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Anders als Kershaw, in dessen Hitler-Biografie der Protagonist am Ende gleichsam als Ergebnis und Sprachrohr der allenthalben waltenden sozialen Energie erscheint und als Person beinahe aus dem Blick gerät, bleibt Fest bei seiner Darstellung stets eng bei der Person Hitler. Dabei verliert er die soziohistorischen Gründe für die Möglichkeit von dessen "Erfolg" nicht aus den Augen. Im Gegenteil: Immer wieder zeigt der Autor, wie sehr einzelne Fassetten der Pathologie des Diktators mit konkreten wie diffusen Bedürfnissen, Gefühlen und Ressentiments anderer Einzelner ebenso wie der "Masse" korrespondierten.
Auch Fests Hitler-Biografie liefert nur einen Mosaikstein -- immerhin aber einen sehr wichtigen -- für das immer noch längst nicht vollständige historisch- und sozialbiografische Bild, das wir uns von dem Phänomen Hitler und all dem, was damit zusammen hängt, machen müssen. Und dieses Bild müssen wir uns nicht nur machen, um die Vergangenheit zu begreifen, sondern auch, um unsere Gegenwart besser zu verstehen. Denn wenn Fest mit seinem Buch eines deutlich gemacht hat, dann dies: Hitler markiert nicht nur das Ende einer Epoche, er steht vielmehr auch am Anfang unserer Gegenwart, die "ohne die Kenntnis der hier dargestellten Geschichte" nicht verstanden werden kann, wie der Autor im Vorwort schreibt -- auch wenn diese Geschichte, was ihren Hauptdarsteller anbelangt, den größten Schrecken aus dessen primitiv-monströser Trivialität bezieht, wie das vielleicht beste Kapitel "Blick auf eine Unperson" eindrucksvoll und bis heute unüberholt belegt. --Andreas Vierecke
1228 pages, Paperback
First published January 1, 1973
The policy of appeasement had been partly based on and sustained by the bourgeois world’s fear of Communist revolution. In the script of English statesmen, Hitler was assigned the role of militant defender of the bourgeois world. That was why they had endured all his slaps in the face, his provocations and outrages. But this was the only reason. By coming to an agreement with the Soviet Union, he indicated that he was not the opponent of revolution that he had pretended to be; he was no protector of the bourgeois order, no “General Wrangel of the world bourgeoisie.” Although the pact with Stalin was a masterpiece of diplomacy, it contained an inconspicuous flaw: it abrogated the premises on which Hitler and West carried on their dealings. Here was something that could not be glossed over, and with rare unanimity the British, including the stoutest spokesmen for appeasement, now showed their resolve to oppose him. Although Hitler had a deserved reputation for psychological acuity, it became clear in this decisive moment that, after all, he was the psychologist only of the exhausted, the resigned, the doomed. And he was far better able to estimate the moves of victims than of adversaries.
Machiavelli pointed out in a famous aphorism that power is not maintained with the same following that has helped to win it. Mussolini is said to have made this comment to Hitler when they [first] met in Venice. In the course of the conquest of power a limited degree of revolution from below had been permitted. By destroying the top leadership of the SA, Hitler choked off that limited revolution. The Röhm affair concluded the so-called period of struggle and marked the turning point away from the vague, utopian phase of the movement to the sober reality of a disciplined state. The romantic barricade fighter was replaced by the more modern revolutionary types such as the SS produced: those passionless bureaucrats who supervised a revolution whose like had never been known. Thinking not in terms of the mob but in terms of structures, they placed their explosive charges deeper than perhaps any revolutionaries before them.
The intellectual ferment, like the artistic experimentation of the period, passed Hitler by in Munich as it had in Vienna. Vassily Kandinsky, Franz Marc, and Paul Klee, who also lived in the Schwabing neighborhood and were opening new dimensions in painting, meant nothing to Hitler. Throughout all the months he lived in Munich he remained the modest postcard copyist who had his visions, his nightmares, and his anxieties, but did not know how to translate them into art. The pedantic brushwork with which he rendered every blade of grass, every stone in a wall, and every roofing tile, shows his intimate craving for wholeness and idealized beauty. But the phantom world of his complexes and aggressions remained completely unexpressed.
Title page of Hitler by J.C.Fest. Cancelled from the Monash University library.