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Category: Table talks

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Final solution Table talks Winston Churchill

Uncle Adolf’s table talk, 180

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31st August 1942, evening

Britain, Germany, Lloyd George and the Duke of Windsor—Jews spur on the deadly work of the warmongers—Churchill.
 

It is a mistake to think that all Britons are arrogant. It is perfectly true that they have a handful of degenerates at their head, and I must admit that our leaders of 1917-18 shone in comparison.

I asked Lloyd George why it was that he had failed to gain his point when negotiations for the peace treaty were in progress? (He was advocating a magnanimous peace treaty.) He explained that Wilson opposed him from the beginning, and that the French never ceased from their witch-hunt; it was not his fault, and he had done all that was in his power to do.

Recently they have announced the internment of eleven thousand Fascist followers of Mosley. The real reason for the destruction of the Duke of Windsor was, I am sure, his speech at the old veterans’ rally in Berlin, at which he declared that it would be the task of his life to effect a reconciliation between Britain and Germany.

The campaign of antagonism against Germany was organised by Churchill on the orders of his Jewish paymasters, and with the collaboration of Eden, Vansittart and company. The Jews had already succeeded, step by step, in gaining complete control of the press. To counteract Rothermere, the Jews cut off his complete revenue from advertising, and it was Rothermere himself who told me the story of how he was compelled to toe the line. Any and every nation which fails to exterminate the Jews in its midst will sooner or later finish by being itself devoured by them.

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Table talks

Uncle Adolf’s table talk, 181

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1st September 1942, evening

Vienna before 1918—and after.
 

After 1918 the average Viennese found himself reduced to extreme poverty. But before the war it was wonderful; never shall I forget the gracious spectacle of the Vienna Opera, the women sparkling with diadems and fine clothes. In 1922 I was again at the Opera—and what a difference! In the places of the cultured society of old there now sat the Jewish riffraff; the women stretched out their hands to show off their jewellery—a heart-rending sight! I never once saw the Imperial box occupied. I suppose the Emperor Franz Josef was not musical. I am an implacable enemy of the Habsburgs, but the sight of this mob sprawling to the very edge of the Imperial box was disgusting and repulsive, and it angered me immensely.

I returned to Vienna quite recently. This repellent mob has now disappeared, but Vienna is an impoverished city. In the old days it was quite a sight to see the handsome carriages bowling along the roads, which were for the most part paved with wood. The relations between master and man in old Vienna were charming in the mutual loyalty and affection which characterised them.

There is only one town in Germany, Munich, in which social differences were so little marked. I can blame no Viennese for looking back with sad longing to the Vienna of old; my younger sister is filled with this nostalgia.

_____________________________

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Table talks Winston Churchill

Uncle Adolf’s table talk, 182

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2nd September 1942, evening

Political evolution of Britain— Possibility of a volte face by Churchill.
 

I do not believe that Britain is going Left; if she did, it would be a catastrophe! For as long as the war lasts, Churchill will remain. But I do not regard it as beyond the realms of possibility that some event, like, perhaps, the fall of Stalingrad, may compel him to make a complete volte face. A leading statesman has, of course, his eye on the possible proceedings the State may take against him, once the game is lost, and this may act as a deterrent. When once the terms we offered to Great Britain are made public there will be an uproar throughout the Kingdom.

If a change of leadership occurs, the first thing the new man should do would be to release all those who have been incarcerated by Churchill. They have already been in prison for three years, and a better preparation of the spirit of revolution does not exist. These people would soon settle accounts with the Jews!

When war was declared, a bare 40 per cent of the Members of Parliament were in their seats; immediately afterwards, on another occasion, two hundred and fifty-four members ostentatiously refrained from voting. Never has Britain waged a war which is such an offence to the intelligence and which was thrust upon her by a small clique.

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Table talks

Uncle Adolf’s table talk, 183

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3rd September 1942, evening

Never yield an inch to Britain—No war against the British, but against the clique who rule them.
 

One thing is quite certain—we should never have got any where with the British, if I had given way to them in one single instance. Today, they regard me capable of anything; hence the satisfactory reply to our demand for the immediate cancellation of the order to manacle prisoners of war.

We must persist in our assertion that we are waging war, not on the British people, but on the small clique who rule them. It is a slogan which promises good results. If we say we are fighting the British Empire to the death, then obviously we shall drive even the last of them to arms against us; and do not forget that there are very many among them who never wanted war. If I give Churchill grounds for declaring that Britain is fighting for her survival, then I immediately close the ranks for him—ranks which at the moment are most desperately torn asunder.

What has Britain achieved by her declaration that she will destroy the German people? I’ll tell you what she achieved: she has welded the whole German people into one mighty, determined fighting unit. Of one thing I am sure: the people at present at the helm will continue the war until they see that it can no longer be won and—this is important—are at the same time satisfied that a cessation of hostilities will not mean the destruction of the British Empire.

In spite of everything, I therefore think that we are psychologically right in continuing to declare, now and in the future, that we are not fighting against the British people, but against this ruling clique.

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Aryan beauty Marriage Miscegenation Table talks

Uncle Adolf’s table talk, 184

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6th September 1942, midday

Racial mixtures—Sailors on leave.
 
 

What a fine race the Dutch are! The girls are splendid and very much to my taste. The blemishes in the Dutch are due to interbreeding with the Malays, and that, in its turn, is the result of sexual urge and the lack of a sufficiency of white women in their colonies. We had much the same thing in our own colonies; a German had the right to marry a negress, provided she was a Catholic, but not a German girl, if she happened to be a Protestant.

Even today, the Catholic priest chatters for months if one of his flock wishes to marry a Protestant. It is not very long ago that, in the country, a marriage between Catholic and Protestant was stigmatised as an insult to the Holy Altar; but no body bothered their heads about the colour of bastards! In the British Empire, things are very different; but the Church of England is a political, rather than an ecclesiastical, organisation.

Again and again I am asked to sanction marriage between one of our soldiers and a foreign girl; and as often as not the soldier is a splendid young lad and the girl a little trollop.

Nothing but catastrophe could come of such unions. The branches of the services most exposed to this danger are the Navy and the antiaircraft units, because they stay in one place longer than anyone else. It was the same in the first war. The Flemish girls were most attractive, and, had the war had a normal ending, many of them would undoubtedly have married German soldiers.

The Fuehrer turns jestingly to Admiral Krancke: Your sailors have only three hours’ liberty ashore each day; can’t you give them a bit more? If they must hang about in port, they will be best employed chasing the girls!

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Ancient Greece Pedagogy Table talks

Uncle Adolf’s table talk, 185

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7th September 1942, midday (special guests: Reich Minister Speer, Reichskommissar Koch, Field Marshal Milch).

School-day memories—Towards a seasoned system of education.
 

We pupils of the old Austria were brought up to respect old people and women. But on our professors we had no mercy; they were our natural enemies.

Our teachers were absolute tyrants. They had no sympathy with youth; their one object was to stuff our brains and to turn us into erudite apes like themselves. If any pupil showed the slightest trace of originality, they persecuted him relentlessly, and the only model pupils whom I ever got to know have all been failures in afterlife.

Good teaching should recognise and develop the personality of the individual pupil. In this respect the foundation of a corps of teachers and the revision of educational methods have brought a very great improvement in modern times.

Among our teachers there was only one who dressed decently; and it is an interesting fact that, when I once visited Klagenfurt, I found him—in the SS! The old gentleman, who was then already on pension, had, it seems, been a member of the illegal SS before the Anschluss. I was very much moved to meet him again.

I can readily understand why the youth of ancient Greece sometimes went far afield, in order to study under the teacher of their choice. And it was grouped around their teachers, by the way, that the youth of ancient days went into battle. There is no enthusiasm greater than that of a young man of thirteen to seventeen years of age. They will gladly let themselves be cut to pieces for the sake of their teacher, if he is a real man. I should very much like to see our youth led into battle by their teachers!


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Architecture Art Degenerate art Painting Table talks

Uncle Adolf’s table talk, 186

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13th June 1943, evening

The French painters—The great artistic achievements of the nineteenth century were German—Architecture in Munich.
 

I cannot make up my mind to buy a picture by a French painter, because I am not sure of the dividing line between what I understand and what I do not understand. I have the same feeling when I look at paintings by Corinth and Trübner—to mention only two of our German artists. These men started by painting pictures of great merit, and then, urged on by pride, they started to produce the most startling and extraordinary works. In literature the Jew has already blazed the same pernicious trail, and artists like Corinth and Trübner have followed them. The result is the frightful daubs with which they now inflict us.

In painting, the Italians were truly great from the fourteenth century to the seventeenth; in the eighteenth century they rested on their laurels, in the nineteenth their light began to wane, and today Italian art is completely degenerate. All this seems quite incomprehensible to me, but I suppose it is the law of averages. In the nineteenth century the greatest masterpieces in every branch were the works of us Germans. In the same period the French, too, had some good artists, but they all deteriorated in time.

When I think of the Paris Opera House, I cannot help feeling that those of Dresden and Vienna are in a very different category. The design itself of the Paris Opera is a work of genius, but the execution, from the artistic point of view, is very ordinary; and the interior is pretentious, overcrowded with decoration and devoid of all artistic taste. We must make sure that the new Opera House which we intend to build in Munich surpasses everything, in every way, that has ever gone before it.

The Palace of Justice in Munich is perhaps the most beautiful example of the baroque of recent times. Typical of the epoch of liberalism is the Palais de Justice in Brussels. It is a cyclops which dominates the whole town; and fancy having the Law Courts, of all things, as the dominating feature of a place! I am quite sure that a man is never more ready to fight for his country than when it is a question of defending the artistic and intellectual heritage of the nation. We have a fresh proof of it today. The destruction of a national monument has a greater effect on public opinion than the destruction of a factory.

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Art Degenerate art Table talks

Uncle Adolf’s table talk, 187

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15th June 1943, midday

Intellectual and artistic poverty—Only decadent art is harmful—Teutonic nostalgia—The need of open spaces.
 
The industrialisation of a country invariably provokes an opposite reaction and gives rise to a recrudescence of a certain measure of romanticism, which not infrequently finds expression in a mania for the collection of bibelots and somewhat trashy objets d’art. It is a phenomenon which recurs with each fresh migration from the land to the town. It is not the museums and the picture-galleries which attract these newcomers, but the vaults which foster the liking for the mysterious, like the blue grotto of the nymphs. The process of readjustment takes fifty or a hundred years.

Unfortunately, the period of economic and industrial progress in Germany coincided with a period of artistic hesitancy and poverty. One cannot, in justice, blame the masses, when one remembers the artistic junk with which the big industrialists filled their houses. But the latter were people of intelligence, and them I blame greatly.

The masses are still attracted by somewhat trashy art, but that has nothing in common with artistic degeneracy. If I am asked whether I am prepared to condone this, my reply is that I will condone anything which does not lead to artistic depravity.

The admiration for what we sometimes call chocolate-box beauty is not of itself vicious; it gives evidence, at least, of artistic feeling, which may well become later the basis for real taste. Permanent injury is done only by real depravity in art. It is perfectly true that we are a people of romantics, quite different from the Americans, for example, who see nothing beyond their sky-scrapers. Our romanticism has its origins in the intense appreciation of nature that is inherent in us Germans.

Properly to appreciate such artists as Weber, Ludwig Richter and the other romanticists, one must know Franconian mountains, for that is the background which gives birth to romanticism in both music and painting; and, of course, the stories and legends of our folklore also make a potent contribution.

The only romance which stirs the heart of the North American is that of the Redskin; but it is curious to note that the writer who has produced the most vivid Redskin romances is a German.

One thing the Americans have, and which we lack, is the sense of the vast open spaces. Hence the particular characteristics of our own form of nostalgia. There comes a time when this desire for expansion can no longer be contained and must burst into action.

It is an irrefutable fact that the Dutch, for example, who occupied the most densely populated portions of the German lands, were driven, centuries ago, by this irresistible desire for expansion to seek ever wider conquest abroad.

What, I wonder, would happen to us, if we had not at least the illusion of vast spaces at our disposal? For me, one of the charms of the Spessart is that one can drive there for hours on end, and never meet a soul. Our autobahns give me the same feeling; even in the more thickly populated areas they reproduce the atmosphere of the open spaces.

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Beethoven Berlin Mozart Music Table talks

Uncle Adolf’s table talk, 188

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24th June 1943, evening

The vibrant pulse of Berlin—Vienna the home of music— Mozart—Slav blood and German blood—Beethoven—For and against Vienna—The new capital of the Reich—A remark of Treitschke.
 

In Berlin, I think, people work harder than anywhere else. I know of no other city in which it would have been possible to complete the construction of the Reich Chancellery in nine months. The Berlin workman is unique as a swift and efficient craftsman. There is nothing to touch him in Munich or Vienna, where the infusion of foreign blood—Polish, Czech, Slav, Italian—still has an influence.

When one speaks of Vienna and music and proclaims Vienna to be the most musical city in the world, one must not forget that at the time of our great composers, Vienna was the Imperial city. She was an attraction for the whole world, and was thus the city which offered artists the greatest scope and opportunity. In spite of this, how shabbily the musicians were treated there! It is not true that either Beethoven or Haydn had any success there during their lifetime. Mozart’s Don Juan was a failure there.

Why then did Mozart go to Vienna? Simply because he hoped to get a pension from the Emperor, which he never obtained. Mozart’s family, it has been established, came from Augsburg; he was therefore not an Austrian but a Swabian. The whole blossoming of our music in Vienna is not due to the town; such things do not spring from their environment, but from the genius of a race.

Really creative music is composed partly of inspiration and partly of a sense of composition. The inspiration is of Slavonic origin, the art of composition is of Germanic. It is when these two mingle in one man that the master of genius appears. In Bach’s music it is the composition which is marvellous, and he certainly had no drop of Slav blood in his veins. As regards Beethoven, on the other hand, one glance at his head shows that he comes of a different race. It is not pure chance that the British have never produced a composer of genius; it is because they are a pure Germanic race.

Do not for a moment imagine that I am hostile to Vienna. I criticise with equal vigour everything in Berlin which displeases me. My task is a far greater one, and I do not think in terms of Vienna or Berlin.

It is perhaps a blessing in disguise that I was for so long a Stateless person; for it has taught me the tremendous value of a unified Germany.

Treitschke once said: “Germany has cities, but she possesses no capital.” To that I will add that she must, and she shall, have one. I shall take care that no town in the Reich can rival the capital.

I have examined certain projects for Vienna, but they demand a financial backing from the Reich which I do not consider should be accorded to any city but the capital of the Reich.

Any other decision would be wrong. Vienna must, of course, be cleaned up and cleared of slums; and this will be done. I have already cleared the Jews out of the city, but I should like to see the Czechs go, too. Whatever new construction may be undertaken in Vienna, it would be folly for her to try to surpass the existing glorious monuments of the Imperial City.

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Art Music Richard Wagner Table talks

Uncle Adolf’s table talk, 189

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1st March 1944, midday

A nursery for film actors—Futility of the art critics—Weber’s Freischütz and Bizet’s Carmen.
 

It is often said that among our film actors we have none capable of playing certain parts—that, for instance, of the hero. This type of artiste, they say, is non-existent. I have never heard such nonsense. But to find them, you must, of course, look for them. Producers make the mistake of seeking always in the same old circle—the stage and the theatrical agencies. If they would look elsewhere, they would soon find what they want. One has only to think of the splendid types of manhood to be found even now, after five years of war, in our regiments.

Some years ago, before the war, I passed a camp of the Labour Service at Bergdorf. Immediately my car was surrounded by a crowd of bronzed and laughing young men. I remember remarking to one of my companions: “Why don’t our film producers come to places like this in search of talent? In a year or two it would be possible to transform one of these lads into an accomplished actor, even if it were just for one particular part for which they are seeking a star.” In this respect Leni Riefenstahl has the right idea: she scours the villages in search of the peasant types she requires.

In the nature of things, the opinion of an art critic must not be accepted as an irrevocable and unassailable truth. His criticism is, after all, only the expression of his own personal opinion.

When in ten different newspapers ten different critics give their opinion on one and the same work, ten separate personal opinions emerge—unless, of course, they have previously received instructions from interested parties. Has such an opinion any value? I doubt it. We are too prone to forget that the ancients disregarded the art critic. They judged a work on its merits, as they saw them, which, after all, is the natural method of selection. Art criticism, as it has developed since the beginning of the nineteenth century, means either the death of a work of art, since the critics never cease to tear it to pieces; or the death of the press, since the public could have no faith in a press in which the critic of each individual newspaper gives a completely different story on exactly the same work.

If we were to be deprived of art critics, we should not lose very much! One single critique signed with a well-known name may destroy the aspirations of an artist for as long as twenty years.

Examples are not lacking. How many of the artists whom we admire greatly today were previously castigated by the oracles of the times! What is true of painters is true of artists in other fields.

Hoffmann was sufficient gravely to prejudice the chances of success of Der Freischütz. And yet this work, with its deep harmonies, had all the ingredients which should have appealed to the romanticism in Hoffmann. Think of Wagner and how he was torn to bits for ten years by the critics! Had there been no one who appreciated him, it is questionable whether he would have continued with his work. The same thing happened with Carmen. And now the critics who tore these masterpieces to shreds are completely and utterly forgotten, and the works live on.

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