Adolf Hitler death by suicide, April 30, 1945 |
Why he would draw on such a diverse range of esoteric resources belies what he believed his sacred task to be, nothing less than the creation of a Third Reich, a third world-spanning empire. This third empire was to assume the historic mantle lost by the first two, the First Reich being the Holy Roman Empire, and the Second Reich, the Germanic Empire, which lasted roughly from the early 1870s until almost 1920.
(This Second Reich culminated in end of WWI and the beginning of the ‘Weimar Republic’ in German history, perhaps best known (to non-history buffs) as the rich setting for the film musical ‘Cabaret’.)
As portrayed in two of the Indiana Jones movies, (Raiders of the Lost Ark, and The Last Crusade) Hitler and his minions (including Heinrich Himmler and Josef Goebbels) were obsessed with the Occult. They were also obsessed with the hunting down and claiming as many religious and mythological artifacts as they could, from as many cultures as they saw fit to pillage, (along with other valuable works of art).
They hoped these supposedly powerful relics would contain some type of mystical energy to fuel what they believed to be Germany’s right to empire, and thus prove it was preordained all along by some higher authority.
Those relics included the Spear of Destiny, also known as the ‘Holy Lance’ (which was supposed to have been used to pierce Christ’s side during the crucifixion), the Holy Grail, thought to have been used at the Last Supper, and the Ark of the Covenant (this final relic is debatable as to whether the Nazis actually searched for it, or not.). The Nazis also consulted the prophecies of Nostradamus, looking for justification for their conquests. (Hitler was well aware of the quatrains in those ancient predictions that seemed to refer to him.)
He was also aware of the philosophies of occultists like Madame Petrovna Blavatsky, and her (once)
Madame Helena Petrovna Blavatsky |
Surprisingly (to many), this false ‘science’ (eugenics) actually started in the very heart of the U. S., and later migrated to Germany. Its practices included the medical abuses of the infirm and mentally handicapped, unwanted sterilizations, medical torture in the name of science, and a growing idea that some human beings were more ‘human’ than others.
In addition, the entire eugenics movement may have been sparked or inadvertently influenced by the work of Charles Darwin. In fact, the first person to coin the phrase, ‘eugenics’ and the philosophy behind it, was a distant cousin of Darwin’s named Francis Galton, a scientist in his own right.
The Nazis also searched for artifacts of other cultures, religions and belief systems, spending an inordinate amount of time, money and military resources in their vain quests. The eventual loss of these valuable resources most likely contributed to their losing the war.
Also of great significance to Hitler’s need for justification for his unborn Reich was finding definite proof of the existence of the mythical Aryan race and culture.
Of course, such a race, as conjured up by the Nazis for their own benefit, never actually existed. Even more oddly, once they ‘made up’ the Aryans, they spent an inordinate amount of time and money trying vainly to find their fictional race of ancestors.
‘Aryan’ is at most a blanket term that could be used to describe several races and peoples, real or imagined, from the mountain ranges of India to various parts of the Asian and Eastern European continent. The Nazi idea of the ‘ideal’ Aryan (oddly for culture obsessed with racial purity), was an almost bastardized mixture of ALL of these non-European peoples, very few (if any) of them blue-eyed or with blond hair, but, instead, more Hindu and (east) Indian.
Hitler also looked to music for inspiration for his empire. For this task, there was no better choice than Richard Wagner.
Wagner and Hitler were a good fit culturally, though the composer had been dead for many years before Hitler’s rise to power. Richard Wagner (1813 – 1883) was virulently racist and anti-Semitic. He especially despised his contemporary Jewish composers such as Mendelssohn (1809 - 1847), and was loath to conduct their music. (Paradoxically, he also admired Heinrich Heine, and had Jewish patrons and admirers. In this, he was also like Hitler, whom, it was rumored, hid Jewish ancestry in his family tree.)
On the other hand, his own music was thrilling, bombastic, heroic, and soul stirring, almost offensively steeped in a nationalistic machismo, a self-serving almost bloated mythology, which not only attracted Hitler, but inspired him as well, from a very young age. (Hitler was so taken with the visions of heroic jingoism in Wagner’s music he had it played in concentration camps for the ‘benefit’ of the Jewish prisoners, as if hearing it would purge them of their ‘unfortunate’ Semitic tendencies.)
Even today, Wagner’s music has an oddly larger-than-life, heroic power that stirs even the most sedate and civilized audience with images of adventure, sacrifice, and glorious battle. Wagner’s own idea of his cult of personality is ingrained the music, which has also woven its way into the fabric of modern opera itself. The figure of the Valkyrie Brünnhilde, with her horns, furs and breastplates, spear and shield, has become a caricature and de facto symbol of modern opera, at least to the general public.
In fact, Wagner’s music is so powerful that Hollywood has used many of his musical conventions and motifs in soundtracks for years. (From a more personal perspective, it is also extremely electrifying to actually perform this music.)
Of course, such a race, as conjured up by the Nazis for their own benefit, never actually existed. Even more oddly, once they ‘made up’ the Aryans, they spent an inordinate amount of time and money trying vainly to find their fictional race of ancestors.
‘Aryan’ is at most a blanket term that could be used to describe several races and peoples, real or imagined, from the mountain ranges of India to various parts of the Asian and Eastern European continent. The Nazi idea of the ‘ideal’ Aryan (oddly for culture obsessed with racial purity), was an almost bastardized mixture of ALL of these non-European peoples, very few (if any) of them blue-eyed or with blond hair, but, instead, more Hindu and (east) Indian.
Hitler also looked to music for inspiration for his empire. For this task, there was no better choice than Richard Wagner.
Richard Wagner |
On the other hand, his own music was thrilling, bombastic, heroic, and soul stirring, almost offensively steeped in a nationalistic machismo, a self-serving almost bloated mythology, which not only attracted Hitler, but inspired him as well, from a very young age. (Hitler was so taken with the visions of heroic jingoism in Wagner’s music he had it played in concentration camps for the ‘benefit’ of the Jewish prisoners, as if hearing it would purge them of their ‘unfortunate’ Semitic tendencies.)
Even today, Wagner’s music has an oddly larger-than-life, heroic power that stirs even the most sedate and civilized audience with images of adventure, sacrifice, and glorious battle. Wagner’s own idea of his cult of personality is ingrained the music, which has also woven its way into the fabric of modern opera itself. The figure of the Valkyrie Brünnhilde, with her horns, furs and breastplates, spear and shield, has become a caricature and de facto symbol of modern opera, at least to the general public.
In fact, Wagner’s music is so powerful that Hollywood has used many of his musical conventions and motifs in soundtracks for years. (From a more personal perspective, it is also extremely electrifying to actually perform this music.)
It’s more than coincidence that Peter Jackson’s Lord of the Rings cycle, based on the Tolkien trilogy, uses ‘Wagnerian’ musical phrases to portray the inherent evil of the ‘one ring’, its power, and any who wields it.
This draws on a long-standing argument among fans of Wagner and Tolkien whether their two Ring cycles are related, or, at least, drawn from the same Germanic folkloric sources. Even Tolkien himself has denied this; though his cycle is almost exclusively about races of beings, some of which are ostensibly ‘superior’ to others, and the contention over a ring of power that would confer even more status on the wielder (along with their eminent downfall.)
Richard Wagner: loved, hated, reviled, and respected, composed the soundtrack for a failed empire that would rise and fall more than sixty years after his death, ending as ‘un-heroically’ and unceremoniously as it had begun, with capsules of steel and cyanide in a cramped, garishly over-furnished, poorly illuminated bunker.
This draws on a long-standing argument among fans of Wagner and Tolkien whether their two Ring cycles are related, or, at least, drawn from the same Germanic folkloric sources. Even Tolkien himself has denied this; though his cycle is almost exclusively about races of beings, some of which are ostensibly ‘superior’ to others, and the contention over a ring of power that would confer even more status on the wielder (along with their eminent downfall.)
Richard Wagner: loved, hated, reviled, and respected, composed the soundtrack for a failed empire that would rise and fall more than sixty years after his death, ending as ‘un-heroically’ and unceremoniously as it had begun, with capsules of steel and cyanide in a cramped, garishly over-furnished, poorly illuminated bunker.