Hitler (9 page)

 

Hitler soon gave up the apartment on Felberstrasse that he had taken after parting from Kubizek. Up to November, 1909, he changed his residence several times. Once he listed his occupation as “writer.” There is some indication that he wanted to avoid registering for military service and hoped by moving around to throw the authorities off his track. But it may also be that this constant moving reflected both his heritage from his father and the neurasthenia and aimlessness of his life. Those who knew him during this period have described him as pale, with sunken cheeks, hair brushed low over his forehead, his movements jerky. He himself later declared that at that stage of his life he had been extremely shy and would not have ventured to approach a great man or to speak out in the presence of five persons.

He lived on his orphan's pension, which he continued to draw by fraudulently asserting that he was attending the Academy. His inheritance from his father, however, as well as his share in the sale of his parents' home—which for so long had provided him with the means for a carefree and untrammeled existence—appear to have been used up by the end of 1909. At any rate, he gave up the room on Simon Denk Gasse which he had sublet from September to November. Konrad Heiden, the author of the first important biography of Hitler, relates that at this time Hitler “sank into bitterest misery” and spent a few nights without shelter, sleeping on park benches and in cafés, until the advanced season forced him to seek shelter. November, 1908, was unusually cold; there was much rain, often mixed with snow.
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Sometime during this month Hitler queued up in front of the home for men in Meidling, a Vienna suburb. Here he met a vagabond named Reinhold Hanisch, who in an account he wrote in later years described how “after long wanderings on the roads of Germany and Austria I came to the Refuge for the Homeless in Meidling. On the wire cot to my left was a gaunt young man whose feet were quite sore from tramping the streets. Since I still had some bread that peasants had given me, I shared it with him. At that time I spoke a heavy Berlin dialect; he was enthusiastic about Germany. I had passed through his home town of Braunau on the Inn, so I could easily follow his stories.”

For about seven months, until the summer of 1910, Hitler and Hanisch spent their time together in close friendship and joint business affairs. To be sure, this witness is not much more credible than all the others from this early phase of Hitler's life. Nevertheless, there are bits of Hanisch's story which ring true: that Hitler had the tendency to sit idly brooding, and that nothing would persuade him to go job hunting with his pal Hanisch. The contradiction between Hitler's longing for middle-class respectability and his real situation certainly never appeared more plainly than during those weeks in the flophouse, surrounded by broken-down derelicts, befriended by no one but the crudely cunning Reinhold Hanisch. In 1938, when he could do so, he had Hanisch tracked down and killed. At the height of his career, still needing to drown out the humiliating memory of those years, he insisted: “But in imagination I lived in palaces!”

The enterprising Hanisch, wise in the ways of the world, familiar with all the miseries and shifts open to his class, one day asked Hitler his occupation. Hitler replied that he was a painter. Assuming that Hitler meant a house painter, Hanisch said that he certainly should be able to earn money at such a trade. And, despite all our suspicions of Hanisch's reliability, we cannot help recognizing the young Hitler in the phrases that follow: “He was insulted and replied that he was not that kind of painter, but an academician and an artist.” The two men eventually went into partnership—the idea seems to have come from Hanisch. Shortly before Christmas they moved into a kind of hostel, the home for men on Meldemann Strasse, in the Twentieth District of Vienna. By day, when regulations forbade staying in the tiny bedrooms, Hitler sat in the reading room perusing the newspapers or popular-science journals, or else copying postcards and lithographs of Viennese scenes. Hanisch sold these careful water colors to picture dealers, framers, and sometimes to upholsterers who, in the fashion of the day, “worked them into the high backs of easy chairs or sofas.” The proceeds were shared on a fifty-fifty basis. Hitler himself felt that he would not be able to sell his works since he “could not be seen in his bedraggled clothes.” Hanisch, however, maintains that he managed “sometimes to get a very good order, so that we could live fairly well.”

The inhabitants of the home for men came from all classes; the largest group consisted of young workers, both blue- and white-collar, with jobs in nearby factories and shops. In addition there were some solid, industrious small craftsmen. Hanisch mentions music copyists, sign painters, and monogram carvers. But more characteristic of the place and the neighborhood were the shipwrecked of various kinds, adventurers, bankrupt businessmen, gamblers, beggars, moneylenders, discharged army officers—flotsam and jetsam from all provinces of the multinational state. There were also the Jews from the eastern regions of the monarchy who, as door-to-door salesmen, peddlers, or knitware dealers were trying to rise. What linked them all was common wretchedness; what separated them was the desperate determination to escape from that world, to scramble out even at the expense of all others. “The lack of solidarity is the supreme characteristic of the great class of the declassed.”
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Again, in the home for men Hitler had no friends aside from Hanisch. Those who knew him there remembered him as a fanatic; on the other hand, he himself spoke of his dislike for the Viennese personality, which he felt to be “obnoxious.” Possibly he avoided friendships; intimacies of any kind irritated and exhausted him. What he became acquainted with, on the other hand, was that sort of cameraderie among ordinary people which simultaneously affords contact and anonymity, and offers a kind of loyalty that can be canceled at any time. This was an experience he was never to forget, and in the following years he repeatedly renewed it on the most varied social planes, with virtually unchanging personnel: in the trenchcs during the war; in the midst of his orderlies and chauffeurs, whose company he preferred as a party leader and later as Chancellor; and finally in the underground bunker of the Fuhrer's headquarters. He always seemed to be repeating the life style of the home for men, which provided only distant forms of social life and in general neatly fitted into his concept of human relations. The management of the home considered him difficult, a political troublemaker. “Tempers often rose,” Hanisch later recalled. “The exchanges of hostile looks made the atmosphere distinctly uncomfortable.”

Hitler evidently argued his views sharply and consistently. During the Vienna years he was in a constant state of perturbation, in strong contrast to the famous lightheartedness of the city but in fact far more in keeping with the temper of the times. He was obsessed by fears of Jews and Slavs, hated the House of Hapsburg and the Social Democratic Party, and envisioned the doom of Germanism. His fellows in the home for men did not share his paranoid emotions.

Radical alternatives, wild exaggerations formed the pattern of his thinking. His hate-filled mind pushed everything to extremes, magnified events of minor importance into metaphysical catastrophes. From early on only grandiose themes had attracted him. This tendency was one of the reasons for his naive and reactionary leaning toward the heroic, the nobly decorative, the idealizing elements in art. Gods and heroes, gigantic aspirations, or horrendous superlatives stimulated him and helped to mask the banality of his circumstances. “In music Richard Wagner brought him to bright flames,” Hanisch writes clumsily but vividly. Hitler himself later claimed that as far back as this he began sketching his first plans for the reconstruction of Berlin. His bent for grandiose projects fits into this context. A job in the office of a construction company instantly awoke his old dreams of being an architect; and after a few experiments with model planes he already saw himself as the owner of a great airplane factory and “rich, 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),
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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,”
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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.

 

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 men was marked by deceit, parasitism, and asociality—all this could be secretly justified in terms of the prevailing concept of genius. And Richard Wagner was the supreme example of the validity of that concept.

Hitler himself, in fact, later declared that with the exception of Richard Wagner he had “no forerunners,” and by Wagner he meant not only the composer, but Wagner the personality, “the greatest prophetic figure the German people has had.” One of his favorite ideas, to which he returned frequently, concerned Wagner's towering importance “for the development of German man.” He admired the courage and energy with which Wagner exerted political influence “without really wishing to be political,” and on one occasion admitted that a “literally hysterical excitement” overcame him when he recognized his own psychological kinship with this great man.
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The parallels are, in fact, not at all hard to detect. The points of contact between the two temperaments—all the more marked because the young postcard painter consciously modeled himself after his hero—produce a curious sense of family resemblance, which Thomas Mann first pointed out in his disturbing essay
Brother Hitler.
In 1938, when Hitler was at the height of his peacetime triumphs, Mann wrote:

 

Must we not, even against our will, recognize in this phenomenon an aspect of the artist's character? We are ashamed to admit it, but the whole pattern is there: the recalcitrance, sluggishness and miserable indefiniteness of his youth; the dimness of purpose, the what-do-you-really-want-to-be, the vegetating like a semi-idiot in the lowest social and psychological bohemianism, the arrogant rejection of any sensible and honorable occupation because of the basic feeling that he is too good for that sort of thing. On what is this feeling based? On a vague sense of being reserved for something entirely indefinable. To name it, if it could be named, would make people burst out laughing. Along with that, the uneasy conscience, the sense of guilt, the rage at the world, the revolutionary instinct, the subconscious storing up of explosive cravings for compensation, the churning determination to justify oneself, to prove oneself.... It is a thoroughly embarrassing kinship. Still and all, I would not want to close my eyes to it.
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