Free Hitler by Joachim C. Fest Page A

very rich.”
    Meanwhile, reputedly through Greiner’s mediation, he produced a poster advertising a hair tonic, another poster for a bed-feathers shop, another for an antiperspirant sold under the brand name “Teddy.” A copy of this last poster, with Hitler’s signature in a corner, has been found. It shows two rather stiff, clumsily drawn figures of letter carriers; one has sat down in exhaustion wringing heavy blue drops of sweat out of his sock; the other is informing his “dear brother” that 10,000 steps a day are “a pleasure with Teddy powder.” In another poster that has come down to us the tower of St. Stephan’s cathedral rises majestically above a mountain of soap. What Hitler himself considered noteworthy about this period of his life was that he was at last master of his own time. During the long hours he spent over the newspapers in cheap little cafes, he read by preference the anti-Semitic
Deutsches Volksblatt.
    If we were to define the characteristic quality of that period in the life of this eccentric, solitary twenty-year-old (Hitler, too, spoke of himself as having been “eccentric” at this time), 34 we should have to stress the essentially unpolitical nature of his interests. Richard Wagner was his idol during those years, not only “in music.” In fact, Hitler saw Wagner’s early disappointments, lack of recognition, and obstinate faith in his own vocation, a “life flowing into the glory of world fame,” 35 as a prototype of his own destiny. Hitler was not the only victim to be seduced by that romantic concept of genius whose merits and failings Richard Wagner embodied. Because of Wagner a whole generation was confused, misguided, and alienated from the bourgeois world.
    Â 
    The boy who fled the disciplines of school and then fell prey to the delusive promises of the big city found his idol in the Master of Bayreuth. Many young men of his generation followed the same course, and with similarly exalted expectations. It was a way with great appeal to gifted “outsiders” who otherwise would have no choice but to sink into mediocrity. It may surprise us to find that this unprepossessing son of a Linz customs official represents so typical a phenomenon. With the turn of the century legions of these sons of the nineteenth-century middle class made their appearance. In 1906 Hermann Hesse, in
Under the Wheel,
vividly described the sufferings of one such youth under contemporary conditions and gave a dismal forecast of his future. Robert Musil, in
Young Torless,
and Frank Wedekind, in
The Awakening of Spring,
were among the many writers who dealt with the same theme. Whether these heroes sought escape from the toils of the world or went down to destruction, all of them opposed to the bourgeois world a wild enthusiasm for the arts. They despised their fathers’ mean accomplishments and felt only contempt for their values. By contrast, an artist’s existence was noble, precisely because it was socially unfruitful. Everything that stood for order, duty, endurance, they dismissed as “bourgeois.” The bourgeois mentality, they maintained, promoted efficiency but did not tolerate the extraordinary. The tremendous intensifications of true culture, on the other hand, the glories of the “spirit,” could be achieved only
in
isolation, in extreme human and social aloofness. The artist, the genius, the complex personality in general, was bound to be utterly out of place in the bourgeois world. His true locale was far out on the fringes of society, where the morgue for suicides and the pantheon for immortals were both situated—as Henri Murger, the first analyst of this type bathetically observed. Though the lodginghouses to which Hitler betook himself were squalid, though his notion of being an artist was ridiculously highflown; though no one so far had acknowledged his talent; though his actual life in the home for