or where the grave of Quetzalcoatl is? Or Xiuhtecuhtli? Or Centeotl, that sweet one? Or Tlazolteotl, the goddess of love? Of Mictlan? Or Xipe? Or all the host of Tzitzimitl? Where are their bones? Where is the willow on which they hung their harps? In what forlorn and unheard-of Hell do they await their resurrection morn? Who enjoys their residuary estates? Or that of Dis, whom Caesar found to be the chief god of the Celts? Of that of Tarves, the bull? Or that of Moccos, the pig? Or that of Epona, the mare? Or that of Mullo, the celestial jackass? There was a time when the Irish revered all these gods, but today even the drunkest Irishman laughs at them. But they have company in oblivion: the Hell of dead gods is as crowded as the Presbyterian Hell for babies. Damona is there, and Esus, and Drunemeton, and Silvana, and Dervones, and Adsullata, and Deva, and Bellisima, and Uxellimus, and Borvo, and Grannos, and Mogons. All mighty gods in their day, worshipped by millions, full of demands and impositions, able to bind and loose - all gods of the first class. Men labored for generations to build vast temples to them - temples with stones as large as hay-wagons. The business of interpreting their whims occupied thousands of priests, bishops, archbishops. To doubt them was to die, usually at the stake. Armies took to the field to defend them against infidels; villages were burned, women and children butchered, cattle were driven off. Yet in the end they all withered and died, and today there is none so poor to do them reverence. What has become of Sutekh, once the high god of the whole Nile Valley? What has become of: Resheph Anath Ashtoreth El Nergal Nebo Ninib Melek Ahijah Isis Ptah Anubis Baal Astarte Hadad Addu Shalem Dagon Sharaab Yau Amon-Re Osiris Sebek Molech? All there were gods of the highest eminence. Many of them are mentioned with fear and trembling in the Old Testament. They ranked, five or six thousand years ago, with Yahweh Himself; the worst of them stood far higher than Thor. Yet they have all gone down the chute, and with them the following: Bilé Ler Arianrhod Morrigu Govannon Gunfled Sokk-mimi Nemetona Dagda Robigus Pluto Ops Meditrina Vesta You may think I spoof. That I invent the names. I do not. Ask the rector to lend you any good treatise on comparative religion: You will find them all listed. They were gods of the highest standing and dignity-gods of civilized peoples-worshiped and believed in by millions. All were omnipotent, omniscient and immortal. And all are dead.

What is the probability that Yahweh is the one true god, and Amon Ra, Aphrodite, Apollo, Baal, Brahma, Ganesha, Isis, Mithra, Osiris, Shiva, Thor, Vishnu, Wotan, Zeus, and the other 986 gods are false gods? As skeptics like to say, everyone is an atheist about these gods; some of us just go one god further.

There is no need to ”believe” in Jupiter or Wotan—something that is no more ridiculous then believing in Yahweh however—to be pagan. Contemporary paganism does not consist of erecting altars to Apollo or reviving the worship of Odin. Instead it implies looking behind religion and, according to a now classic itinerary, seeking for the “mental equipment” that produced it, the inner world it reflects, and how the world it depicts as apprehended. In short, it consists of viewing the gods as “centers of value” and the beliefs they generate as value systems: gods and beliefs may pass away, but the values remain.

He was in stature but a small man, yet remember that so were Napoleon, Lord Beaverbrook, Stephen A. Douglas, Frederick the Great, and the Dr. Goebbels who is privily known throughout Germany as "Wotan's Mickey Mouse.

His name is Tristan, by the way." "Tristan?" "Yes. Oh, I should have told you. You must have wondered about my own name. It was my father. Great Wagnerian. It nearly ruled his life. It was music all the time -- mainly Wagner. "I'm a bit partial myself." "Ah well, yes, but you didn't get it morning, noon and night like we did. And then to be stuck with a name like Siegfried. Anyway, it could have been worse-- Wotan, for instance.

PROFESSOR EMERITUS WOTAN Ulm, of the University of Oxford East 5, author of the bestselling if controversial memoir Peer Reviewers and Other Idiots: A Life In Academia, had consented to give a recorded lecture on von Neumann replicators to be carried as briefing material on the US Navy twain USS Brian Cowley.

Out of Chaos came light, Out of Will came life, Without form, without time From iron black space Through beads of crystal flame. Cosmic rays of light and sound, Spinning in seas of universal ether, Piercing the armatures of spheres. From the Mysteries—it comes. From Legend—it comes. From ancestors of a thousand ages—it comes. The Spirit, The Will, The Wisdom, Temple of Wotan.

For some reason or other, Loge had a horrible feeling that by We, Wotan meant him.

When asked wether I am an atheist, I find it an amusing strategy to point out that the questioner is also an atheist when considering Zeus, Apollo, Amon Ra, Mithras, Baal, Thor, Wotan, the Golden Calf and the Flying Spaghetti Monster. I just go one god further

Eu me divirto com a estratégia, quando me perguntam se sou ateu, de lembrar que o autor da pergunta também é ateu no que diz respeito a Zeus, Apolo, Amon Rá, Mithra, Baal, Thor, Wotan, o Bezerro de Outro e o Monstro de Espaguete Voador. Eu só fui um deus além.

Norbert Wiener,” Tillingford said. “You recall his work in cybernetics. And, even more important, Enrico Destini’s work in the field of theophonics.” “What’s that?” Tillingford raised an eyebrow. “You are a specialist, my boy. Communication between man and God, of course. Using Wiener’s work, and using the invaluable material of Shannon and Weaver, Destini was able to set up the first really adequate system of communication between Earth and Heaven in 1946. Of course, he had the use of all that equipment from the War Against the Pagan Hordes, those damned Wotan-Worshiping, Oak-Tree-Praising Huns.” “You mean the—Nazis?” “I’m familiar with that term. That’s sociologist jargon, isn’t it? And that Denier of the Prophet, that Anti-Bab. They say he’s still alive down in Argentina. Found the elixir of eternal youth or something. He made that pact with the devil in 1939, you remember. Or was that before your time? But you know about it—it’s history.” “I

Acel gest simbolic de a o întrona pe Déesse Raison la Notre-Dame pare să fi însemnat pentru lumea apuseană ceva asemănător cu tăierea Stejarilor lui Wotan de către misionarii creştini, căci nici atunci, nici acum, fulgerul răzbunător nu i-a lovit pe nelegiuiţi. Este probabil mai mult decât o glumă a istoriei universale faptul că tocmai în acel moment şi tocmai un francez, Anquetil du Perron, se afla în India şi, la începutul secolului al XIX-lea, aducea acasă o traducere a Oupnek’hat, o culegere de cincizeci de Upanişade, care au permis pentru prima oară Occidentului să arunce o privire mai adâncă înăuntrul enigmaticului spirit al Orientului … Masa anonimă de oameni întunecaţi, care s-a adunat cu gânduri distrugătoare în Notre-Dame, s-a năpustit şi asupra individului, nimerindu-l şi pe Anquetil du Perron, în care a provocat un răspuns devenit istoric. De la el se trag Schopenhauer şi Nietzsche, de la el apare acea influenţă spirituală încă incalculabilă a Orientului.

So if I want Mexicans to learn the name of Quetzalcoatl, it is because I want them to speak with the tongues of their own blood. I wish the Teutonic world would once more think in terms of Thor and Wotan, and the tree Igdrasil. And I wish the Druidic world would see, honestly, that in the mistletoe is their mystery, and that they themselves are the Tuatha De Danaan, alive, but submerged. And a new Hermes should come back to the Mediterranean, and a new Ashtaroth to Tunis; and Mithras again to Persia, and Brahma unbroken to India, and the oldest of dragons to China.

Sie gingen über die Wiese zurück zum VW-Bus. Tschernibog zündete sich eine Zigarette an, hustete diesmal aber nicht mehr. "Sie haben es mit dem Hammer gemacht", sagte er. "Wotan, der hat immer von Galgen und Speeren geredet, aber für mich gibt es nur eins..." Er streckte seinen nikotingelben Zeigefinger aus und klopfte Shadow damit kraftvoll gegen die Stirn, genau in die Mitte. "Bitte lassen Sie das", sagte Shadow höflich. "Bitte lassen Sie das", äffte Tschernibog ihn nach. "Eines Tages werde ich meinen Hammer nehmen und noch ganz anders mit Ihnen umspringen, mein Freund, schon vergessen?

How she had loved and admired him. He had travelled all over the northern seas and taken a Swedish bride. Such a bold seafarer had he been that when he died they had buried him in his boat in full regalia. She could hear his deep voice still. As he lay there now, with his long beard spread, was he dreaming of the heaving seas? Perhaps. And did the gods of the north watch over him? She had no doubt of it. Were they not in his very blood? Had not their people given their names to the days of the week? Tiw, the war god, had Tuesday, in place of Mars in the Roman calendar; Woden, or Wotan as the Germans called him, greatest of all gods, had the middle day, Wednesday; Thunor the Thunderer, Thursday; Frigg, goddess of love, Friday, in place of the Roman Venus.

In line with the Acts of Thomas is the Ophite view that the Holy Ghost is the “first word,” the “Mother of All Living,” and the Valentinian idea that the Third Person is the “Word of the Mother from Above.” It is clear from all this that Wagner’s Brünhilde is one of the numerous anima-figures who are attributed to masculine deities, and who without exception represent a dissociation in the masculine psyche—a “split-off” with a tendency to lead an obsessive existence of its own. This tendency to autonomy causes the anima to anticipate the thoughts and decisions of the masculine consciousness, with the result that the latter is constantly confronted with unlooked-for situations which it has apparently done nothing to provoke. Such is the situation of Wotan, and indeed of every hero who is unconscious of his own intriguing femininity.

Mientras hablábamos de estas tonterías y bebíamos vino del Mosela ardía el Reichstag; el infeliz de Van der Lubbe se encontraba allí, provisto de todos los documentos acreditativos necesarios, y Hitler, rodeado de llamaradas cual Wotan wagneriano, pronunció sus grandiosas palabras a las puertas del Reichstag: «Si esto lo han hecho los comunistas, de lo cual no me cabe la menor duda, ¡que Dios se apiade de ellos!». Nosotros no tuvimos ni idea de lo que estaba ocurriendo. La radio no estaba encendida. Alrededor de la medianoche regresamos a casa medio dormidos en autobuses nocturnos, mientras las brigadas antidisturbios ya andaban por todas partes sacando de la cama a sus víctimas, la primera gran remesa con destino a los primeros campos de concentración: diputados y escritores de izquierdas, médicos, funcionarios y abogados que gozaban de poca simpatía.

As the horse is the brother, so the snake is the sister of Chiwantopel (“my little sister”). Rider and horse form a centaur-like unit,84 like man and his shadow, i.e., the higher and lower man, ego-consciousness and shadow, Gilgamesh and Enkidu. In the same way the feminine belongs to man as his own unconscious femininity, which I have called the anima. She is often found in patients in the form of a snake. Green, the life-colour, suits her very well; it is also the colour of the Creator Spiritus. I have defined the anima as the archetype of life itself.85 Here, because of the snake symbolism, she must also be thought of as having the attribute of “spirit.” This apparent contradiction is due to the fact that the anima personifies the total unconscious so long as she is not differentiated as a figure from the other archetypes. With further differentiations the figure of the (wise) old man becomes detached from the anima and appears as an archetype of the “spirit.” He stands to her in the relationship of a “spiritual” father, like Wotan toThe OHG. Brünhilde or Bythos to Sophia. Classic examples are to be found in the novels of Rider Haggard.

Chicago, Illinois 1896 Opening Night Wearing her Brünnhilda costume, complete with padding, breastplate, helm, and false blond braids, and holding a spear as if it were a staff, Sophia Maxwell waited in the wings of the Canfield-Pendegast theatre. The bright stage lighting made it difficult to see the audience filling the seats for opening night of Die Walküre, but she could feel their anticipation build as the time drew near for the appearance of the Songbird of Chicago. She took slow deep breaths, inhaling the smell of the greasepaint she wore on her face. Part of her listened to the music for her cue, and the other part immersed herself in the role of the god Wotan’s favorite daughter. From long practice, Sophia tried to ignore quivers of nervousness. Never before had stage fright made her feel ill. Usually she couldn’t wait to make her appearance. Now, however, nausea churned in her stomach, timpani banged pain-throbs through her head, her muscles ached, and heat made beads of persperation break out on her brow. I feel more like a plucked chicken than a songbird, but I will not let my audience down. Annoyed with herself, Sophia reached for a towel held by her dresser, Nan, standing at her side. She lifted the helm and blotted her forehead, careful not to streak the greasepaint. Nan tisked and pulled out a small brush and a tin of powder from one of the caprious pockets of her apron. She dipped the brush into the powder and wisked it across Sophia’s forehead. “You’re too pale. You need more rouge.” “No time.” A rhythmic sword motif sounded the prelude to Act ll. Sophia pivoted away from Nan and moved to the edge of the wing, looking out to the scene of a rocky mountain pass. Soon the warrior-maiden Brünnhilda would make an appearance with her famous battle cry. She allowed the anticpaptory energy of the audience to fill her body. The trills of the high strings and upward rushing passes in the woodwinds introduced Brünnhilda. Right on cue, Sophia made her entrance and struck a pose. She took a deep breath, preparing to hit the opening notes of her battle call. But as she opened her mouth to sing, nothing came out. Caught off guard, Sophia cleared her throat and tried again. Nothing. Horrified, she glanced around, as if seeking help, her body hot and shaky with shame. Across the stage in the wings, Sophia could see Judith Deal, her understudy and rival, watching. The other singer was clad in a similar costume to Sophia’s for her role as the valkerie Gerhilde. A triumphant expression crossed her face. Warwick Canfield-Pendegast, owner of the theatre, stood next to Judith, his face contorted in fury. He clenched his chubby hands. A wave of dizziness swept through Sophia. The stage lights dimmed. Her knees buckled. As she crumpled to the ground, one final thought followed her into the darkness. I’ve just lost my position as prima dona of the Canfield-Pendegast Opera Company.

I’m very glad, Herr Hitler, to hear you say this. There’s such a lot of nonsense talked about blond men, about the Nordic race, about the cult of Wotan and the spirit of the Edda, as if no one else on the globe had any right to exist, or at best to exist only in a second-class position, as subhuman creatures. Those idiotic windbags have no idea what harm their spouting causes. For all they do is arouse inferiority complexes and hatred in those who don’t happen to be lucky enough to be born blond, and so they divide the German Volk into two racial halves: the Germanic and the non-Germanic people.” “I’ve expressly and repeatedly forbidden this sort of thing!” Hitler interrupted, flaring up. “All that rubbish about the Thing places, the solstice festivals, the Midgard snake, and all the rest of the rubbish they dredge up from the German prehistory! Then they read Nietzsche with fifteen-year-old boys and, using incomprehensible quotations, paint a picture of the superman, exhorting the boys: ‘That is you – or that is what you are to become.

We have a COVENANT with WOTAN and it is the Sacred Grudge-Chore of the SubGenius to SMITE The Conspirators and Their slavish Dupes: the Mediocretins, the stupid Pink Boys, the “Hoi Polloi,” Them, the Normals, the Somnabulacs, the Great Unwashed-In-The-Baptism-Of-The-Pee-Of-“Bob,” the malignant ones who breathe down our necks and abuse their territorial urges without ever dreaming that they’re doing it, Assouls, Cage Men, Infidels, Sames, Anthropophobiacs, Conformers, Timeservers, Mole People, Proleterrorists, Philistines, Pharisees, Witch-burners, the ones who have tried to maim our self-respect down through the centuries by making SLACK and antipredictability TABOO, the Thankers and Wankers, Heilers and Smilers, Sloths and Moths, Cons and Johns, Drivellers and Snivellers, Weepers and Sleepers; CreditHeads, Cliants, Kens and Barbies, Errorists, Yes-Buts, Ordinaryans and Lick Spittles, Corpulators, Signifying Monkeys, UnderAlls, the Slackless Ones…in short, the Remnants of Man: those very False Prophets who have been holding us back and forcing Time Addiction on Themselves…and…others…

Souvent il arrivait que papa et Jacky martèlent de concert. Pas un mot, pas un cri, juste des souffles mêlés comme font les amants. De lourds coups sur l’acier, de petits sur l’enclume, en rythme cadencé, sorte de concerto pour enclume et marteaux où la basse continue n’était autre que celle de leurs respirations. Et puis ces escarbilles, toujours ces escarbilles, petites étoiles filantes que chacun d’eux apprivoisait pour qu’elles n’aillent pas, comme des baisers voraces, mordre le corps de l’autre. Et assis sur un banc ou sur un tas de ferraille, un enfant de cinq ans regarde leurs poitrails, écoute leurs silences dans cet orage d’acier et ne croit plus à rien, ni à Dieu, ni à Diable, ni à tous ces héros que déjà il pressent puisqu’il sent bien, ce gosse, qu’il arrive à la vie de parfois défaillir, ou simplement faillir, et qu’il faut certains soirs, pour supporter son poids, accepter les légendes et les mythes qu’ont inventés les hommes afin de s’endormir un petit peu plus grand et à peine moins mortel. Heureusement pour lui, foin d’Ulysse, de Titans, de dragons flamboyants et de dieux en jupette plus ou moins ridicules, il les a sous les yeux ces lares de pleine chair qui dressent des éclairs et créent des épopées avec chaque barre de fer. L’odeur de la limaille, du fer chauffé à rouge, du fer chauffé à blanc, l’odeur des corps en sueur qui parfois s’effaçaient derrière la fumée blanche, l’odeur des grains d’acier en gerbes braisillantes, l’odeur même des marteaux, masses, pinces, massettes, et l’odeur de l’enclume qui les recueillait tous. Papa et Jacky, ferronniers d’art ; ils maîtrisaient le feu mais ignoraient Vulcain, Prométhée et Wotan, Zeus ou Héphaïstos. Les dieux du Walhalla, d’Olympe ou de l’Iliade leur étaient inconnus. Même saint Éloi, patron des forgerons, ne les concernait pas. Ils étaient incultes, c’est-à-dire intelligents mais sans les livres capables de leur nommer, soit cette intelligence, soit cette inculture. Ils s’en moquaient, de tout cela, des trois divinités, des quatre horizons, des douze travaux d’Hercule ou des Mille et Une Nuits. À quoi bon s’inventer des dieux de pacotille quand on en a sous la main et que l’on parvient, à coups brefs et précis, à leur donner la forme que l’on veut. Pas besoin de légende, ils se créaient la leur, façonnant dans l’acier les mots pour la chanter. Et l’enfant de cinq ans lorsqu’il lui adviendra, plus tard, beaucoup plus tard, d’apercevoir Tarzan sautant de liane en liane en se frappant le torse à grands coups de battoir pour ne rien forger d’autre qu’un long cri ridicule, rira comme un beau diable s’il est vrai qu’il s’avère, dans l’Hadès ou ailleurs, qu’un diable puisse être beau.

Odin, also called Woden or Wotan, was the god of inspiration and the giver of poetry, wisdom and battle-rage.  Most of the myths describe him as the firstborn and father of the gods, although some older stories give that role to Tyr.

Există morale de stăpâni şi morale de sclavi. […] Să remarcăm pe dată că în cazul acestei prime varietăţi de morală antagonismul „bun“ şi „stricat“ echivalează cu „nobil“ şi „detestabil“: - antagonismul „bun“ şi „rău“ are o altă origine. E dispreţuit laşul, fricosul, meschinul, cel care se preocupă doar de stricta utilitate; de asemenea, suspiciosul cu privirea-i strâmbă, cel care se umileşte, omul de soi căinesc care se lasă maltratat, lingăul milog, şi mai ales mincinosul: - e o credinţă înrădăcinată a tuturor aristocraţilor că norodul e mincinos. „Noi, veridicii“ - astfel îşi ziceau nobilii în Grecia antică. […] El preţuieşte tot ceea ce îi este propriu: o astfel de morală constă în glorificarea sinelui. În prim-plan se află sentimentul belşugului, al prea-plinului puterii, fericirea unei înalte tensiuni, conştientă unei avuţii dornice de a se dărui şi cheltui: - şi aristocratul vine într-ajutor nefericiţilor, dar aproape niciodată nu o face din milă, ci mai degrabă mânat de imboldul abundenţei de putere. Aristocratul respectă în propria-i fiinţă pe omul puternic, stăpân asupra lui Însuşi, pe cel care se pricepe să vorbească şi să tacă, pe cel care uzează bucuros de severitate şi duritate faţă de sine însuşi şi care se înclină cu veneraţie în faţa tuturor celor severe şi dure. „De piatră-i inima ce Wotan în pieptu-mi aşeza“, se spune într-o veche Saga scandinavă: şi pe bună dreptate, căci e o vorbă izvodită de sufletul unui viking mândru. Un astfel de om se mândreşte tocmai cu faptul de a nu fi născut pentru compasiune: şi de aceea eroul acestui Saga adaugă avertizând: „cel căruia inima nu îi e de tânăr dura, nu o va avea nicicând dură“. Aristocraţii şi cutezătorii care gândesc astfel se situează la antipodul moralei care vede tocmai în compătimire sau în acţiunea în folosul semenului sau în desinteressement simbolul moralităţii; încrederea în sine, mândria de sine, ostilitatea absolută şi ironia faţă de „altruism“, acestea fac parte şi ele în mod categoric din morala aristocrată, laolaltă cu o uşoară desconsiderare şi prudenţă faţă de compasiune şi de „inimile calde“. Puternicii sunt acei care se pricep cu adevărat să venereze, aceasta-i arta lor, domeniul în care îşi exercită inventivitatea. […] Ei pot acţiona după cum cred de cuviinţă sau „după voia inimii“, în orice caz „dincolo de Bine şi de Rău“ - : iată un domeniu în care se poate manifesta compătimirea şi alte sentimente asemănătoare. […] Cu totul altfel stau lucrurile în cazul celui de al doilea tip de morală, morala sclavilor. Să presupunem că asupriţii, oprimaţii, suferinzii, robii, şi chiar cei nedeciși şi istoviţi de ei înşişi se îndeletnicesc cu morala: care va fi oare numitorul comun al evaluărilor lor morale? Probabil că ele vor exprima o suspiciune pesimistă faţă de condiţia umană în totalitatea ei, poate o condamnare a omului laolaltă cu condiţia sa. Sclavul priveşte cu invidie virtuţile celor puternici: el este sceptic şi suspicios, posedând chiar un rafinament al bănuielii faţă de tot acel „bun“ preţuit de cei puternici -, el încearcă să se convingă că nici măcar fericirea acestora nu este autentică. Dimpotrivă, calităţile menite să uşureze existenţa suferinzilor sunt evidenţiate şi scăldate în lumină: sclavul preţuieşte compătimirea, mâna serviabilă şi săritoare, inima caldă, răbdarea, hărnicia, modestia, amabilitatea - căci acestea sunt calităţile cele mai utile, aproape singurele mijloace de a îndura povara existenţei. Morala sclavilor este esenţialmente o morală a utilităţii. Acesta-i locul de obârşie al vestitului antagonism dintre „bun“ şi „rău“: - rău este considerat cel puternic şi primejdios, cel care inspiră teamă, cel care posedă subtilitate şi vigoare, nelăsând teren dispreţului. Aşadar, potrivit moralei sclavilor, „răul“ este cel care inspiră teamă; în morală stăpânilor, dimpotrivă, cel care inspiră teamă şi vrea să inspire teamă este de-a dreptul „bunul“, în vreme ce omul „stricat“ este considerat demn de dispreţ.

There was, however, almost as much artifice to his surroundings as there was need, since Wotan enjoyed his status as the agency mystery. By remaining in the shadows, he appeared even more intimidating and powerful, which was precisely what he wanted.

Wotan leaned forward and light from the dim lamp fell on his face. Travers saw his bare eye socket, the skin stretched over the hole.

Why are you so committed to him?” “BECAUSE HE SUCCEEDS,” Wotan boomed, causing Travers to jump back in her chair.

Travers was still stunned. She had never heard Wotan raise his voice, let alone yell. She didn’t move a muscle.

Wotan sat for a while with his hand covering the slug on the desk. “Do you think he’s effective?” he finally asked. Travers threw up her hands, frustrated. “Yes,” she confessed. “I do.” “Do you think he’s getting close?” “Yes.” “Then with whom exactly are you arguing, Agent Travers?” Travers opened her mouth, then thought better of it and closed it again. She looked at Wotan, but the room seemed to fade into darkness around the massive desk. She rose to leave.

In the years leading up to Hitler, many völkisch groups appeared in Germany; the English equivalent “folk” doesn’t quite convey the blend of mythology, folklore, legend, and nationalism that the German term suggests. Jung’s emphasis on history and myth, as well as his rejection of scientific materialism, made these groups sympathetic to his work, as opposed to Freud’s which, along with being Jewish, was reductionist. Although much has been made of it,29 Jung’s own connection, if any,30 to the völkisch movement is unclear. The only strong link is his friendship with the German indologist J. W. Hauer, who founded the German Faith Movement in 1932, a religious society aimed at replacing Christianity in German-speaking countries with an anti-Christian and anti-Semitic modern paganism based on German literature and Hindu scripture. Hauer, an ardent Nazi, hoped his movement would become the official religion of the Reich. Hitler, however, thought little of Hauer and laughed at his followers who “made asses of themselves by worshipping Wotan and Odin and the ancient, but now obsolete, German mythology,”31 a remark that says much about Hitler’s cynicism toward the völkisch ideology he nevertheless exploited to gain power.

sólo tiene que pensar en «el fin de la Historia», del mismo modo que, en el segundo acto de Las valquirias de Wagner, Wotan explica a su hija Brunehilda que su único pensamiento es «¡el fin!, ¡el fin

la caballería colosal que galopa los crepúsculos del dios abandonado, –el Buda, el Cristo, el Wotan, el Júpiter, todos con olor rojo a cabello, a sexo, a paloma, a orangután humano, a caverna, a asesinato en las montañas–,

No one can say exactly when the process of combining the different historical, legendary, and mythic elements into a Volsung cycle began, but it was probably at an early date. By the ninth century the legends of the Gothic Jormunrek and those of the destruction of the Burgundians had already been linked in Scandinavia, where the ninth-century “Lay of Ragnar” by the poet Bragi the Old treats both subjects. Bragi’s poem describes a shield on which a picture of the maiming of Jormunrek was either painted or carved and refers to the brothers Hamdir and Sorli from the Gothic section of the saga as “kinsmen of Gjuki,” the Burgundian father of King Gunnar. The “Lay of Ragnar” has other connections with the Volsung legend. The thirteenth-century Icelandic writer Snorri Sturluson identifies the central figure of the lay, whose gift inspired the poem in his honor, with Ragnar Hairy Breeches, a supposed ancestor of the Ynglings, Norway’s royal family. Ragnar’s son-in-law relationship to Sigurd through his marriage to Sigurd’s daughter Aslaug (mentioned earlier in connection with stave church carvings) is reflected in the sequence of texts in the vellum manuscript: The Saga of the Volsungs immediately precedes The Saga of Ragnar Lodbrok. Ragnar’s saga, in turn, is followed by Krákumál (Lay of the Raven), Ragnar’s death poem, in which Ragnar, thrown into the snakepit by the Anglo-Saxon King Ella, boasts that he will die laughing. The Volsung and Ragnar stories are further linked by internal textual references. It is likely that the The Saga of the Volsungs was purposely set first in the manuscript to serve as a prelude to the Ragnar material. The opening section of Ragnar’s saga may originally have been the ending of The Saga of the Volsungs. Just where the division between these two sagas occurs in the manuscript is unclear. Together these narratives chronicle the ancestry of the Ynglings—the legendary line (through Sigurd and Ragnar) and the divine one (through Odin). Such links to Odin, or Wotan, were common among northern dynasties; by tracing their ancestry through Sigurd, later Norwegian kings availed themselves of one of the greatest heroes in northern lore. In so doing, they probably helped to preserve the story for us.” (Jesse Byock)

The Germans who remained Pagan – the Franks, Angles, Saxons and Jutes – worshipped Wotan (or Wodin) as their chief god, together with other deities such as Thor (god of thunder), Tiwaz (god of war), Freya (goddess of fertility), and Saeter (a water-god). We derive the names of most our days from these Germanic gods: Tuesday (Tiwaz’s day), Wednesday (Wodin’s day), Thursday (Thor’s day), Friday (Freya’s day), Saturday (Saeter’s day).

PROFESSOR EMERITUS WOTAN Ulm, of the University of Oxford East 5, author of the bestselling if controversial memoir Peer Reviewers and Other Idiots: A Life In Academia, had consented to give a recorded lecture

Yet Götterdämmerung is no apocalypse: it envisions a transfer of power, from gods to people. It is also the redress of a wrong, restoring the Ring from the illusory heights to the truthful depths. Wotan, very unlike Hitler, has repented of his megalomania: "I longed in my heart for power ... I acted unfairly… I did not return the ring to the Rhine... The curse that I fed will not flee from me now." The conductor Christoph von Dohnányi, whose father, Hans, was part of the anti-Nazi resistance, once told me: "When I really think about Wagner, I don't discover anything that had to lead to Hitler. And what happens here"—we were looking at the score of Walkure, at Wotan's cries of shame—"is not something that any fascist could have written. Because it is not simplifying. It is a 'giving up' thing. Wagner abused power but hated the state." "Götterdämmerung" is the wrong word for the scenes that unfolded in Berlin during the war's last days: the double suicide of Hitler and Eva Braun, the suicides of Josef and Magda Goebbels, the murder of the Goebbels children, the killing of Hitler's dogs.

El nazismo, a su vez, excluía el cristianismo. Una nación "superior racialmente" con aspiraciones como la alemana, no podría aceptar un Dios que es bondadoso, generoso y tolerante. Los germanos necesitaban un dios pagano que aceptara los crímenes, las torturas e inhumanidades, un dios que hiciera de sus acciones bárbaras e inhumanidades, un dios que hiciera de sus acciones bárbaras su doctrina. De acuerdo con estas doctrinas, fundadas en las tradiciones de los antiguos dioses paganos, los alemanes de Hitler celebraban sus ritos bajo el cielo abierto. Sus ceremonias matrimoniales tenían lugar frente a la gran efigie de piedra de Wotan, que en los antiguos días de los teutones fue el altar donde le ofrecían los sacrificios.

Magee’s explanation is Freudian. Tristan und Isolde presents the most overtly erotic music ever composed. Oedipal themes can be discerned in both Siegfried and Parsifal. Die Walküre has incest between brother and sister, Siegmund and Sieglinde, as one of its main themes. Siegfried’s beloved Brünnhilde was fathered by Wotan, his own grandfather, and is thus his aunt as well as his mistress. Magee suggests that some listeners dislike Wagner’s music because it arouses or puts them in touch with unconscious desires which they cannot accept and are compelled to repudiate.

she and Wotan are also both sister and brother, and wife and husband.

Silver worked: small, thick silver coins that were often minted locally. The Frisians minted them with the old god Wotan on one side, with spiked hair, a drooping moustache and eyes that stare out like goggles; and on the other side a serpentine kind of monster with clawed feet and a high tail. The Anglo-Saxons in England imitated the Frisians, and put a creature like a porcupine on their silver, or sometimes a king.41 These silver deniers were scarce in all the wide Frankish territory until the Franks grabbed Frisia and its mints in the 730s.

Wotan of Walhalla,