Krampus

Krampus Stuffing Child into Basket
Krampus Stuffing Child into Basket

Date of Discovery

If you believe the idea that the Wild Man could, in fact, be the predecessor or most ancient embodiment of the Christmas Devil, then the first report of his existence dates back to 2000 BCE.

Name

Krampus actually goes by several different names, including Knecht Ruprecht, Certa, Perchten, Black Peter, Schmutzli, Pelznickel, and Klaubauf. There is also a record of him being referred to as the Wild Man, but it is unsure if these legends refer to Krampus himself, or Bigfoot. Krampus and Bigfoot are considered distinctly separate creatures.

The name Krampus is derived from the German word krampen which means, “claw.”

Physical Description

Der Weihnachtsmann und Krampus
Der Weihnachtsmann und Krampus
(St. Nicholas and Krampus)

Krampus is typically portrayed as a monstrously large, muscled, dark half-goat, half-demon, with horns, fangs, and a ridiculously long tongue. He’s seen as the anti-St. Nicholas who carries a chain with bells to announce his arrival, as well as a wicker basket or, in some cultures, a bag and bundle of birch sticks so he can mercilessly beat naughty children and then haul them to the underworld.

Origin

The origin of Krampus as he is known today relates heavily to German folklore that celebrates Krampus with a December 5th holiday celebration called Krampusnacht, where children placed their shoes out to see whether or not they have been naughty or nice. If a child had been naughty, they would receive either a rod or piece of coal, where good children would receive candies or some other type of sweet treat.

Mythology and Lore

Due to the possible spread of misinformation on the internet, it has recently been proposed that Krampus is the son of Hel, a Norse goddess of the underworld–so much so that it has appeared in articles in National Geographic and Smithsonian Magazine. That claim, however, is not necessarily as factual as it may seem–those who know Norse Mythology either have no record of this part of the mythology or vehemently rebuke the idea.

Instead, Krampus is the Christmas Devil–the evil counterpart of St. Nicholas or Santa Claus whom aside, from leaving children an indicator of their behavior throughout the year, would gather bratty and naughty children into a sack or wicker basket, beat them with the birch sticks he carried and the drag them off to hell.

It’s a popular event in countries such as Austria, Germany, Hungary, and the Czech Republic for men to dress in a Krampus costume and take part in an event called Krampuslauf. Typically this is celebrated as a sort of parade of Krampus monsters as a way to bring back old traditions.

Mythological Timeline

The people over at the Official Krampus website gave a timeline of how the mythology of the Krampus legend is believed to have evolved. There are several references that might indeed be speaking of what we now call Bigfoot, which is also referenced to the Wild Man.

Krampus Chasing a Child
Krampus Chasing a Child on a German Krampusnacht Postcard

2000 BCE

  • In the Epic of Gilgamesh, Enkidu is considered the earliest known appearance of the Wild Man within folklore.

600 BCE 

  • Within the Old Testament, in the Book of Daniel, the Christian mythos tells of when God punished King Nebuchadnezzar for his pride and turned him into a hairy beast.

217 BCE 

  • Saturnalia, a pagan holiday within the month of December is officially introduced in Rome as the official winter celebration. It established one of the first instances of social role reversals where the slave became the master and vice versa. People would throw wild parties and give gifts to one another.

300s

  • Around five hundred years after the introduction of Saturnalia to Rome, the Romans had actually converted to Christianity–with their influence, they converted many Germanic tribes to Christianity. Their pagan roots survived only in small remote villages within the Alps where the Church could not gain favor.

1250

  • Konungs skuggsjá, or King’s Mirror–a historical Norwegian text in which the Wild Man appears, described as being covered in hair.

1600s

  • The first appearance of Krampus as Knecht Ruprecht within the Christmas procession in Nuremberg.

Early 1800s

  • When the Brothers Grimm began recording and publishing Germanic Folktales, acceptance began to be re-established within the culture. Jacob Grimm even mentioned Krampus within his Deutsche mythologie.
  • Within this time postcards celebrating Krampusnacht were introduced into the culture of Austria, Germany and other parts of Europe which officially initiated the recognition of Krampus and other companions of St. Nicholas.
  • When German and Dutch immigrants began to arrive in the US, they also brought the popularity of Pelznickel traditions to Pennsylvania, and Maryland which spread as far west as Indiana.

2004

  • A collection of vintage Krampus postcards from the 1800s was published by Monte Beauchamp as Devil in Design. This would mark the growth of the popularity of Krampus within the English speaking world.
  • The Venture Bros., an Adult Swim Network show featured Krampus during a Christmas special.

2007

  • Supernatural, an American television show based on the unexplainable supernatural mythos of the world, they showcased Krampus as a diabolical monster they had to defeat.

2009

  • Stephen Colbert, an American comedian, brought Krampus on to his television show The Colbert Report.

2013

  • Krampus was featured twice within American television, by appearing both on Grimm and the animated television series American Dad.

2015

  • The movie Krampus was released as a horror/comedy fusion.

Modern Pop-Culture References

Books & Literature

Movies

Television Series



Is there anything we missed about Krampus? Let us know in the comments section below!

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The Horrific Truth of Folklore in Nazi Germany

Horror. It’s the balm that helps to relieve the chronically stressed—but we often forget exactly where the concept of horror began. Horror stories are spun from the fabric of the past, present, and future just like all other literary genres. The Holocaust is one such example of historical horror. The Jewish lottery of birth was arguably the greatest cause for fear within this period in history. Antisemitism and the “Big Lie,” that ran rampant within Nazi Germany is where real-life horror began within the twentieth century.

The Holocaust is what most people think of when the topic of World War II arises. That’s not surprising, since most of the war effort focused on ending Hitler’s atrocities and freeing survivors of concentration camps. By contrast, the political environment through which Nazi ideology was spread is not considered as often. Now you may be wondering, what does Word War II, Nazi Propaganda, and folklore have to do with horror? Well, read on friends.

The Horror of Hate Spun from Propaganda

The Nazi Party established Ministry for Propaganda and Public Enlightenment in March of 1933; Joseph Goebbels was then appointed as Minister of Propaganda and he began to execute Hitler’s vision shortly thereafter. German culture was reshaped through the rewriting of folklore and films; one such film, Jud Süss (1940) was rewritten from the British film made in (1934). The original Jud Süss was adapted from the historical novel of the same name. The original story tells of a Jewish man in the 1700s who helped his people by rising to power; inevitably, his enemies destroyed him. Unlike the propaganda film, the original message was pro-acceptance, with narrative on how meaningless racial distinctions actually are.

The British adaptation is of course more true to the original text than the following Nazi propaganda film, wherein Süss is portrayed as a monstrous villain who ends up sexually assaulting a young Aryan woman while torturing her fiance. The original script, which was revised by Goebbels to, “serve the politics of the state,” brought to life the most notorious and vile anti-Semitic film of the entire regime. As a representative of the most foul anti-Semitic propaganda, the German film Jud Süss has been censored from the general public since 1945, only being made available to scholars and historians.

Censorship and the Removal of External Influence

When reshaping the entire body of a culture’s literature, it makes sense to start with the foundation of a culture’s sense of self—that meant starting with the folk tales, the stories that German peasants most closely identified with. The ensuing power struggle came well before the beginning of the attempted extermination of the Jewish people. The National Socialist (Nazi) Party’s recognition of German Folklore as an “excellent means to educate young and old in the spirit of the new Weltanschauung,” that led to the changing of history. The Weltanschauung, or worldview and philosophical view of life, left no room for new culture or ideals that might challenge the progression of a “pure” master race. The new censorship policy affected “every author, artist, composer, publisher, bookseller, librarian, researcher, and teacher, as well as the general public.” New values and policies would obligate them to uphold these devastating principles (Kamenetsky 1977:168).

The National Socialist German Student’s’ Association which gathered together amongst German University students were some of Goebbels’s’ first allies in this censorship program, beginning in the early Nazi movement of the late 1920s. Middle-class, secular student youths were deeply anti-Semitic and ultra-nationalistic, and after the First World War, they became intensely vocal. Their opposition to the Weimar Republic drove them directly into the National Socialist Party, which provided them a safe community of like-minded politically discontent and hostile peers. On April 6, 1933, the Nazi German Student Association’s Office for Press and Propaganda asserted that they would be taking, “action against the un-German Spirit.” Thus, the Weltanschauung brought, “seemingly spontaneous book-burning ceremonies,” to the public in the early 1930s, as well as, “radical cleansing,” throughout all of the country’s libraries of, “undesirable and so-called ‘decadent’ literature,” (Kamenetsky 1977:168).

The Book Burning at The Bebelplatz in Berlin, Germany (May 10, 1933)
The Book Burning at The Bebelplatz in Berlin, Germany (May 10, 1933)

The Book Burning at the Bebelplats

May 10, 1933, sadly marks the most famous book burning in history. In order to have German society mirror Nazi ideologies, they needed to get rid of any “un-German” intellectual influence. Goebbels attempted to instill those influences within the artistic community and culture. Thus the purge of all cultural organizations whether Jewish or otherwise foreign began.

The Voice of the Peasant

During this time of extreme propaganda, there were new editions of Grimm’s Kinder und Hausmärchen printed, and upon their release, they re-emphasized the importance of a return to the ancient cultures and life of the peasant. It is also said that this endorsed the idea of the peasant being the, “pillar of the state,” and Hitler’s public aversion to decadent city lifestyles, despite his private indulgence in such frivolities he wanted to deny the German people as a means of control. Grimm’s tale of Hansel and Gretel comes to mind when considering this conflicting stance—as a tale where a family is stricken with famine, so much so that the evil stepmother is able to coerce the father into leaving their two children in the woods on their own to starve before being able to find their way back home.

The tenacity of these peasant youths is an image that would have been welcome in Hitler’s Germany, one where they overcome the evil witch, which could have been easily replaced with the image of an “evil Jew,” who was there to consume them, albeit not literally. Hitler was even quoted in 1933 saying, “we know from history that our Volk can exist without cities, yet it is impossible to conceive that it could exist without the peasant!” (Kamenetsky 1977:169)

Upon reflection of this kind of statement, as well as the transformation of, “the innocent folktale … into an ideological weapon,” it is clear that, while Hitler’s assertion of the importance of the peasant, he truly intended to drive most of the German people into poverty while the Nazi Party reaped the benefits. Furthermore, he aimed to brainwash his people, starting with the youngest generation through the tales they would be told in their childhood. “A closer examination of the National Socialist guidelines for educators, librarians, and youth leaders, throws light upon the folktale’s role and function in the Party’s indoctrination program for children and young people.” (Kamenetsky 1977:170)

Rewriting an Entire Culture’s Folklore

Re-education was conducted under the guise of bringing the collective mind of the country and to the nostalgic version of their nation’s past. It was a presumed appeal to the best of times, that is to say Hitler’s idealized version of the best of times. Kamenetsky further states that the purity of German Folklore was of utmost importance to the Aryan agenda and that they made tremendous efforts to isolate and aggrandize traditional German Folklore. As a result, it was the Ministry’s attempt to keep these stories from being muddled and decayed by international influence which meant it, “needed a thorough cleansing process to restore it to its original form and meaning,” (Kamenetsky 1977:172). Professor Strobel, a notable figure in Nazi re-education, made an emphasis on removing any “alien,” elements out and can be quoted as having written the following in 1937:

“The aim of folklore is and remains to give an unfalsified representation of that which is true to the Volk. However, a precondition for such a representation is an understanding of the Weltanschauung which is based upon the principle of the blood and on the right faith in distinguishing that which belongs to our race from that which is alien to it.”

Kamenetsky, 1972:226

Strobel believed it was the folklorist’s responsibility to remove any of these foreign elements that somehow sneaked their way into Nordic-Germanic myths, customs, and rituals in order to propagate folklore that would have been as “purely as possible related to ‘the ancestors,’” (Kamenetsky 1972:226). In this respect, not only did the Reich manipulate folklore to suit their needs, but in effect, they also manipulated history to reflect their own Aryan agendas and policies. Truly, they needed to instigate an image of instability for mixed folklore if they didn’t want anything to taint the otherwise noble and superior race they wished to establish. “If we want to walk safely into the future … then [we] will have to walk upon the firm soil of our folklore,” (Kamenetsky 1972:223).

It is true too, however, that the history of Germany was rife with anti-Semitism even before the beginnings of World War II. Martin Luther’s essay, “Von den Juden und ihren Lügen,” is one of the earliest anti-Semitic sentiments in literature, which dates back to the mid-1500s. This essay featured quotes such as, “into the fire, into the fire with the synagogues! Into the stables with the Jews! … let one drive all … Jews to hard labor … No indulgence, no sympathy for the Jews!” So, as you can see anti-Semitism being propagated through folklore was hardly the first instance of literary hatred for the Jewish people and it’s far from the last, but it was possibly the most damaging of all.

And if that’s not truly horrific, then I don’t know what is.

Works Cited

“Big lie.” Brewer’s Dictionary of Modern Phrase and Fable, edited by Adrian Room, and Ebenezer Cobham Brewer, Cassell, 2nd edition, 2009. Credo Reference. Accessed 15 Nov. 2020.

“Fortress Europe.” Brewer’s Dictionary of Modern Phrase and Fable, edited by Adrian Room, and Ebenezer Cobham Brewer, Cassell, 2nd edition, 2009. Credo Reference, http://login.proxy.library.uaf.edu/login?url=https://search.credoreference.com/content/entry/brewermod/fortress_europe/0?institutionId=5478. Accessed 15 Nov. 2020.

“Jew Suss.” Brewer’s Dictionary of Modern Phrase and Fable, edited by Adrian Room, and Ebenezer Cobham Brewer, Cassell, 2nd edition, 2009. Credo Reference, http://login.proxy.library.uaf.edu/login?url=https://search.credoreference.com/content/entry/brewermod/jew_suss/0?institutionId=5478. Accessed 15 Nov. 2020.

Kamenetsky, Christa. “Folktale and Ideology in the Third Reich.” The Journal of American Folklore, vol. 90, no. 356, Apr. 1977, pp. 168–178., DOI:10.2307/539697.

Kamenetsky, Christa. “Folklore as a Political Tool in Nazi Germany.” The Journal of American Folklore, vol. 85, no. 337, July 1972, pp. 221–235., DOI:10.2307/539497.

Mieder, Wolfgang. “Proverbs in Nazi Germany: The Promulgation of Anti-Semitism and Stereotypes Through Folklore.” The Journal of American Folklore, vol. 95, no. 378, Oct. 1982, pp. 435–464., DOI:10.2307/540750.

“Nuremberg Rally.” Brewer’s Dictionary of Modern Phrase and Fable, edited by Adrian Room, and Ebenezer Cobham Brewer, Cassell, 2nd edition, 2009. Credo Reference, http://login.proxy.library.uaf.edu/login?url=https://search.credoreference.com/content/entry/brewermod/nuremberg_rally/0?institutionId=5478. Accessed 15 Nov. 2020

Book Burning. (n.d.). Retrieved January 04, 2021, from https://encyclopedia.ushmm.org/content/en/article/book-burning. Accessed 3 Jan. 2021