What I see more and more clearly as I continue to study and learn is that its symbolic testimony of the one world antichrist-Beast religion referred to by Pierre de Coubertin as Olympism builds upon the foundation of numerous foreshadowing constructs. These constructs, that range from entire civilizations and empires to passing movements, each serve the ideal of Olympism, preparing for the incarnation of Apollo and his ascension to the throne that counterfeits the coming appearance of the true Messiah. The posters I'm covering in this blog that relate to the 1936 Summer games in Berlin tie some of these shadow forms of Olympism together, especially this one you see here.
It's titled "Olympischer Fackellauf," which translates to "Olympic Torch Relay." This one, like the one featured in the previous post, focuses our attention on the unseen ring. Those of us who play "connect the dots" will find plenty here to play with! Some of what is found linked together in the symbolic imagery isn't generally thought of as being connected, but, when you compare feature to feature it's really obvious there's lots in common, even a supernatural source.
This "Olympischer Fackellauf" poster's design draws our attention to focus upon where a sixth ring would complete the pattern of the five rings. The torch rests upon this ring that "isn't" there. The gradient lighting of the background suggests that the unseen ring is the true source of light, not the flame of the torch. The unseen ring graphically connects the torch with the Temple and altar of Zeus, a structure that has a very notable history; ancient, not so ancient and very recent. I'm shortly going to be showing you the "unseen" ring I just introduced, Lord willing, as it has been presented in some very dramatic contexts! However, before I do, the balance of this particular post is dedicated to a couple other elements.
First, there is the requisite procreative feature. The phallic torch with the flame of Zeus is pictured penetrating the arrangement of rings that's redundantly identified as female by the downward pointing delta and the vesica piscus. Now, if there's any humor to be found in the Olympic torch relay it's related to this "love story" and involves the expression "carrying a torch." The idiom is usually heard in the context of a song, where the person singing is in love with someone and that love is not returned in kind. The striking reality of the "Olympischer Fackellauf" is that those who "carry the torch" for Zeus and Apollo are truly unloved by them! This observation isn't of an irony, actually, since there's no contradiction or incongruity here - it's just the "nature of the Beast," to use another applicable figure!
An important connection to Superman can be seen in this poster's imagery in the color scheme and shape of the rings.
If you've been following this blog for a few months you will find the blue and red motif of the poster familiar. These colors of the heart frequently appear together in occult symbols with the heart's accent color, yellow or orange. The rings on the poster don't appear in the usual five color array but only in red. As the rings are in the shape of a downward pointing delta and red in color, when placed upon the blue background it resembles Superman's shield. The "Olympischer Fackellauf" poster from the 1936 might not have been designed with Superman specifically in mind (The character was introduced in 1932 but it wasn't until June of 1938 that Superman was popularized in Action Comics #1.) but it should be apparent that the inspiration for both comes from the same source. They share a common meaning and purpose. (See Superman and Metropolis, the great merchant city)
Some very interesting connections should be drawn between Superman and Hitler's Nazi Third Reich. In 1932, Jerry Siegel and Joe Shuster created the fictional character Superman. In that same year, Hitler implemented the Lebensborn program, which was intended to be the "spring of life" for the Master Race. The program that involved Superman (or, Übermensch) was all about selective breeding with the intent to spawn a "superior race which was intended to rule the earth during the Nazis’ so-called “Thousand Year Reich”." (Hitler's Supermen)
That this was a serious undertaking is underscored by the number of offspring produced under the Lebensborn program, a claimed 42,000! What might seem like an ironic twist in this comparison is the fact of Superman's strong Hebrew roots and Hitler's antisemitic bent. However, not all who lay claim to being a Jew or a Hebrew honor the sovereign Lord God of Abraham, Isaac and Jacob.
Another very interesting link between Superman and the Nazi party is the city called Metropolis. While most associate this fictional city with New York City, Toronto or one of several others, if you've ever seen the most expensive silent film ever produced, titled, Metropolis, you would be busily connecting some dots for some time to come. The film was written by a Mr. and Mrs. Fritz Lang as a screenplay in 1924. Based on Thea von Harbou's (Mrs. Lang's) thesis, another version, a novelization, was produced in 1926. The film produced in 1927 was one with which the Nazi party had considerable fascination. Rent it on Netflix sometime and you'll see why. The primary author, von Harbou herself, became a passionate member of the Nazi party in 1933. The inspiration for the musical score is partly attributed to the music of Richard Wagner, beloved composer of the Third Reich. I noted with interest how the film was produced in the Babelsberg Studios.
In closing, I want to share how my eyes were opened yet again today to see some really surprising insight about the "unseen ring" and just how and by whom it has been presented. Coming soon - Lord willing!
