Hitler by Joachim C. Fest Page A

that he had no “actual encounter with the girl,” either in Linz or in Vienna. Or, if so, the affair would have been lacking the kind of passion that might have liberated the young man from his theatrical egocentrism.
    Contrasting with this lack is a significant dream, the—in his own words—“nightmare vision of the seduction of hundreds and thousands of girls by repulsive, bandy-legged Jew bastards.” Lanz, too, had been tormented by the recurrent bugbear of blonde noblewomen in the arms of dark, hairy seducers. His race theory was permeated by sexual-envy complexes and deep-seated antifemale emotions; woman, he maintained, had brought sin into the world, and her susceptibility to the lecherous wiles of bestial submen was the chief cause for the infection of Nordic blood. The same obsession, expressing the toils of a delayed and inhibited masculinity, emerges in a similar vision of Hitler’s: “With satanic joy in his face, the black-haired Jewish youth lurks in wait for the unsuspecting girl whom he defiles with his blood, thus stealing her from her people.” In both cases we have the fetid, insipid imagery of the sex-starved daydreamer; and it may well be that the peculiarly nasty vapors that rise from large tracts of National Socialist ideology derive from the phenomenon of repressed sexuality within the bourgeois world. 28
    Kubizek, Hitler’s boyhood friend, and other companions from the dim twilight of underground Vienna, have pointed out that Hitler had early on fallen out with everybody, that his hatred lashed out in all directions. It is conceivable, therefore, that his anti-Semitism was merely the concentrated form of his hitherto general and undirected hatred, which finally found its object in the Jews. In
Mein Kampf
Hitler argued that the masses must never be shown more than one enemy, because to be aware of several enemies would only arouse doubts. This principle, a number of writers have pointed out, applied to him even more than to the masses. He always concentrated his feelings with undivided intensity upon a single phenomenon as the presumptive cause of the evils in the world. And that phenomenon was always a specifically imaginable figure, never any elusive cluster of causes.
    Perhaps we may never be able to trace Hitler’s overwhelming Jewish phobia down to its roots. But on the whole we may say that an ambitious and desperate loner was finding a formula for politicizing his personal problems. For he saw himself bit by bit going downhill and was forced to fend off his terror of being declassed. The apparition of the Jew helped to support his self-esteem; he could draw the conclusion that he had the laws of history and of nature on his side. Hitler’s own account, incidentally, sustains the view that he became a full-fledged anti-Semite at the time he had used up his inheritance. Although he never suffered the utter destitution he later described, he was under some financial pressure, and at any rate had socially fallen much lower than he could bear, given his dreams of being an artist, a genius, the object of public adulation.
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    Vienna, the German bourgeois Vienna of the turn of the century, may be regarded as under the aegis of three men. Politically, it was the city of Georg Ritter von Schönerer and Karl Lueger. But in that peculiarly iridescent area where politics and art meet—that border region that so significantly determined Hitler’s career—the overwhelmingly dominant figure was Richard Wagner. Ideologically, these three were the key personalities of his formative years.
    We are told that in Vienna Hitler appeared as a disciple of Georg von Schönerer, that he had framed mottos by this man hanging over his bed:
Ohne Juda, ohne Rom/ wird gebaut Germaniens Dom. Heil!
* And:
Wir schauen frei und offen, wir schauen unverwandt,/ wir schauen froh hinüber ins deutsche Vaterland. Heil!
†
    These rhymed maxims gave the gist of von