The Clare Spark Blog

June 19, 2011

Index to links on Hitler and the Big Lie

[Update: I have reformatted this series to make it more user-friendly. See
Here is an index to an unpublished manuscript of mine that was years in the making. It was vetted by major scholars, and the reader will find copious footnotes in the text that survey the established literature on the subject. I know of nothing like it in the academic or popular literature. If you have time for only one segment, I recommend the last one, for it gets to the psychological nub of Hitler’s confusion and panic, but I have a special liking for the first one, where Hitler expresses his fear of romantic art. [I moved the footnotes to the text because the standard academic literature on Hitler and his appeal is appalling.]

August 14, 2010

Index to blogs on Hitler’s view of the “Jewish” mind

Hitler as narcissist: New Theater, 1936 (pictures by Corinth and Trubner) (Famous Durer image) (Bocklin’s Medusa) (Photo Werner Sombart) (Streicher poster illustration) (this substitutes for the first link above) START HERE FOR CORRECTED TEXT (a reformatted blog combining parts one and two, with footnotes at end) (this substitutes for part three above)

This series refutes the widespread notion that Hitler advocated the Big Lie. Hitler’s strategy was, to blame Jews and Social Democracy (the Left) for luring the masses to their demise. Only he and fellow Nazis could save the German working class and its peasant comrades.  This blog series quotes from his Table Talk, Secret Book, and the earlier Mein Kampf.   The last three blogs form a unit, reflecting a reformatting of older versions of this series, but I have not erased the older versions because of the illustrations that are fascinating and helpful, for instance images by Durer, Bocklin, Corinth, and Trubner.

November 17, 2009

Melencolia I and the apocalypse, 1938

In my reposted blog on panic attacks, I mentioned the use by Eric Gill of Dürer’s famous image. Here is the image as drawn by Eric Gill’s son-in-law Denis Tegetmeier for Gill’s book Unholy Trinity (1938). Opposite the illustration is this text by Eric Gill:

pastiche of Durer’s Melencolia I by Denis Tegetmeier

MELANCHOLIA—This is a very gloomy picture, and quite right too. There is no remedy for our troubles. The sick ‘old lady’ has got to die someday. I think any kind of mass conversion–as when Ninevah repented with three days of sackcloth and ashes–is not to be expected. Perhaps some kind of healthy barbarism will follow the war, pestilence and famine which are upon us. That is very likely. Nations and states go through a life cycle just as humans do, and though many will endeavour to soften our last days—it is astonishing how we cling to the deception that horrid things only happen to other people & not to us—we must today recall the words of St John in the Apocalypse:

‘Thus with violence shall that great city Babylon be thrown down, and shall be found no more at all. And the voice of harpers and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee. And no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; and the light of a candle shall shine no more at all in thee; and the voice of the bridegroom and of the bride shall be heard no more at all in thee; for thy merchants were the great men of the earth’ . [end Gill, there is no more text on the page]

Is there not a popular Hollywood genre of the apocalypse brought on by those commercial values foisted upon the world by merchants (a.k.a. Marx’s Jewish hucksters)? Would there have been a Renaissance, or an Age of Discovery, or the expansion of the West without them? Would we have great cities of the type anathematized by such as the arch reactionary Eric Gill without these dread traders? How much has this antimodern narrative penetrated into the popular consciousness to the detriment of mental health? And to what extent did the genre of film noir reflect such fears? Or such recent films as Revolutionary Road?

     In my view, we neglect such questions to our peril. If we cannot recognize “progress” where it has actually benefited humankind, how can we even begin to talk about appropriate remedies for emotional distress (depression! anxiety!), let alone public policy in such crucial matters as health care reform?  Just asking. For more on the popularity of “Melencolia I” in the last two centuries see the passages on James Thomson (“B. V.”) in , part one of a two-part essay that shows the links between antisemitism, misogyny, and antimodernism.

[Added in the early evening, submitted to one of the H-Net discussion groups:]

I want to launch this hypothesis: that antisemitism, like sexism, is underweighted as a cause of social malaise or what used to be called “neurosis/neurasthenia.” Those who subscribe to the History of Antisemitism list have done decades of work on the history of antisemitism, yet if it is taken up at all in the media, some crucial facet of it is neglected. Why?  Here are some suggestions:

1. Probably most of the Left does not want to admit that Marx was anti-Semitic in his early essay “On the Jewish Question.” Taking that further, the very notion that “capital” is inherently exploitative would seem to come from the old and incorrect notion that Jews loved money more than their neighbors. (Were there bitter Jews who fit the stereotype? Why would there not be? But if we reject the idea of race and national character, it is insane to attribute such avarice and heartlessness to all Jews who ever lived.)

2. The New Left and the counter-culture of the 1960s defined themselves against the soul-less cities (see the blog), celebrating rootedness and other tropes of the agrarian ideology. Remember the class base of utopian socialism in the 19th century? It was not the working class, but would-be patricians of the kind once identified as aristocratic backwoodsmen by G. C. Webber in his book on right-wing factions. Do I detect the color Green in their vaporings?

3. The Jews, in league with certain Scotsmen, are blamed for the disenchantment of the world. This was brought home to me by the J. C. Squire papers at UCLA. (Squire, a Tory poet, traveled from Fabianism to support for Italian Fascism. He was part of the English Melville revival.) It is also spelled out in Herman Melville’s sketch of a Dissenter in his late poem, _Clarel, a poem and pilgrimage in the Holy Land_ (1876). These works build upon the pervasiveness of the mad scientist in popular culture, made famous in spin-offs of Mary Shelley’s _Frankenstein_.  The best book I ever read on the subject of disenchantment was Tillyard’s short work, _The Elizabethan World Picture and Shakespeare’s History Plays_. As the Biblical higher criticism proceeded in the 19th century, Melville nervously complained about the loss to imagination by historical analysis of the Bible. His despair reflected that of James Thomson, author of _The City of Dreadful Night_ . We are back again to Dürer’s Melencolia I and the panicky reaction by Church and King to the advent of the scientific revolution, the Reformation, and other seemingly apocalyptic events. If the Jews are constantly seen as the vanguard of modernity (either implicitly or explicitly: think of the diabolic trinity of Marx, Einstein, and Freud), they get the blame. And a scientific outlook becomes “reductive” and an abomination.

4. If one is an upwardly-mobile assimilationist Jew (on the lam from mom?), it is probably little comfort to acknowledge the persistence of genteel antisemitism in the canyons of Manhattan, or in the heart of the non-Jew one has snagged. This hardly needs elaboration. Better to repress the entire subject.

If we underweight antisemitism as a destructive force in the human psyche, imagine how bad is our underestimation of the power of sexism and patriarchy. To what lengths will the ‘feminist’ ‘anti-imperialist’ go to minimize the desire to control women and mothers in particular, and not just in the Muslim world? I will not belabor this point here, except to note that for Eric Gill,  Melencolia is a sick old lady who would be better off dead than modernized/urbanized. History for these antimodernists is not susceptible to human understanding and agency, but is a subset of “natural history.” When we understand that, there might be some progress in the teaching of the humanities.

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