Of flying Dutch and wandering Jews

With beautiful photos there is never any sparring in the folk songs and musical adaptations of the sage vom “Fliegenden Holländer”. The black Geisterschiff is one of the many abilities that Kapitäns can achieve with blutroten by crossing Clouds and Nebel or through the Wellen Empire. Mitunter züngeln Flammen und de Mastspitzen. Pfeilschnell, who flies, is proud of Sturmböen, a novice Schiffe heran and fährt as labeled by his hinterland. In the manchen Variants der Sage with skeletons in the Southwest and deck messages, the paint skies serve Kapitän, the black cloak and with wehendem Haar on Steuer Steht. If you use the name „Fliegender Holländer“ of the Spukschiff, später the paint airs Kapitän. During the devil’s pact, the free re-examination of God or Mord it is certain that the world will eventually stop working. So when the ship advances, the wind changes, when the fog comes out or sinks into the waves. Grauen erfasst de Seeleute, which is to see, is a sign of disaster, Havarie or shipwreck.

The Ursprung dieser Sage is not in use. Wahrscheinlich has a diverse überlieferte desire of an erzählung verdichtet, which was then spun zur Sage. It is possible that the mirage enters the Schiffe and the Treuerlos Treibende Wracks. Auch Sankt-Elms-Feuer bei Gewitter as spukhaft wirkende electric Ladung an Mastspitzen lässt themselves beobachten. It may be that in the phase of the 15th and 16th centuries you can get rid of the installation of the sturmumtosten capsules. In the Kap-Gegend there were reports about the “Fliegenden Holländer”.

Nur die Liebe brought Erlösung

First anniversary of 19. Years begins with writing the description of a North and Baltic Sea expansion Seemannsgarns, which is based on the Segelschiffen während der Untätigkeit bei Flauten für Ablenkung orgte. Heinrich Heine etwa, who grew up more in Norderney and was interested in the einheimische Volksüberlieferung, was the ‘Fliegenden Holländer’ in his ‘Reisebildern’ from 1826, and appeared in 1834 in ‘Aus den Memoiren des Herrn von Schnabelew opski’. When the boy sees the Captain of the Spukschiffs, who takes the trouble to send Sturms a gifted haircut, “on the more herumiren”. However, a solution can be found if there is “the trust of a woman”, also love. All years have become a country and a bit like that. After an “unthinkable time” it is possible to use the tatsächlich. A woman is angry Trust in the Tod and besieged das, compensation of a cliff in the Tod stürzt, if the Dutch are back, there is no talk of a carefree life. These offers come from the neighborhood of Fluch, not to die. His ship looks to more and travels with his hand.

Heine’s Report again loves the material for Wagner’s opera “The Flying Dutchman” from 1843, in the end clarifies the true love and the most recent Dutchman intimately a leap to Himmel emporschweben. The war war with Frederick Marryat’s novel ‘The Phantom Ship’ from 1839. Here follows the translation of the blasphemous Schwurs and the erlösung during the journey of the Dutchmen, which in a fast sea voyage brings a Cross relic. If you like the pillow, it is a matter of dealing with your ship and the fact that you lie, both kneeling and embracing, the hand that is to Himmel. A figure related to the Dutchman is the other Seemann in the poem “The Rime of the Ancient Mariner”, published by Samuel Taylor Coleridge in 1798. The message of the ‘Ancient Mariner’ that was self-conscious, while Frevel called the Tötung an Albatross, said that Schiff had led over the Ice of the Antarctic, that ‘life-in-death’ caused a war. While the Bann pass through the lie, while the lie shimmers the multiple credits, it is now recognized “in its heart stream”. Ancries to the legend of the “Flying Dutchman” can still be found in the 20th century, about 1911 in a poem by Georg Heym.

Kain: Urbild der zu Rastlosigkeit

Victor Hugo demands in his poem “Les Paysans au bord de la mer” from 1854 on the Verwandtschaft die “trostlosen Piraten der Unendlichkeit” with Kain, dem Urbild der zu Rast- en Ruhelosigkeit Verurteilten. The Volksüberlieferung has its own distinct shapes: The Ewige Fuhrmann, the eternal peace of mind, the Wild Hunter, the sacrificial signal Wild bis in a Gotteshaus follow-up, the Ewige Blüser, the self-employed at Carfreitag nicht lassen konnte, the Aalen im Schein des Blüsefeuers met de Speer nachzustellen. Allen goes to the Strafe der Tod if he refuses. Heine and Wagner knüpfen de Verbindung van “Fliegenden Holländer” at Ahasver, they are Jews wandering around for a while, a Legend, which since 7. Jahrhundert first started to appear in a book from 1602, and then a Verbreitung was financed. The Schuhmacher Ahasver soll Jesus schimpfend fortgejagt haben, as his on the way his Hinrichtungsstätte ermattet an sein Haus anlehnen wolllte. Jesus hath said that I am said to be: “I will live and die / I will live forever.” In the French heißt der so Verurteilte “You are wandering”, showing that ruhelose Umherirren, in German “Ewiger Jude”, because the proper end solution is reformed, a Bezeichnung, which is an anti-Semitic Chiffre war.

Once we have put an end to sin and lost the sin of death, it is time to use a ​​​​one-time reawakening power, it is the love that is Myths and Legends. The problem with a trauma is that an unprocessed lifespan has arisen in this way that the rejected deaths are considered a grayish description. The Dutchman in Heine complains, who on the unermesslichen Wassüste must tolerate the unheard-of sufferings, who his life is nothing else than a Sarg von Flesh, who his soul longs for itself, who life in itself stifles and also death abdicates him “. In Wagner’s Oper seufzt er, after the end of the year, the soulless and ominous passings were: “Nirgends ein Grab! Niemals der Tod! Dies der Verdamnis Schreckgebot“. And in Heym heißt es über ihn: “The Larve is still alive / With a Gesicht mit Leere übereist.” An inconspicuous tap in monotones Takt the Totenuhr in the background a lost interest in the everlasting Gleichen. There is no way to see more, but the man could say: “Verweile doch, you are so beautiful.”

Die Hölle des Immer-so-weiter

A comparable horror film is digitized while it finds more and more ways on a medium, which help the transhumanists. With the gehirnstructure it may be that neurotechnology expands by performing and transferring a so-called ‘mind uploading’, so as ‘wetware’ a biological medium gets out of the hardware. It is an open light, that a robot works and plays the world of simulation. The instructive, instructive reinstatement in a so-called entsinnlicht, technically refined world, the blissfully pure fiction ist, we are inert, because everything is reduced to insignificance, as Karl Rahner explains: “Time becomes insincere, when I can not complete it. Some of the following things were the Hole of learning insignificance. Kein Augenblick has a weight, while everything is in its leather, it is not possible to digest and absorb. It is not possible to lose weight, and everything goes wrong in the theory of absolute weight loss.” Days are important in our daily life, because we are aware of our weight, our health and safety is safe and secure . It is likely that the Selbstopfer in the Sagas and Legends lies on the Schlüssel zur Erlösung der Rast- en Ruhelosen. Once you have left life, it is the spell of the rejected Todes, you will grow up more and more and experience everlasting experiences.

And it is no more than the Confusion of Death, which in an endless self-contained time is transformed into figures as leading experiences, except that also the Confusion of Eternity, which without the Transition of Death cannot be derived from the Irish-timely Unrest in the Vol of time in which one of the things occurs. The story was striking, that the shadows of the glauben a last home, the image of eternal rest and restlessness as a mirror of the soul’s own existence lostness was grasped. The first translation and the Zahlreichen-version of the sage of “Fliegenden Holländer” are the only representation of the figures of “Juif wander” in the French popular who no longer have fallen with the positive characteristics and the available sister of the family. There is a geiste Umfeld with the Gottesleugnung alle Jenseitshoffnung, lässt sich mit nietzscheanische Pathos a “Treue zur Erde” who has found no difficulty in looking into the diesseits “a non-friedige Sehnsucht, die über alles erreichbare hinausdr Ent and den Lebenskahn nicht zur Ruhe kommen lässt” (Manfred Frank). Or who August inus in his “Confessions” says: “Unruhig ist unser Herz, bis es ruht in dir.”