Hitler

extent of her industrial revolution, Germany was unexampled among Western nations, as Thorstein Veblen had noted.⁹ The pace of change consequently stirred violent anxieties and reactions. Yet in contrast to the usual cliche, the Germany that united achievement with neglect, feudal elements with highly progressive measures, authoritarianism with state socialism, in a unique and variegated pattern, must be considered as probably the most modern industrial state in Europe on the eve of the First World War. In the previous twenty-five years it had more than doubled its gross national product. The proportion of the population earning the minimum income subject to taxation had risen from 30 to 60 per cent. Steel production, for example, which had amounted to only half of British production in 1887, had attained nearly double the British production. Colonies had been conquered, cities built, industrial empires created. The number of corporations had risen from 2,143 to 5,340, and the tonnage handled in the port of Hamburg had moved up to third place in the world, still behind New York and Amsterdam, but ahead of London. Along with this, the country was governed soberly and frugally. Despite certain areas of autocracy, it provided a high degree of domestic freedom, administrative justice, and social security.

There were anachronistic features in the total picture of imperial Germany, but these came from a quarter other than the economic or social reality. Over this hard-working country, seemingly so sure of its future, with rapidly growing metropolises and industrial areas, there arched a peculiarly romantic sky whose darkness was populated by mythic figures, antiquated giants, and ancient deities. Germany’s backwardness was chiefly ideological in nature. A good deal of professorial obscurantism and Teutonic folklorism was involved. So also was the desire for self-improvement on the part of a middle class that longed for “the higher things” even as it so dynamically pursued material goals. Underlying these tendencies on the part of the cultivated middle class was an antagonism to the very modern world it was creating so energetically and successfully. This opposition produced defensive gestures against the new, antipoetic reality, gestures springing not from skepticism but from romantic pessimism. An impulse for counterrevolutionary protest could be detected in these ambivalent attitudes.

Such writers as Paul de Lagarde, Julius Langbehn, and Eugen Duhring became spokesman for a widespread mood hostile to modern civilization. This mood was not confined to Germany. Elsewhere, too, there was a reaction against the unimaginative, life-affirming optimism of the age, and the present was fiercely condemned both from the right and from the left. Around the turn of the century this note was sounded in the United States as well as in the France of the Dreyfus case. It inspired the formation of the Action Francaise and the manifestos of Maurras and Barres. Gabriele d’Annunzio, Enrico Corradini, Miguel de Unamuno, Dmitri Merezhkovski and Vladimir Soloviev, Knut Hamsun, Jacob Burckhardt and D. H. Lawrence, for all their individual differences, became spokesmen for similar fears and antagonisms. But the sharpness of the change in Germany, which shot the country so abruptly from Biedermeier to modernity, with all the painful breaches and partings that such precipitation involves, gave to the protest an especially nysterical high pitch in which anxiety and disgust with modern reality mingled with romantic yearnings for a vanished Arcadia.

This tradition, too, went far back. Such pangs at the onslaughts of civilization could be traced back to Rousseau or to Goethe’s Wilhelm Meister, whose hero had already sensed the mighty force approaching “like a thunderstorm, slowly, slowly, but… it will come and strike.” In Germany the spokesmen for this attitude despised progress and professed themselves, with a good measure of pride, unworldly reactionaries; they preferred to be, in Nietzsche’s phrase, untimely onlookers who, as Lagarde charged, longed for a Germany that had never existed and perhaps never would exist. They treated the facts that were held up to them with haughty contempt and roundly ridiculed “one-eyed reason.” With no regard for logic but with flashes of considerable shrewdness, they opposed the stock exchange and urbanization, compulsory vaccination, the global economy and positivistic science, “communistic” movements and the first attempts at heavier-than-air flight. In brief, they were against the whole concept of modern improvement, and summed up all efforts in that direction as a disastrous “decline of the soul.” As “prophets of enraged tradition,” they invoked the day when the mad whirl would be checked and “the old gods would once more rise out of the waves.”

The values they opposed to the utilitarian ones of the modern age included the sacredness of nature, the loftiness of art, the value of the earthy. They extolled the past, aristocracy, the beauty of death, and the claims of the strong, Caesarean personality. They lamented the decay of German culture while at the same time they were filled with an imperialistic missionary fervor: fear was translated into aggression, and despair sought comfort in the idea.of greatness. The most famous book expressive of this trend, Julius Langbehn’s Rembrandt als Erzieher (“Rembrandt as Educator”) had a spectacular success when it was published in 1890 and went through forty printings within two years. The widespread approval for this curious document, approval deriving from panic, antimodernity, and nationalistic missionary delusions suggests that the book itself was an expression of the crisis it so furiously deplored.

The alliance between these anticivilizational sentiments and nationalism was to have grave consequences. Nearly as portentous was the link between those sentiments and antidemocratic ideas. In opposition to democracy, the anticivilization people joined hands with the theoreticians of Social Darwinism and racism. For both groups saw no good in the liberal Western society which traced its beginnings to the principles of the Enlightenment and the French Revolution. This antidemocratic current was present, again, in all of Europe but was especially strong in France and Italy. In those countries, as Julien Benda later wrote, the writers around 1890 “realized with astonishing astuteness that the doctrines of arbitrary authority, discipline, tradition, contempt for the spirit of liberty, association of the morality of war and slavery were opportunities for haughty and rigid poses infinitely more likely to strike the imagination of simple souls than the sentimentalities of Liberalism and Humanitarianism.”¹⁰ And although all literary successes not withstanding, unhappiness with modernity remained the affair of a sensitive intellectual minority, these attitudes—to revert to Germany—gradually produced a lasting effect. The youth movement particularly was identified with them and gave them a pure and ardent expression. Friedrich Nietzsche described the tendency as follows: “The whole great tendency of the Germans ran counter to the Enlightenment, and to the revolution of society, which, by a crude misunderstanding, was considered its consequence: piety toward everything still in existence sought to transform itself into piety toward everything that has ever existed, only to make heart and spirit full once again and to leave no room for future goals and innovations. The cult of feeling was erected in place of the cult of reason.”¹¹

Finally, the anticivilizational mood of the period struck up an alliance with anti-Semitism. “German anti- Semitism is reactionary,” wrote Hermann Bahr, the Austrian journalist, in 1894, after intensive study of the question. “It is a revolt of the petty bourgeois against industrial development.”¹² In fact, the equating of Judaism and modernity, like the thesis, that Jews had a special talent for the capitalistic free-enterprise economy, was not unfounded. And modernity and capitalistic competition were the very things on which anxiety about the future centered. Werner Sombart, the noted economist, actually spoke of “a Jewish mission to promote the transition to capitalism… and to clear away the still preserved remnants of pre-capitalistic organization.”¹³ Against the background of this economic development, the old hatred of Jews, which had had a religious basis, evolved during the second half of the nineteenth century into an anti-Semitism built on biological and social prejudices. In Germany the philosopher Eugen Diihring and the failed journalist Wilhelm Marr popularized these attitudes. (The latter wrote a pamphlet significantly titled, “The Victory of Judaism over Germanism, Regarded from a Non-denominational Point of View. Vae Victis!”) Anti-Semitism in Germany seemed hardly more intense than in France, let alone in Russia and Austro-Hungary. The anti-Semitic publications of the period repeatedly complained that their ideas, despite their wide dissemination, were not being taken seriously enough. But while irrational nostalgias were skulking about “like masterless dogs,” anti-Semitism served as the vehicle for widespread discontent, precisely because of the half- truths contained in it. With the numerous current theories of a conspiracy of dark powers, or a malignant world- wide disease, the figure of the “Wandering Jew” had a curious credibility. In fact, it was still another embodiment of generalized anxiety. And, on another plane, there were the music dramas of Richard Wagner, which restated the problems of the age in mythic terms. The misgivings about the future, the awareness of the dawning age of gold, racial fears, antimaterialistic impulses, horror of an era of plebeian freedom and leveling, and premonitions of impending doom—all this expressed in highly sensuous art spoke to the cultivated middle classes struggling in the toils of their malaise.

The war unleashed and radicalized these manifold hostilities of the bourgeois age toward itself. Life seemed bogged down in the banalities of civilization. Now once again great exaltations were possible; the war sanctified violence and wrought glories of destruction. As Ernst Junger wrote, its flame throwers accomplished a “great cleansing by Nothingness.” War was the perfect negation to the liberal and humanitarian ideal of civilization. The tremendous impact of the war experience, felt throughout Europe and recorded by an extensive European