The initiation of the collection from the spirit of German Romanticism

At an exhibition of the fine arts of Romanticism in Great Britain about 10 years ago, a line was drawn from German Romanticism to German Fascism. The gloomy, the longing for death, the German national, the sultry and pathetic - there are certainly traits in Romanticism that justify this assumption; In a broader perspective, however, these are only a minor aspect. In my opinion, the real moments of German Romanticism can be seen in the neo-pagan, Medieval, pantheistic, but also counter-Reformation, Catholic-restorative currents. In a certain sense - and here, in my opinion, Heine's being justified to a large extent in German Romanticism - is also a longing for the undivided affirmation of nature in opposition to the flowering of this through the Augustinian-Christian tradition. One could say with a certain right that there was also a renaissance of pagan folk culture in German Romanticism, which, regardless of the canons of the churches, had always retained an intellectual freedom. The fairy tales of the Brothers Grimm are also there, let us not be fooled by a few insertions of sentimental and pious values, in their unconditional and undivided affirmation of life in marked contrast to church doctrine.
In the section on the textual genesis of Grimm's fairy tales, it has already been described how the text collection emerged from a second "Wunderhorn" volume intended by Clemens Brentano and Achim von Arnim. The Grimms were also committed to the national, romantic zeitgeist in this environment, if only because of their mentors. Thus, among other things, the frequent origins of the stories from French were veiled: - but this, as well as the belittling of the Biedermeier period, insertions of pious and weakening of erotic scenes, in my opinion, has no real weight. The real reasons for the preference in German Romanticism for fairy tales or other literary forms of folk literature such as legends, sayings, anecdotes and wisdom tales can be seen in the fact that they are in their emphasis on feeling, the intuitive and imaginative, their nature-loving religiosity and The sensuality of her fatalistic affirmation of life, but also of her lusty, grotesque-absurd features found a relaxing contrast to the mental one-sidedness, intellectual rigidity, bigotry and untruthfulness of the "official" cultural history.

Why shouldn't one say it: Wilhelm Grimm was the more important personality compared to his brother Jakob not only in terms of the scope and direction of his work, but also in terms of his contribution to the characteristic development of the fairy tales. Wilhelm Grimm practically fulfilled what one could hope for from a last trader of this folk literature: deep intuition for the content and meaning of the primal scenes of the fairy tale pictures, a passionate and personal relationship to this content and, last but not least, language power and stylistic confidence. Jacob's interest in the Collactaneen had later waned after initially, even as the older brother, he showed greater commitment in initiating philological collecting and commenting. After the first publications in 1812 and 1819, he turned more to work on the German dictionary; a work of almost immeasurable workload, which also served Rilke, for example, as a stimulating compendium.
It was more Wilhelm who found the fairytale tone more and more in the development and the unfolding of the texts in the course of the editions from 1810 to 1857 that made the children's and household tales Jacob and Wilhelm Grimm the most successful book in literary history after the Bible permit.

A frequent accusation that has been made in recent times of the fairy tales of the Brothers Grimm is the occurrence of descriptions of the most brutal cruelty. Undoubtedly, - mutilations, deaths by fire, drowning in wells, being torn to pieces by wild animals, tearing oneself in two, breaking bones - there are descriptions of this kind in almost every fairy tale. These, however, lose their brutal appearance when you, and so on it usually happens through the non-reflexive listener as images of inner-soul conflicts and developments are perceived. An external view of the fairy tale pictures deprives you of their deep meaning; All that remains is the really cruel shell of the picture. As already mentioned, it is significant that in a cinematic implementation of these fairy tale images, through the omission of the intuitive inner level of meaning and the only remaining external action scene, in the suspension of the visual language through the image surface, the cruelty comes to the fore in such a separate manner that the producers feel compelled to change the scenes. So then, for example, in the Simsala Grimm production, the wolf has to be disposed of under general anesthesia in an operating theater of the seven little goats.
The Grimms themselves have also been accused of the fact that fairy tales are often too cruel: Wilhelm Grimm was confronted, among other things, with Achim von Arnim's accusation that the morality "How the children of Schlachtens played with each other" was too cruel and could do it Encourage children to imitate: Wilhelm could only justify himself by saying that his mother had already told them the fairy tale about the slaughter and that it had just made him cautious and anxious when playing.
It is mostly the misunderstanding of seeing external images and not figures of an internal event in the images and archetypes of fairy tales, which allows the cruelties, stripped of their internal meaning, to come to the fore in such a "naked" way. There is a similar misunderstanding of mythical narratives in the
to see the historical-critical reception of the narratives of the Old and New Testaments. Even with the diminution of these texts to their external, historically and rationally verifiable moments, the understanding of the actual content, the pictorial representations of human existence, is lost.

The frequent motif of the disgruntled stepmother trying to kill her children, the image of the witch and the redemption of the heroine in the arms of her "king" - there are many images in the fairy tales of the Brothers Grimm that have recently been accused of misogyny who have provoked misogyny. Indeed: although fairy tales appear in the collection in which, as in Allerleihrauh, an incestuous and abusive harassment of the father against the daughter forms the starting scene of the stories; - in the majority of the stories the story is based on the image of the daughter prevented from living by the stepmother.
I do not think that this fact can be explained by a misogynous attitude of the traders and the editors. (The Grimms also introduced the stepmother, since the image of the mother hindering their own daughter's life was too explosive for them).
It has already been described how much - confirmed by the above-mentioned investigation from Pomerania - the traders, the narrators, have shaped the stories according to their feelings. The preferences and preferences of the narrators naturally also had an impact on the selection of the narratives. The unquestionable overrepresentation of fairy tales with a mother-daughter plot; In the Collactaneen of the Brothers Grimm or their greater popularity, this can perhaps be explained by the fact that, as Professor Rölleke writes, "telling fairy tales was a domain of women," as yes
The Grimms' informers were almost exclusively women, and that the mother-daughter topic was more important to them.

"Grimm's fairy tales don't work at all," confided an experienced audio book representative at the Frankfurt Book Fair. Even the sales of even ambitious reader editions of Grimm's fairy tales hardly suggest that this collection can still be regarded as the most translated and widely circulated German-language literature. On the other hand, the interest in hermeneutic literature on Grimm's fairy tales and fairy tales in general has grown significantly. It seems that a generation that has grown up with these stories as if with living images, spans a wide range in a second existential-psychological reception (in a vital interest), to their first childlike, intuitive encounters with the fundamental (eschathological) Questions about love, death and victory over fear.
Eugen Drewermann: »All interpretation methodology and art of interpretation
is well advised if you familiarize yourself with the self-evident, unconscious way of interpreting fairy tales, which children still have at their disposal in an unbroken form
takes an obligatory example. In any case, depth psychology can and does not want to achieve anything other than consciously, with scientific means, to trace what every child unconsciously does when hearing a fairy tale: it grasps very precisely that the fairy tales, the myths, the great dreams of the peoples, their own express your own moods, feelings and conflicts and answer them in some way. The child is able to understand the symbolic language of fairy tales and myths because he himself unconsciously lives in these ideas; depth psychology can and must try to unlock the consciousness for the content of the unconscious and to interpret fairy tales and myths accordingly. "
But, if one does justice to the fairy tales with an interpretative-analytical approach; Do you not lose your innocence in the process, do you disenchant the essence of these narratives with hermeneutic considerations, their intuitively tangible imagery, and thereby deprive them of their intensity?
I believe that through a rational occupation with the meaning of fairy tale scenes and also myth-related texts, one does not lose the ability to be able to indulge in the narratives again in an intuitive way, possibly to an even greater extent. For me as a speaker, too, it is enriching to be able to make the way back to the emphatic from an extended background; In any case, however, I want to avoid using the language to point to a content quasi as if with the finger. In this context, it is also instructive to use the text unfolding and changes in the children's and house tales in the editions from 1810 to 1857 to try to understand how much the Grimms themselves understood the fairy tales.
An excellent instrument for approaching fairy tales with hermeneutical intent can be given, as Eugen Drewermann suggests in his book "Depth Psychology and Exegesis", by being able to alternately take a mutually penetrating subjective, objective and phenomenological perspective.
(Here follows an explanation of the objective (Freudian), subjective (Jungian) and existentialist-phenomenological approach)

“In these songs you can feel the heartbeat of the German people. Here all his gloomy serenity is revealed, all his foolish reason. German anger drums here, German mockery whistles here, German love kisses here. "(Heinrich Heine on the folk song collection" Des Knaben Wunderhorn ")
The short quote from Heine's romantic school very nicely expresses what was already said in the section on the initiation of the Grimm fairy tale collection from the climate of German Romanticism with a renaissance of paganism, the rejection of the intellectually one-sided, the turn to the intuitive, to feeling, was said about the "undisguised sources of the imagination" and above all the undivided, integrative understanding of man and nature, sensuality and religiousness. (Novalis: "I don't have love for Söphchen, but religion") But - what basic feeling, what
The premises of the basic concept of the world and of man in folk literature represent the concept of man in the Christian-canonical occidental culture
opposite to. In order to discuss this question, I will go back a little further.
The consolidating Roman Catholic Church had fought a bitter struggle against Christian Gnostic groups in the first centuries of its formation. Marcionites and Valentinians, barbelognostics, Manichaeans and Ophites; the reports of the haeresiologists give eloquent testimony to this exclusion. Adolf von Harnack had even asserted that "Catholicism was built against Marcion". To this day, with reference to the creation account, the church sees itself in positive contrast to the dualistic worldview, the world negation of the Gnostics. The philosopher Hans Blumenberg also formulated that “the formation of the Middle Ages can only be understood as an attempt to provide final protection against the Gnostic syndrome. To bring back the world as creation from the negativity of its demiurgic origin and to save its ancient cosmos dignity over into the Christian system, was the central effort that reached from Augustine to the high scholasticism. "
And Odo Marquard also speaks of the Gnostic relapse. (Relapse - a term from medicine; it denotes a recurring clinical picture) With Augustine, however, according to Marquard, »the desideratum of the relief of the Creator God and his world in the Middle Ages leads to the invention and fundamentalization of human freedom: it becomes - where no longer in the biblical ancient form the matter it can be - post Christum natum et mortuum the great alibi of the Creator God: not an evil God (the Demiurge) has created an evil world that must be redeemed through its end, but the free man has misused his freedom for Sin and thereby spoiled the world, which nonetheless - this can then be emphasized by scholasticism - fundamentally remains the good creation of a good God, omne ens est bonum. "
But, I mean - human freedom with Augustine only means that man was only just free to become guilty of committing original sin; - On the basis of this original sin, every human being was declared sinful from birth in genealogical fate; he was now
but unfree, because ethically unprofessional and dependent on predestination and sola gratia, the grace of God.

“Listen, God! Woe to the sins of men! -And this is what a person says, and you have pity on him, because you created him and did not create sin in him. Who remembers the sin of my childhood? before you no one is pure from sin, not even the child who is only in the world for one day. "(from the Confessions of Augustine)
Perhaps that has not been seen enough up to now: Gnostic vulgar dualism, world negation, is carried here into people themselves. From there there is only the way to deep unconfidence in people, to the separation, demonization and condition of elementary beings of the human nature. It is always fruitful to follow Nietzsche's recommendation and to consider the thinking of a philosopher or church father in close connection with his life: Both Augustine and the Augustinian monk Luther's moments of self-contempt, the desperate realization of one's own moral bondage (just being arbitrary and unsolicited for Augustine the straightening member was a compelling sign for this) have found their way into doctrine and dogma; they are the very personal interfaces of a world doom.
So, in my opinion, with Augustine, but also with Paul, with Christianity, there has been a shift in the assignment of evil from the world to the world
Given to people. I already referred to the power-political implications of an Augustinian image of man in connection with the mention of Elaine Pagel. "Homo homini lupus", man is man's wolf; the scenario pointedly portrayed later by the English philosopher Thomas Hobbes in his "Leviathan", that in order to be able to live reasonably happily in peace and quiet and to appear as a creator of culture, man must hand over a good part of his freedom to a sovereign, now To be ruled by this in the community is an eloquent echo of the Augustinian image of man. Augustine belonged to the Manichaeans for about ten years; an already strongly canonized and widespread Gnostic Church. (It remains to be investigated to what extent the strict dualism of the Manicheans, as an archetypal moment of untrust, shaped itself over Augustine, Luther, Calvin and the following Protestant and Reformation currents
American society has had an impact and is returning to Europe through its cultural omnipresence.
"Everyone is lost in himself and ruined ... There is no danger that a person will humiliate himself too low, so he understands that he is looking for all that in God
must what he lacks ... Cursed be he who trusts human existence and builds his virtue on the flesh. We are called - not according to our virtues, but according to the choice and grace of God. «This quote from Calvin expresses the darkest Augustinian image of man.
The Gnostics of the first three centuries, however, were never a homogeneous religious community. The spectrum ranged from groups who expressed their contempt for the world with rites to glorify sterility and who perhaps experienced a late, flirtatious echo (or here really a relapse) in Cioran's "Born of Disadvantage", to those who to whom the world negation only offered an existential image, an emotional scene, an inner provocation in order to actually win life in an independent existential process, quasi in a gnostic turn. These are more ambitious models that, also in terms of their high demands on people, have analogies to Buddhist paths
Individuation, to the "double movement" of "despair" and the "choosing" of Sören Kierkegaard and actually also to the image of Jesus
of Nazareth have.
It was precisely these groupings of the "bright" Gnosis who had, as a community, and that too, I think, of their trust in people, more free,
anarchic, that is to say, structures free of domination; Women had the same share as men in ritual and community life; there was a contrast here
no gender assignment of the evil one to the Pauline Church; and as great as the desire was to fantasize flowering mythological systems, the inclination to
Dogmatization and canonization was little - and: even with projections of the most blatant world negativity; - Gnostic dualism and its
After all, the "assignment" of the malignant contained the possibility of affirming man as the bearer of a pneumas of the good outside of the world; as
a being based in this connection, previously good, fell into a hostile world.
 “You are great, Lord, and to be praised highly, and your power and your wisdom are immeasurable. And man wants to praise you, a miserable outline of your creation, yes man who carries around his dying being, carries around the testimony of his sin and the testimony that you resist those who are highly competent. And yet man wants to praise you, a poor outline of your creation. ”This is how the confessions of Aurelius Augustine begin. In the first part of the section Augustine quotes from Paul's letter to the Corinthians. Here we encounter the tradition of an image of an unbridgeable gap between God and man. 

The patriarchal creator of the world, whose "demolition of creation" fell out of the omne ens bonum est through his own fault (more precisely, through the fault of the woman), stands as a punishing superego inaccessible to the "highly competent".
The human being as "dying being" and "bearer of the testimony of his sin", because death and sexuality are part of the punishment, is incapable of opposing the malignant parts in himself; even if he tried, he remained at the mercy of the unfathomable predestination and grace (and constant observation) of patriarchal God.
In the "Antichrist" Friedrich Nietzsche expresses in a passionate lucidity how the gospel, the "good news" of the imago of Jesus of Nazareth overwhelmed his earliest followers and had to be escaped into a dysangelism by Paul's clerical nature. The "antichrist" Nietzsche reveals himself here - and this has perhaps not yet been seen to the extent it deserves - as an ardent advocate for a truly Christian "practice", for "a life like the one who died on the cross, lived it".
The son of a Protestant pastor had gathered enough anger in his body in the early fatherless house under the aegis of a pious women's community of aunts, mother and sister to recognize: Christianity, which actually least deserves this name, the "actually existing" Christianity, the morality of self-denial »reveals a will to the end, it essentially denies life. «
(once more Monnica, the mother of Aurelius Augustine :)
“My son, as far as concerns me, nothing in my life has any more charm for me. What I'm still doing here, why I'm still here at all, I don't know, because I no longer expect anything from this temporality. There was only one thing that made me want to live a little longer: I wanted to see you as a Catholic Christian before I died. My God has granted me abundantly: I am allowed to see you as his servant, since now even happiness on earth means nothing to you. What am I still doing here? "(From the Confessions of Augustine)
It is also due to Nietzsche to have shown how much the doctrine of negation of life and untrust in people, the psychology of its powerful apologists, is based and urges the translation of "I perish" into the imperative "you should all perish" .
“The hidden vindictiveness, the little envy mastered! Everything pathetic, in-self-suffering, afflicted by bad feelings, the whole Gettho-world of the soul all at once on top. Just read some Christian agitator, St. Augustine, for example, in order to understand, in order to smell what unclean fellows got on top of it. "(Nietzsche to Augustine -" The Antichrist ")
Maybe everything can be focused on the basic question. Is given to the human being through the earliest biographical moments of deep sensation that
Confirmation of his temperament as that of an unconditional trust or has the repressed feeling of trust remained great enough to
wanting to regain them. A Russian proverb, I only vaguely remember it from Fyodor M. Dostoyevsky's "Notes from the House of the Dead", reads: "But he had a mother too." were guilty of the most unimaginable crimes. It expresses that in the parent-child relationship there is an inherently principled possibility that actually stands in stark contradiction to the crimes.
How much the propagated untrust in people in our culture may have affected, for example, how parents affect their children
I want to deal briefly with others and thus actually in turn stir up the alien nature of untrust. First of all, the passage already quoted from the Confessions of Augustine: “Who makes me remember the sin of my childhood? Nobody is pure from sin in front of them, not even the child who is only in the world for one day.Augustine endeavors to substantiate this belief in several following sections: the child cries, shows obstinacy at an early age, takes advantage of parental care etc., is actually bad per se, and remains so if one does not treat it accordingly from the beginning with this in mind. But no mother on earth who was holding her little child in her arms would think of herself that her child
is a priori and essentially sinful. Only if this thought is imposed on her in advance does she, contrary to her instincts, become an artificial distance
to the child true. The artificial distance to the child is part of a basic climate of the culture of untrust in Western history. The infiltration of the parental instincts through an untrustworthy ratio, through a canon of untrust, throws the child into a desperate opposition, an irreconcilable alienation to its archetypal self.
In the 60s there was still a widespread guide and education book for young mothers that told mothers not to take in their crying child if there was no apparent reason for the crying; With the well-known justifications that the child can be pampered, take advantage of the care later and must learn early on that it will not get every wish fulfilled. (The "strengthening of the lungs" and the idea of ​​hardening are only mentioned in passing). I met a few friends and acquaintances who, following the recommendations of this book "The Mother and Her First Child" by Dr. Johanna Haarer, were brought up. That this title had the highest editions under the title "The German Mother and Her First Child" even during the Nazi era and that Dr. Johanna Haarer was the Nazi educator, was either forgotten or tacitly accepted. (In the otherwise unchanged new edition from the 60s, only chapters such as "I tell my child about the Führer" were removed.)

In the forms of devotion to Mary, a female divinity, a pagan fertility idol, has expressed itself within the patriarchal church
can. (The church has always understood well how to discriminate images and rites of other religions as pagan, but at the same time to integrate these popular myths and rites into their canon) The church was able to allow this, since according to church dogma Jesus was the Son of God and not an essential one sinful human child. But this dogma faded into the background, especially in the pictorial representation of Mary in the Renaissance. The image of a mother emerged, the greatest closeness to the child, a feeling of security, an unconditional acceptance and at the same time with joyful and relaxed trust, observing the self-reliance and withdrawal movement of her child. In parts of existentialist-nihilistic thinking there is often talk of the "catastrophe of birth". In this picture as the experience of a catastrophic fall from prenatal security to a contingent one
Existence, the Gnostic "recurrence" of the "fall" of the pneumatic being man into a hostile world can be heard again.
In some images of Mary, however, as just indicated, another image of life appears; the existential possibility, from a parentally conveyed sensation of unconditional acceptance and unconditional trust, the "in addition," the richness, beauty and diversity of
To be able to discover the world.
My feelings after the birth and in the first years of our daughter are still very much in my mind. On the one hand there was the impression of the big one
The will to live, the desire to see, touch and hear, the unimpeded openness of an earliest personality; the picture of the still shaky
Head that, with wide eyes, happily and excitedly turned to every movement and every sound around it. On the other hand, I became aware: the big one
Vulnerability, the immeasurable possibility of disappointment.
I will never be able to speak of the "catastrophe of childbirth"; But that was my feeling: Existence can lead to catastrophe, to
Lifelong basic feelings of untrust, lead to bottomless contingency and unsteadiness, if the child does not start from the beginning, in his own time
Transitional, be it from rational infiltration of instincts or social and personal-psychological hindrances, a continuous feeling of unconditional acceptance and security, but also at the same time that of joy and respect for his freedom, his independence and earliest
Personality can be met. )
In this context I would like to read a longer section from the text "I gave birth to you in pain" - On the psychology of the mother
Child bond "by the Zurich psychoanalyst Andreas E. Benz quote:
“The mother's relationship with her newborn child is not only shaped by her own history and the reality at the time of birth, but also by cultural ideas about the“ nature ”of the newborn. In Europe, the idea prevailed for a long time that the newborn is physically and genetically shaped by father and mother - (...) psychologically and culturally, however, it is commonly experienced as a blank slate on which the parents put their educational signature, their imprint. The child is wax in the hands of the parents, who are responsible for the shape that is created. But it is different in Africa, where one of the most important tasks of the parents is to recognize the "nature" of the child, that is, to feel where it comes from, which ancestral soul has embodied itself in it. If the parents do not succeed in recognizing the "nature" of the child, which is often reflected in the correct naming, it could be that the newborn does not feel accepted on this earth and returns to a "beyond". Essential for
These different cultural ideas are the extent to which the newborn is already considered a fully-fledged interaction partner of the parents, as its own personality. (Also) the psychology of the 19th and 20th centuries, including psychoanalysis, for a long time saw the infant primarily as an "immature", "needy" and "dependent being;" Only recently has modern baby watch research by Davis Stern revised this picture in favor of a much more mature, competent and complex little person who, from an early age, actively helps to shape the relationship with the mother through his or her individuality.
 The "gloomy serenity," "his foolish reason," "here is the drums of German anger, here the German mockery whistles, here the German love kisses."
The romantic Heine was looking for relaxation in the atmosphere of "talking tails", the undisguised gaze of folk literature.
I would now like to cite a few examples from the fairy tales of the Brothers Grimm, which illuminate the sphere and the thinking of folk literature as a free space. the
Sphere of life of a free spirit in which thinking and feeling have preserved their identity, where an instinctive knowledge of the "final questions" on the basis of an unconditional basic trust in people is expressed in passionate images. The very possibility of a self-reliant way of redemption, a "rebirth", shown in the pictures of the fairy tales, stands in stark contrast to the doctrine of predestination and grace of the Catholic-Protestant tradition. The patterns of existential and that means religious personal responsibility against the background of an archetypal affirmation of life, which find their expression in folk literature, have analogies rather in Buddhist, in the bright forms of Gnosis, the heretics and heretic groups of the Christian tradition and with poet-philosophers like Kierkegaard , Holderlin, Nietzsche, Heine or Dostojewskij.
In the early version of the fairy tale "The God of Death", the father of the 13 children shows a refreshing disrespect for the "dear God". On his patronizing offer to “make the 13th child happy on earth”, the Father rejects God, with the words: “I don't want you to be my godfather, you give
the rich and starve the poor "and" left him standing. Wilhelm Grimm then replaced the humiliating "let him stand", as already mentioned, with that
tried theodicy: "This is what the man said because he did not know how wise God distributed prosperity and wealth."
Wilhelm Grimm thus replaced a popular element of distance from a patriarchal, gracious God with an explanatory model of the doctrine of predestination and grace that already reached into the Calvinist direction with regard to the material. But - as with so many attenuations and modifications of the Grimms, so here too: the actual climate, the intellectual background of the story remains unaffected. In the case of "The Grim Reaper" this is the cyclical worldview, which is very nicely expressed in the "cave picture" of the fairy tale:
"When Death saw himself betrayed of his property for the second time, he walked up to the doctor with long strides and said: 'It's over with you, and now it's your turn, grabbed him so hard with his ice-cold hand, that he could not resist and led him into an underground cave. Then he saw a thousand and thousand lights burning in unmistakable rows, some large, others half-large, others small. At any moment some went out and others burned up again, so that the flames seemed to be in constant change. You see, said Death, these are the lights of life for men. The big ones belong to children, the half-big spouses in their prime, the small ones belong to old people. But even children and young people often only have a little light. -, Show me the light of my life, said the doctor and meant ...?
The worldview of the cyclical in this picture is related to Indian, pagan and natural religious conceptions, in an elementary one
Contradiction to the teleological view of history and the world of canonical Christianity. The teaching of the purposefulness of history, of its confluence
In the kingdom of God, the doctrine of the Last Judgment, retribution and what is actually the hereafter, there is a cyclical feeling in this fairy tale
opposite to; And also in the acceptance, yes, affirmation of death as a complementary to life, in the image of being involved in an eternal becoming and passing away, the basic feeling of the fairy tale contrasts with canon Christianity, which sees death as a consequence of sin, as a collective punishment revenge
God's understanding. (Also the indecent, indecent hubris of the Christian culture's want to live forever, which has translated itself from belief in the hereafter into the contemporary, positivistic frozen heads of the American Survivel Institute, is in contrast to the acceptance, or rather the affirmation of death, against the backdrop of cyclical sentiment.) Once again the popular expectation of a Messiah came to the fore; a historical moment was envisaged: the "kingdom of God" comes to the judgment of its enemies ... But everything is misunderstood: the kingdom of God as the final act, as a promise! The gospel was precisely the existence, the fulfillment, the reality, this "kingdom". Just such a death was
just this "kingdom of God". (from: Friedrich Nietzsche - »The Antichrist«)

The banality and cheapness of the projections of the beyond in the Christian tradition, also as a result of an external view of images of an internal event, with the threatening gestures of purgatory, the promises of the Ascension and the door of heaven, etc., become disrespectful in the fairy tale "The Master Thief" lively glossed:
“… Then the sexton nudged the pastor and said: It would not be a bad thing if we could take the opportunity and get to heaven in an easy way before the onset of daylight. Of course, replied the pastor, those were my thoughts too; if you feel like it, we want to be on our way. Yes, answered the sexton, but you, Pastor, have the right of way, and I'll follow you. So the pastor stepped forward and climbed into the pulpit, where the master opened the sack. The priest crawled in first, then the sexton. Immediately the master tied the sack tightly, grabbed it by the bag and dragged it down the pulpit stairs: as often as the heads of the two gates hit the steps, he shouted now let's go over the mountains. Then he pulled them through the village in the same way, and when they came through puddles he called out through the wet clouds, and when he finally pulled them up the castle stairs, he called now we're on the heavenly stairs and will soon be in the forecourt be. When he got to the top, he pushed the sack into the dovecote, and when the pigeons fluttered, he said he heard the angels rejoicing and flapping their wings. Then he drew the bolt and left. "
In contrast to the vulgar good-bad dualism of Christianity, which ultimately always intends to assign irresistible evil to certain people, groups or peoples, there is also the wisdom of the fairy tale "The Devil with the Three Golden Hairs".
"Evil" in the form of the devil is here an authority from which the young man can learn the wisdom that is decisive for the success of his journey. A mediating force, the devil's grandmother ("What do you want? She said, but didn't look so angry. ...") elicits the three wisdoms of the dry well, the barren tree and the ferryman who is always from the devil with her dream stories has to go back and forth and is not replaced. The mother-in-law, however, has to reassure the devil, who keeps starting up angrily. It does this, what a picture of deep knowledge, by soothing it a thousand times.
Many other fairy tale pictures, such as the three-time descent to the Itschen (the toads) in "The Three Feathers", convey, or better, make the listener feel that a successful path in life is only possible if you fearlessly Seeks out the "underground", experiences the wisdom of this underground instead of repressing and splitting it off.

 It may be important for aural intensity and integrity that the speaker has a certain affinity with the type of trader from the lost culture of the aural tradition. With all caution: Something lonely, at least temporarily omitted from the social, relieved, the hint of a shamanistic character must possibly be inherent in this mediator; and it may not be completely alien to him what Kierkegaard described with the words:
“There are two thoughts that entered my soul so early that I cannot actually prove their origin. The first is that there are people whose destiny is to be sacrificed so that the idea can emerge - and that through my special cross I am one. The other thought is that I would never be able to work for my livelihood, partly because I thought I was going to die very young, partly because I thought that God would give me this in view of my special cross; Suffering and would save this task. Where do you get such thoughts from, yes, I don't know, I haven't read them, nor did I get them from someone else. "
An exaggerated claim, an anachronistic arrogance and regression, an impression that tends to cause discomfort? - but-, the type of trader (often identical to the shaman and the "seer"), did not choose his role, he initially defended himself against the burden of a "vocation", he was surprised at this himself Path; - once more Nietzsche: “Strange! At every moment I am dominated by the thought that my story is not just a personal one, that I do something for many when I live and form and record myself: it is always as if I were a majority and I speak to her intimate-serious-comforting.?