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Wild Hunt

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File:La caza salvaje de Odín, por Peter Nicolai Arbo.jpg
lang}} [The Wild Hunt of Odin] (1872) by Peter Nicolai Arbo

The Wild Hunt is a folklore motif occurring across various northern, western and eastern European societies, appearing in the religions of the Germans, Celts, and Slavs (motif E501 per Thompson).<ref>Template:Cite book</ref> Wild Hunts typically involve a chase led by a mythological figure escorted by a ghostly or supernatural group of hunters engaged in pursuit.Template:Sfn The leader of the hunt is often a named figure associated with Odin in Germanic legends,Template:SfnTemplate:Sfn but may variously be a historical or legendary figure like Theodoric the Great, the Danish king {{#invoke:Lang|lang}}, the dragon slayer Sigurd, the psychopomp of Welsh mythology {{#invoke:Lang|lang}}, biblical figures such as Herod, Cain, Gabriel, or the Devil, or an unidentified lost soul. The hunters are generally the souls of the dead or ghostly dogs, sometimes fairies, valkyries, or elves.Template:SfnTemplate:SfnTemplate:Sfn

Seeing the Wild Hunt was thought to forebode some catastrophe such as war or plague, or at best the death of the one who witnessed it.<ref>See, for example, Chambers's Encyclopaedia, 1901, s.v. "Wild Hunt": "[Gabriel's Hounds] ... portend death or calamity to the house over which they hang"; "the cry of the Seven Whistlers ... a death omen".</ref> People encountering the Hunt might also be abducted to the underworld or the fairy kingdom.Template:Efn In some instances, it was also believed that people's spirits could be pulled away during their sleep to join the cavalcade.<ref>Template:Cite book</ref>

The concept was developed by Jacob Grimm in his {{#invoke:Lang|lang}} (1835) on the basis of comparative mythology. Grimm believed that a group of stories represented a folkloristic survival of Germanic paganism, but this is disputed by other, modern scholars who claim that comparable folk myths are found throughout Northern Europe, Western Europe, and Central Europe.Template:Sfn Lotte Motz noted, however, that the motif abounds "above all in areas of Germanic speech."<ref name="Motz 1984">Motz, Lotte (1984). "The Winter Goddess: Percht, Holda and Related Figures". Folklore. p. 163.</ref> Grimm popularised the term {{#invoke:Lang|lang}} ('Wild Hunt') for the phenomenon.

Comparative evidence and terminologyEdit

Germanic traditionEdit

Based on the comparative study of the German folklore, the phenomenon is often referred to as {{#invoke:Lang|lang}} (German: 'Wild Hunt/chase') or {{#invoke:Lang|lang}} ('Raging Host/army'). The term 'Hunt' was more common in northern Germany and 'Host' was more used in Southern Germany; with however no clear dividing line since parts of southern Germany know the 'Hunt', and parts of the north know the 'Host'.Template:Sfn It was also known in Germany as the {{#invoke:Lang|lang}} ('Wild Army'), its leader was given various identities, including Wodan (or "Woden"), Knecht Ruprecht (compare Krampus), Berchtold (or Berchta), and Holda (or "Holle"). The Wild Hunt is also known from post-medieval folklore.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In England, it was known as {{#invoke:Lang|lang}} (Old English: 'Herla's assembly'), Woden's Hunt, Herod's Hunt, Cain's Hunt,<ref>Template:Cite book</ref> the Devil's Dandy Dogs (in Cornwall),<ref>Template:Cite encyclopedia</ref> Gabriel's Hounds (in northern England),<ref>Template:Cite book</ref> and Ghost Riders (in North America).<ref>Template:Cite journal</ref>

In Scandinavia, the Wild Hunt is known as {{#invoke:Lang|lang}} (commonly interpreted as 'The Asgard Ride'), and as {{#invoke:Lang|lang}} ('Odin's Hunters').Template:Sfn The names {{#invoke:Lang|lang}} ('Asgard Ride' as attested in parts of Trøndelag),<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> {{#invoke:Lang|lang}} and {{#invoke:Lang|lang}} (Swedish: 'the hunt of Odin' and 'wild hunt') are also attested.Template:Citation needed At the very front of Oskoreia rides Guro Rysserova ('Gudrun Horsetail'), often called Guro Åsgard, who is "big and horrid, her horse black and called Skokse (...)"<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

There is disagreement about the etymology of the word {{#invoke:Lang|lang}}. The first element has several proposed sources: Åsgård ('Asgard'), oska ('thunder'), or Old Norse ǫskurligr ('dreadful').<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The hypothetical Ásgoðreið ('Æsir God Ride') was also once proposed. Only the second element, {{#invoke:Lang|lang}} ('ride') from Old Norse {{#invoke:Lang|lang}}, is uncontroversial. The word was popularly perceived to be connected to Asgard, as seen in the folk ballad of Sigurd Svein, who is taken to Asgard by Oskoreia and Guro Rysserova.<ref>V. Espeland, L. Kreken, M. Dahle Lauten, B. Nordbø, E. Prøysen, A. N. Ressem, O. Solberg, E. Nessheim Wiger (2016) Kjempe- og trollballadar</ref>

In the Netherlands and Flanders (in northern Belgium), the Wild Hunt is known as the Buckriders (Dutch: Bokkenrijders) and was used by gangs of highwaymen for their advantage in the 18th century.Template:Citation needed

EuropeEdit

In Welsh folklore, {{#invoke:Lang|lang}} was depicted as a wild huntsman riding a demon horse who hunts souls at night along with a pack of white-bodied and red-eared "dogs of hell". In Arthurian legends, he is the king of the underworld who makes sure that the imprisoned devils do not destroy human souls.Template:Sfn A comparable Welsh folk myth is known as {{#invoke:Lang|lang}} (Welsh: "hounds of Annwn").Template:Citation needed

In France, the "Host" was known in Latin sources as {{#invoke:Lang|lang}} and in Old French as {{#invoke:Lang|lang}} (the "household or retinue of Hellequin"). The Old French name {{#invoke:Lang|lang}} was probably borrowed from Middle English {{#invoke:Lang|lang}} (Old English {{#invoke:Lang|lang}}) by the Romance-speaking Norman invaders of Britain.<ref>{{#invoke:Lang|lang}}, vol. 16, 200–202.</ref>Template:Sfn Other similar figures appear in the French folklore, such as {{#invoke:Lang|lang}}, a hunter who chased with dogs in the forest of Fontainebleau,Template:Sfn and a Poitou tradition where a hunter who has faulted by hunting on Sunday is condemned to redeem himself by hunting during the night, along with its French Canadian version the {{#invoke:Lang|lang}}.Template:Sfn

Among West Slavs, it is known as {{#invoke:Lang|lang}} or {{#invoke:Lang|lang}} (Czech: "wild hunt", "baiting"), dzëwô/dzëkô jachta (Kashubian: "wild hunt"), Dziki Gon or {{#invoke:Lang|lang}} (Polish). It is also known among the Sorbs and among the South Slavic Slovenes {{#invoke:Lang|lang}} (Slovene: "the wild hunting party" or "wild hunt"). However, scholars of Slavic folklore have noted it is a motif of foreign, specifically German(ic), origin.<ref>Kajkowski, Kamil (2020). “Myth in Action? Figurative Images on Ceramics as a Source for Studying the Pre-Christian Beliefs of Western Slavs”. Studia Mythologica Slavica. p. 13.</ref><ref>Valentsova, Marina M. (2023). “Slavic demonology. A brief survey”, in New Researches on the religion and mythology of the Pagan Slavs 2, Patrice Lajoye & Stamatis Zochios, eds. Lisieux: Lingva; p. 271.</ref> In Belarusian, it is called Дзiкае Паляванне (Belarusian: "wild hunt"). As Belarus used to be part of Poland, the motif's presence likely came from there as an intermediary.

In Italy, it is called {{#invoke:Lang|lang}} ("Dead Hunt"), {{#invoke:Lang|lang}} ("infernal hunt") or {{#invoke:Lang|lang}} ("Wild Hunt")

In Spain this myth is documented at least since the 13th century, under the name {{#invoke:Lang|lang}} ("Old army"),<ref>"Because we always try to imitate those of the Wild Hunt, who never rest, day or night. And our lord is like Satan, and we are like his servants, who only rest when looting the souls of men" (circa 1270, Alfonso X, Estoria de España)</ref> today {{#invoke:Lang|lang}}.<ref>Template:Cite book</ref> In Galician is known as {{#invoke:Lang|lang}} (from {{#invoke:Lang|lang}} "the old army"), {{#invoke:Lang|lang}} and {{#invoke:Lang|lang}} ("troop, company"); {{#invoke:Lang|lang}} in Asturias; {{#invoke:Lang|lang}} ("troop of ghosts") in León; and {{#invoke:Lang|lang}} ("war company") or {{#invoke:Lang|lang}} ("deadly retinue") in Extremadura.

HistoriographyEdit

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The concept of the Wild Hunt was first documented by the German folklorist Jacob Grimm who first published it in his 1835 book Deutsche Mythologie.Template:Sfn It was in this work that he popularized the term Wilde Jagd ("Wild Hunt") for the phenomenon.Template:Sfn Grimm's methodological approach was rooted in the idea, common in nineteenth-century Europe, that modern folklore represented a fossilized survival of the beliefs of the distant past. In developing his idea of the Wild Hunt, he mixed together recent folkloric sources with textual evidence dating to the medieval and early modern periods.Template:Sfn This approach came to be criticized within the field of folkloristics during the 20th century as more emphasis was placed on the "dynamic and evolving nature of folklore".Template:Sfn

File:Wodan's wilde Jagd by F. W. Heine.jpg
"Wodan's Wild Hunt" (1882) by Friedrich Wilhelm Heine

Grimm interpreted the Wild Hunt phenomenon as having pre-Christian origins, arguing that the male figure who appeared in it was a survival of folk beliefs about the god Wodan who had "lost his sociable character, his near familiar features, and assumed the aspect of a dark and dreadful power... a specter and a devil."Template:Sfn Grimm believed that this male figure was sometimes replaced by a female counterpart, whom he referred to as Holda and Berchta.Template:Sfn In his words, "not only Wuotan and other gods, but heathen goddesses too, may head the furious host: the wild hunter passes into the wood-wife, Wôden into Frau Gaude."Template:Sfn He added his opinion that this female figure was Woden's wife.Template:Sfn

Discussing martial elements of the Wild Hunt, Grimm commented that "it marches as an army, it portends the outbreak of war."Template:Sfn He added that a number of figures that had been recorded as leading the hunt, such as "Wuotan, Huckelbernd, Berholt, bestriding their white war-horse, armed and spurred, appear still as supreme directors of the war for which they, so to speak, give license to mankind."Template:Sfn

Grimm believed that in pre-Christian Europe, the hunt, led by a god and a goddess, either visited "the land at some holy tide, bringing welfare and blessing, accepting gifts and offerings of the people" or they alternately float "unseen through the air, perceptible in cloudy shapes, in the roar and howl of the winds, carrying on war, hunting or the game of ninepins, the chief employments of ancient heroes: an array which, less tied down to a definite time, explains more the natural phenomenon."Template:Sfn He believed that under the influence of Christianisation, the story was converted from being that of a "solemn march of gods" to being "a pack of horrid spectres, dashed with dark and devilish ingredients".Template:Sfn A little earlier, in 1823, Felicia Hemans records this legend in her poem The Wild Huntsman, linking it here specifically to the castles of Rodenstein and Schnellerts and to the Odenwald.

In the influential book Kultische Geheimbünde der Germanen (1934), Otto Höfler argued that the German motifs of the "Wild Hunt" should be interpreted as the spectral troops led by the god Wuotan which had a ritualistic counterpart in the living bands of ecstatic warriors (Old Norse berserkir), allegedly in a cultic union with the dead warriors of the past.Template:Sfn Template:Sister project

Hans Peter Duerr (1985) noted that for modern readers, it "is generally difficult to decide, on the basis of the sources, whether what is involved in the reports about the appearance of the Wild Hunt is merely a demonic interpretation of natural phenomenon, or whether we are dealing with a description of ritual processions of humans changed into demons."Template:Sfn Historian Ronald Hutton noted that there was "a powerful and well-established international scholarly tradition" which argued that the medieval Wild Hunt legends were an influence on the development of the early modern ideas of the Witches' Sabbath.Template:Sfn Hutton nevertheless believed that this approach could be "fundamentally challenged".Template:Sfn

Lotte Motz noted that the motif is found "above all in areas of Germanic speech." While found in areas once settled by Celts, these legends are told less frequently and they are not encountered in the Mediterranean regions, "at least not easily".<ref name="Motz 1984" />

AttestationsEdit

GermanyEdit

An abundance of different tales of the Wild Hunt has been recorded in Germany. The leader, often called der Schimmelreiter,Template:Sfn is generally identified with the god Wotan,Template:Sfn but sometimes with a feminine figure: the wife of Wotan, Holda ('the friendly one'; also Holle or Holt), Fru Waur, or Fru Gode in Northern Germany; or Perchta (the bright one; also Berchta, Berhta or Berta) in Southern Germany.Template:SfnTemplate:Sfn The leader also is sometimes an undead noble, most often called Count Hackelberg or Count Ebernburg, who is cursed to hunt eternally because of misbehaviour during his lifetime, and in some versions died from injuries of a slain boar's tusk.Template:Citation needed

Dogs and wolves were generally involved. In some areas, werewolves were depicted as stealing beer and sometimes food in houses. Horses were portrayed as two-, three-, six-, and eight-legged, often with fiery eyes.Template:Sfn In the 'Host' variants, principally found in southern Germany, a man went out in front, warning people to get out of the streets before the coming of the Host's armed men, who were sometimes depicted as doing battle with one another. A feature peculiar to the 'Hunt' version, generally encountered in northern Germany, was the pursuit and capture of one or more female demons, or a hart in some versions, while some others did not have prey at all.Template:Sfn

Sometimes, the tales associate the hunter with a dragon or the devil. The lone hunter (der Wilde Jäger) is most often riding a horse, seldom a horse-drawn carriage, and usually has several hounds in his company. If the prey is mentioned, it is most often a young woman, either guilty or innocent. Gottfried August Bürger's ballad Der wilde Jäger describes the fate of a nobleman who dares to hunt on the Sabbath and finds both a curse and a pack of demons deep in the woods.Template:Citation needed He might also have asked God to let him hunt until Judgement Day, as has ewiger Jäger (the eternal hunter).<ref>Wilhelm Grimm, Jacob Grimm: Deutsche Sagen. Hamburg 2014, p. 307.</ref>

The majority of the tales deal with some person encountering the Wild Hunt. If this person stands up against the hunters, he will be punished. If he helps the hunt, he will be awarded money, gold, or, most often, a leg of a slain animal or human, which is often cursed in a way that makes it impossible to be rid of it. In this case, the person has to find a priest or magician able to ban it or trick the Wild Hunt into taking the leg back by asking for salt, which the hunt can not deliver. In many versions, a person staying right in the middle of the road during the encounter is safe.<ref>Template:Cite book</ref><ref>Template:Cite book</ref><ref>Template:Cite book</ref>

ScandinaviaEdit

File:Odin's hunt (Malmström).jpg
Odin continued to hunt in Norse myths. Illustration by August Malmström.

In Scandinavia, the leader of the hunt was Odin and the event was referred to as Odens jakt (Odin's hunt) and Oskoreia (from Asgårdsreien – the Asgard Ride). Odin's hunt was heard but rarely seen, and a typical trait is that one of Odin's dogs was barking louder and a second one fainter. Besides one or two shots, these barks were the only sounds that were clearly identified. When Odin's hunt was heard, it meant changing weather in many regions, but it could also mean war and unrest. According to some reports, the forest turned silent and only a whining sound and dog barks could be heard.Template:Sfn

In western Sweden and sometimes in the east as well, it has been said that Odin was a nobleman or even a king who had hunted on Sundays and therefore was doomed to hunt down and kill supernatural beings until the end of time.Template:Sfn According to certain accounts, Odin does not ride, but travels in a wheeled vehicle, specifically a one-wheeled cart.Template:Sfn

In parts of Småland, it appears that people believed that Odin hunted with large birds when the dogs got tired. When it was needed, he could transform a bevy of sparrows into an armed host.Template:Sfn

If houses were built on former roads, they could be burnt down, because Odin did not change his plans if he had formerly travelled on a road there. Not even charcoal kilns could be built on disused roads, because if Odin was hunting the kiln would be ablaze.Template:Sfn

One tradition maintains that Odin did not travel further up than an ox wears his yoke, so if Odin was hunting, it was safest to throw oneself onto the ground in order to avoid being hit, a pourquoi story that evolved as an explanation for the popular belief that persons lying at ground level are safer from lightning strikes than are persons who are standing.Template:Citation needed In Älghult in Småland, it was safest to carry a piece of bread and a piece of steel when going to church and back during Yule. The reason was that if one met the rider with the broad-rimmed hat, one should throw the piece of steel in front of oneself, but if one met his dogs first, one should throw the pieces of bread instead.Template:Sfn

BritainEdit

In the Peterborough Chronicle, there is an account of the Wild Hunt's appearance at night, beginning with the appointment of a disastrous abbot for the monastery, Henry d'Angely, in 1127:

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File:Wistman's Wood in winter.jpg
Wistman's Wood in Devon, England.

Reliable witnesses were said to have given the number of huntsmen as twenty or thirty, and it is said, in effect, that this went on for nine weeks, ending at Easter.<ref name="Garmonsway" /> Orderic Vitalis (1075–c. 1142), an English monk cloistered at St Evroul-en-Ouche, in Normandy, reported a similar cavalcade seen in January 1091, which he said were "Herlechin's troop" (familia Herlechini; cf. Harlequin).<ref>Template:Cite journal</ref>

While these earlier reports of Wild Hunts were recorded by clerics and portrayed as diabolic, in late medieval romances, such as Sir Orfeo, the hunters are rather from a faery otherworld, where the Wild Hunt was the hosting of the fairies; its leaders also varied, but they included Gwydion, Gwynn ap Nudd, King Arthur, Nuada, King Herla, Woden, the Devil and Herne the Hunter. Many legends are told of their origins, as in that of "Dando and his dogs" or "the dandy dogs": Dando, wanting a drink but having exhausted what his huntsmen carried, declared he would go to hell for it. A stranger came and offered a drink, only to steal Dando's game and then Dando himself, with his dogs giving chase. The sight was long claimed to have been seen in the area.Template:Sfn Another legend recounted how King Herla, having visited the Fairy King, was warned not to step down from his horse until the greyhound he carried jumped down; he found that three centuries had passed during his visit, and those of his men who dismounted crumbled to dust; he and his men are still riding, because the greyhound has yet to jump down.Template:Sfn

The myth of the Wild Hunt has through the ages been modified to accommodate other gods and folk heroes, among them King Arthur and, more recently, in a Dartmoor folk legend, Sir Francis Drake. At Cadbury Castle in Somerset, an old lane near the castle was called King Arthur's Lane and even in the 19th century, the idea survived that on wild winter nights the king and his hounds could be heard rushing along with it.Template:Sfn

In certain parts of Britain, the hunt is said to be that of hell-hounds chasing sinners or the unbaptized. In Devon these are known as Yeth (Heath) or Wisht Hounds, in Cornwall Dando and his Dogs or the Devil and his Dandy Dogs, in Wales the Cwn Annwn, the Hounds of Hell, and in Somerset as Gabriel Ratchets or Retchets (dogs).Template:Sfn In Devon the hunt is particularly associated with Wistman's Wood.Template:Sfn

IberiaEdit

The Santa Compaña<ref>Template:Cite book</ref> (known also in Galician as: Rolda, As da nuite, Pantalla, Avisóns or Pantaruxada; in Asturian as Güestia, Güeste, Güestida or Güéstiga;<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> in Spanish as Estantigua<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>) is a mythical belief in Northwestern Spain and northern Portugal which consists in a procession of ghosts or souls. The procession is led by a living person (usually a parishioner of a particular church) carrying a cross or a cauldron of holy water (sometimes they carry both), followed by several of the souls of the dead holding lit candles.

BalkansEdit

The South Slavic folklore of the Balkans features a supernatural procession of horsemen known as the Todorci that occurs on the first week of the Great Lent (known as the Todor or St. Theodore Week)<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and attacks the people who consume or cook meat and dairy products. Sometimes these horsemen are instead depicted as monstrous centauric creatures whose torsos grow out of the horses' backs, not too dissimilarly to the traditional depiction of the Nuckelavee.<ref>Template:Cite book</ref> The horseshoe-shaped wounds inflicted by the hooves of their steeds don't heal naturally; instead, the victim must visit the site of the attack one year later, where the wounds will either magically heal instantaneously if he's been living piously for the previous year, or kill him if he's been living sinfully. They can be defended against with garlic or an improvised cross made from forks or knives.<ref>Template:Cite book</ref>

In Serbia, stories involving the Todorci are generally concentrated in the north-west of the country. They're traditionally depicted as a procession of horsemen whose steeds lack tails. They usually appear on the night between Monday and Tuesday of the Todor Week. They're led by an elder man called Great Todor wearing a white cloak and riding a lame white horse. Certain versions of the story claim that he is St. Theodore himself.<ref name="Zečević">Template:Cite book</ref>

InterpretationsEdit

According to scholar Susan Greenwood, the Wild Hunt "primarily concerns an initiation into the wild, untamed forces of nature in its dark and chthonic aspects."Template:Sfn

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Metamorphoses, cavalcades, ecstasies, followed by the egress of the soul in the shape of an animal—these are different paths to a single goal. Between animals and souls, animals and the dead, animals and the beyond, there exists a profound connection.{{#if:Carlo Ginzburgp. 263.Ecstasies: Deciphering the Witches' Sabbath|{{#if:|}}

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Leader of the Wild HuntEdit

Modern influenceEdit

On Santa ClausEdit

The role of Wotan's Wild Hunt during the Yuletide period has been theorized to have influenced the development of the Dutch Christmas figure Sinterklaas, and by extension his American counterpart Santa Claus, in a variety of facets. These include his long white beard and his gray horse for nightly rides.<ref name="ODIN-CLAUS-EXAMPLES">For example, see McKnight, George Harley (1917). St. Nicholas: His Legend and His Role in the Christmas Celebration and Other Popular Customs, pages 24–26, 138–139. G. P. Putman's sons. & Springwood, Charles Fruehling (2009). "If Santa Wuz Black: The Domestication of a White Myth", pages 243–244. As published in Studies in Symbolic Interaction: Volume 33 of Studies in Symbolic Interactions Series. Emerald Group Publishing. Template:ISBN archive.org copy</ref>

In modern paganismEdit

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Various practitioners of the contemporary pagan religion of Wicca have drawn upon folklore involving the Wild Hunt to inspire their own rites. In their context, the leader of the Wild Hunt is the goddess Hecate.Template:Sfn The anthropologist Susan Greenwood provided an account of one such Wild Hunt ritual performed by a modern Pagan group in Norfolk during the late 1990s, stating that they used this mythology "as a means of confronting the dark of nature as a process of initiation."Template:Sfn Referred to as the "Wild Hunt Challenge" by those running it, it took place on Halloween and involved participants walking around a local area of woodland in the daytime, and then repeating that task as a timed competition at night, "to gain mastery over an area of Gwyn ap Nudd's hunting ground". If completed successfully, it was held that the participant had gained the trust of the wood's spirits, and they would be permitted to cut timber from its trees with which to make a staff.Template:Sfn The anthropologist Rachel Morgain reported a "ritual recreation" of the Wild Hunt among the Reclaiming tradition of Wicca in San Francisco.Template:Sfn

In popular cultureEdit

Template:In popular culture The Åsgårdsreien, Peter Nicolai Arbo's 1872 oil painting, depicts the Scandinavian version of the Wild Hunt, with Thor leading the hunting party.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> This painting is featured on the cover of Bathory's 1988 album, Blood Fire Death.

MusicEdit

The Wild Hunt is the subject of Transcendental Étude No. 8 in C minor, "Wilde Jagd" (Wild Hunt) by Franz Liszt,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and appears in Karl Maria von Weber's 1821 opera Der Freischütz<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and in Arnold Schoenberg's oratorio Gurre-Lieder of 1911.<ref>Template:Cite book</ref> César Franck's orchestral tone poem Le Chasseur maudit (The Accursed Huntsman) is based on Gottfried August Bürger's ballad Der wilde Jäger.

In act 1 of Richard Wagner's 1870 opera Die Walküre, Siegmund relates that he has been pursued by “Das wütende Heer”, which is an indication to the audience that it is Wotan himself who has called up the storm which has driven him (Siegmund) to Hunding's dwelling.

The subject of Stan Jones' American country song "Ghost Riders in the Sky" of 1948, which tells of cowboys chasing the Devil's cattle through the night sky, resembles the European myth.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Swedish folk musician The Tallest Man on Earth released an album in 2010 entitled The Wild Hunt, and in 2013 the black metal band Watain, also Swedish, released an album with the same title. German folk band Versengold released the song "Die wilde Jagt" in 2021, as the first single from their 2022 album Was kost die Welt.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> English doom metal band, Green Lung, have a song called “Hunters in the Sky”on their 2023 album This Heathen Land.

ComicsEdit

The Wild Hunt appears in Marvel Comics, primarily the Thor series, and is led by Malekith the Accursed, the Dark Elf King of Svartalfheim and one of Thor's archenemies.

In Mike Mignola's comic book series Hellboy, two versions of the Wild Hunt myth are present. In The Wild Hunt, the hero receives an invitation from British noblemen to partake in a giant hunting called "The Wild Hunt", after the legend of "Herne, god of the Hunt".<ref>Template:Cite book</ref> In King Vold, Hellboy encounters "King Vold, the flying huntsman" whose figure is based on the Norwegian folktale of "The Flying Huntsman (headless King Volmer and his hounds)" according to Mignola.<ref>Template:Cite book</ref>

The Wild Hunt was adapted for the Grace Note portion of The Case Files of Lord El-Melloi II anime adaptation with the 4th and 5th episodes where Lord El-Melloi II (voiced by Daisuke Namikawa) helps a fellow magus teacher by the name of Wills Pelham Codrington (voiced by Tomoaki Maeno) in a case involving his father's home where the leylines have become unstable. It is there they encounter Black Dogs, the incarnation of lightning who have been killing people in the vicinity. With the help of his allies, Wills, and a fairy they encounter names Faye, Lord El-Melloi II manages to solve the case and avert the threat.

Film and televisionEdit

Episode 5 of the BBC series shown in 1958/9, Quatermass and the Pit, written by Nigel Neale, was entitled The Wild Hunt and made frequent mention of the myths described here.

The Wild Hunt is a Canadian horror drama film of 2009 by director Alexandre Franchi.

The MTV series Teen Wolf features the Wild Hunt as the main villains of the first half of season 6. It takes the legend a bit further, claiming that the Wild Hunt erases people from existence, and those taken by the Wild Hunt become members after they are erased and forgotten.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}Template:Dead link</ref>

The Wild Hunt features heavily in Netflix's Little Witch Academia episode "Sky War Stanship", in which the main protagonist Akko Kagari and Constanze Amalie Von Braunschbank Albrechtsberger partake in the hunt itself.

LiteratureEdit

In J.R.R. Tolkien's The Hobbit, while traveling through Mirkwood, the dwarves and Bilbo encounter a deer running through the forest, which knocks Bombur into the enchanted river. After they pull him out, they hear far off the sound of a "great hunt" and the baying of dogs going past them.

In The Deluge (1886) by Henryk Sienkiewicz, the motif of the Wild Hunt appears, as a hellish procession of Teutonic knights rushing through the night sky, heralding war and extraordinary disasters.

The description of the Wild Hunt also appears in the drama Wesele (The Wedding), by Stanisław Wyspiański. It is described as a race of large knights across the night sky at great speed.

The hunt plays an important role in four of Jim Butcher's Dresden Files novels: (2005 Dead Beat, 2006 Proven Guilty, 2012 Cold Days and 2020 Battle Ground), In Butcher's cosmos, Santa Claus and Odin are the same being. He shares leadership of the hunt with the Goblin King.

Αustralian writer Tim Winton's The Riders (1994), which was shortlisted for the 1995 Booker Prize, mentions a vision of the Wild Hunt that becomes the basis for the main character's own 'wild hunt' of the story.<ref>Template:Cite book</ref>

The Wild Hunt features in The Witcher series of fantasy novels by Andrzej Sapkowski, published in English between 2007 and 2018.

The Wild Hunt also features as a fey phenomenon in Larry Correa's "Monster Hunter International" series in Siege, published in 2017.

The Wild Hunt has appeared in various publications,Template:Sfnm among them Alan Garner's 1963 novel The Moon of Gomrath,Template:Sfnm Uladzimir Karatkievich's King Stakh's Wild Hunt,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Penelope Lively's 1971 The Wild Hunt of Hagworthy,Template:Sfn Susan Cooper's 1973 The Dark is Rising,Template:Sfn Diana Wynne Jones' 1975 Dogsbody,Template:Sfn Brian Bates' 1983 The Way of Wyrd,Template:Sfn Guy Gavriel Kay's Fionavar trilogy (1984–1986), the third issue of Seanan McGuire's series October Daye, An Artificial Night, Fred Vargas's 2011 The Ghost Riders of Ordebec, Laurell K. Hamilton’s book Mistral's Kiss (2006) and Jane Yolen's 1995 The Wild Hunt.Template:Sfn It also features in Cassandra Clare's book series, The Mortal instruments (2007-2014) and The Dark Artifices (2016-2018), led by Gwyn ap Nudd.Template:Sfn The Wicked Lovely series (2007-2013) by Melissa Marr contains a modern Wild Hunt. It is also a major plot point in Peter S. Beagle's Tamsin. The Wild Hunt is a primary element of R. S. Belcher's novel The Brotherhood of the Wheel and Raymond E. Feist's 1988 novel Faerie Tale. The Wild Hunt is also an important plot point in the Gilded Duology by Marissa Meyer.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In Clive Barker's novel Coldheart Canyon, the story is centered around a bizarre version of The Wild Hunt. Also in Sharyn McCrummb's novel GhostRiders, The Wild Hunt is depicted by Civil War soldiers who are constantly reliving the war.

In Lucy Holland’s 2024 historical fantasy novel Song of the Huntress, the Wild Hunt appears with a gender-swapped version of mythical Britonic King Herla as its leader, who has been tricked into taking on that role by Gwyn ap Nudd, king of the Otherworld.

GamesEdit

The hunt is featured in CD Projekt Red's 2015 role-playing video game The Witcher 3: Wild Hunt, based on the books, after being referenced heavily during the events and flashbacks of The Witcher and The Witcher 2: Assassins of Kings. It reveals to be an army of elven conquerors who seek to conquer the world of The Witcher in order to save themselves from a self-spreading spell known as the White Frost, which freezes the worlds and devastates them.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In the original Advanced Dungeons & Dragons (1st Edition) expansion "Deities and Demigods" the Wild Hunt is represented under the Celtic Mythos sections as the Master of the Hunt and the Pack of the Wild Hunt. Players risk a chance of becoming the hunted, or may be compelled to join the Hunt and track down the source of the evil that summoned it, or if that evil isn't found, participate in the slaughter of an innocent person or large game animal, potentially against their alignment and will.<ref>Ward, James M. and Robert J. Kuntz. Deities & Demigods Cyclopedia, edited by Lawrence Schick, TSR Games,1980.</ref>

In The Elder Scrolls series of role-playing video games, the Wild Hunt is a ritual performed by the Bosmer (wood elves) for war, vengeance, or other times of desperation. The elves are transformed into a horde of horrific creatures that kill all in their path. The Daedric Lord Hircine also performs a Wild Hunt ritual more similar to the wild hunt of folklore. This ritual was renamed to the "Great hunt" with the release of The Elder Scrolls V: Skyrim.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Unreliable source?

The Wild Hunt is heavily featured and elaborated on in the Obsidian Entertainment video game, Pentiment.

In Assassin's Creed Valhalla it was featured in the seasonal themed update "Oskoreia Festival".

In Limbus Company, the Wild Hunt was featured in the third part of Canto/Chapter VI, consisting of many versions of Canto/Chapter VI side characters, being led by an alternative version of one of the playable characters released in Limbus Company's fourth season "Clear All Cathy", Erlkönig Heathcliff. The Wild Hunt is a different version of the Erlking where Heathcliff decides to enact revenge against the residents of Wuthering Heights.

See alsoEdit

NotesEdit

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ReferencesEdit

FootnotesEdit

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BibliographyEdit

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Further readingEdit

  • Moricet, Marthe. "Récits et contes des veillées normandes". In: Cahier des Annales de Normandie n° 2, 1963. Récits et contes des veillées normandes. pp. 3–210 [177-194]. {{#invoke:doi|main}}
  • Jean-Claude Schmitt, Ghosts in the Middle Ages: The Living and the Dead in Medieval Society (1998), Template:ISBN and Template:ISBN
  • Carl Lindahl, John McNamara, John Lindow (eds.) Medieval Folklore: A Guide to Myths, Legends, Tales, Beliefs, and Customs, Oxford University Press (2002), p. 432f. Template:ISBN
  • Otto Höfler, Kultische Geheimbünde der Germanen, Frankfurt (1934).
  • Ruben A. Koman, 'Dalfser Muggen'. – Bedum: Profiel. – With a summary in English, (2006).
  • Margherita Lecco, Il Motivo della Mesnie Hellequin nella Letteratura Medievale, Alessandria (Italy), Edizioni dell'Orso, 2001
  • HUTTON, RONALD. "THE HOSTS OF THE NIGHT." In: The Witch: A History of Fear, from Ancient Times to the Present. NEW HAVEN; LONDON: Yale University Press, 2017. pp. 120–46. Accessed March 14, 2021. {{#invoke:doi|main}}.

External linksEdit

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