German folklore

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German folklore shares many characteristics with Scandinavian folklore and English folklore due to their origins in a common Germanic mythology. It reflects a similar mix of influences: a pre-Christian pantheon and other beings equivalent to those of Norse mythology; magical characters (sometimes recognisably pre-Christian) associated with Christian festivals, and various regional 'character' stories.

As in Scandinavia, when belief in the old gods disappeared, remnants of the mythos persisted: Holda, a "supernatural" patron of spinning; the Lorelei, a dangerous Rhine siren derived from the Nibelung myth; the fairy Berchta; the Weisse Frau, a water fairy said to protect children; the Wild Hunt (in German folklore preceded by an old man, Honest Eckart, who warns others of its approach); the giant Rübezahl; changeling legends; and many more generic entities such as the elf, dwarf, kobold and erlking.

Christian folklore includes Knecht Ruprecht, a rough companion to Santa Claus; the Lutzelfrau, a Yule witch who must be appeased with small presents; the Osterhase (Easter Hare - the original Easter Bunny); and Walpurgisnacht, a spring festival derived from pagan customs.

Character folklore includes the stories of the Pied Piper of Hamelin, the trickster hero Till Eulenspiegel, the Town Musicians of Bremen and Faust.

Documentation and preservation of folklore in the states that formally united as Germany in 1871 was initially fostered in the 18th and 19th centuries. The Saxon author Johann Karl August Musäus was an early collector, and study was further promoted by the Prussian poet and philosopher Johann Gottfried von Herder. His belief in the role of folklore in ethnic nationalism - a folklore of Germany as a nation rather than of disunited German-speaking peoples - inspired the Brothers Grimm, Goethe and others. For instance, folklore elements, such as the Rhine Maidens and the Grimms' The Story of a Boy Who Went Forth to Learn Fear, formed part of the source material for Richard Wagner's opera cycle Der Ring des Nibelungen.

Some of the works of Washington Irving - notably Rip van Winkle and The Legend of Sleepy Hollow - are based on German folktales.

Within Germany, the nationalistic aspect was further emphasised during the Nazi era. Folklore studies, Volkskunde, were co-opted as a political tool, to seek out (and modify) traditional customs to support the idea of historical continuity with an Aryan culture. Anti-Semitic folklore such as the blood libel legend was also emphasised.

[edit] References

The Nazification of an Academic Discipline: Folklore in the Third Reich (James R Dow and Hannjost Lixfeld, eds. Bloomington: Indiana University Press, 1994. ISBN 0-253-31821-1).

[edit] External links

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