This article should be read in conjunction with http://aryan-myth-and-metahistory.blogspot.co.uk/2013/08/adolf-hitler-wotan-avatar-as-prophecied.html and http://aryan-myth-and-metahistory.blogspot.co.uk/2016/03/further-comments-regarding-die-wilde.html
When I posted the earlier articles I was unaware that Franz von Stuck created two paintings, both of which are titled Die Wilde Jagd. The painting which appears to show the facial features of Adolf Hitler was the earliest of the two works, being painted in 1889, the year in which Hitler was born and clearly this was prophetic in nature. The second of the two identically titled paintings was created 10 years later in 1899. I find it very intriguing that he should revisit this same theme and wonder what the reason may be.
It should be noted that for clarity in the English speaking world the earlier painting is called The Wild Chase and the later one, The Wild Hunt. In many ways the second painting resembles the first particularly in its wild and ferocious nature but the figure who is leading the 'Hunt' has a markedly different face to the one leading the 'Chase'. Apart from this there is not too much difference between the two works which thus begs the question, why bother revisiting this theme?
If we surmise as I and others have that von Stuck was being influenced by forces at work within the racial Collective Unconscious or Blood Memory and that the first work was clearly a prophecy then we logically should at least consider if the second work was likewise a result of similar forces at work.
Carl Gustav Jung was the first person to recognise that Hitler was an avatar of Wotan (see Wotan, 1936 and his lesser known essays After the Catastrophe, 1945 and The Fight with the Shadow, 1946). This avatar theme was later developed by Savitri Devi and in the later works of Miguel Serrano. Remarkably in his most accessible and mainstream work A Record of Two Friendships, 1966 Serrano publishes a letter dated 14/9/60 which he received from Jung:
"They have a high degree of autonomy, which does not disappear, when the manifest images change. When, for instance, the belief in the god Wotan vanished and nobody thought of him anymore, the phenomenon originally called Wotan remained; nothing changed but its name, as National Socialism has demonstrated on a grand scale. A collective movement consists of millions of individuals, each of whom shows the symptoms of Wotanism and proves thereby that Wotan in reality never died, but has retained his original vitality and autonomy. Our consciousness only imagines that it has lost its Gods; in reality they are still there and it only needs a certain general condition in order to bring them back in full force".
Hitler himself may not have been conscious of this connection with Wotan and if he was no doubt for all sorts of reasons he would have discouraged any such associations, preferring instead to refer to his mission as being at the direction of divine providence and other such nebulous terms. He was certainly familiar with the theories of Ariosophy via his readings of Ostara magazine published by Jörg Lanz von Liebenfels who after the war claimed to have met Hitler in 1909 and gave him some back copies of Ostara magazine for free. It is also possible that their paths may have crossed earlier when von Liebenfels as a Cistercian monk was staying at Lambach monastery for several weeks in 1898. His normal monastery was located at Heiligenkreuz. Between July 1897 and January 1899 Hitler attended Lambach monastery for singing lessons. (See Appendix E of The Occult Roots of Nazism. Secret Aryan Cults and their Influence on Nazi Ideology, Dr Nicholas Goodrich-Clarke, 1985)
According to the historian John Toland Hitler composed the following poem concerning the God Wotan whilst a soldier in the trenches of 1915;
"I often go on bitter nightsTo Wotan's oak in the quiet glade
With dark powers to weave a union-
The runic letters the full moon makes with it magic spell
And all who are full of impudence during the day
Are made small by the magic formula! my formula blessings and prosperity
They draw shining steel-but instead of going into combat
They solidify into stalagmites.
So the false ones part from the real ones-
I reach into a nest of words
And then give to the good and just
With my formula blessings and prosperity." (page 64, Hitler, John Toland, 1976)
It is widely known that Hitler was an accomplished artist although his work has been derided since 1945 but very few people are aware that he also dabbled in poetry too. Mr Toland does not cite any sources for the poem but it is clear that his biography (one of the most masterful) did consist of original research and unlike many others he does show the human side of Hitler. I have found on the Internet the aforesaid poem in its original German but again I cannot vouch for its authenticity:
„Ich gehe manchmal in rauhen Nächten
Zur Wotanseiche in den stillen Hain,
Mit dunklen Mächten einen Bund zu flechten -
Die Runen zaubert mir der Mondenschein.
Und alle, die am Tage sich erfrechten,
Sie werden vor der Zauberformel klein!
Sie ziehen blank – doch statt den Strauß zu flechten,
Erstarren sie zu Stalagmitgestein.
So scheiden sich die Falschen von den Echten -
Ich greife in das Fibelnest hinein
Und gebe dann den Guten und Gerechten
Mit meiner Formel Segen und Gedeihn.“
I realise that I may have veered slightly off topic here but this diversion has been necessary. If the image in the first Die Wilde Jagd was indeed a prophecy of the coming Wotan avatar, Hitler can we not speculate that the image in the second Die Wilde Jagd may also be a prophecy of the next and final avatar, Wid-Ar, the reborn Woden? Cetainly his features are very clear and we must not dismiss this idea out of hand.