Mein Kampf - the Official 1939 Edition (30 page)

In 1914 a fight against Social-Democracy was indeed quite conceivable. But the lack of any practical substitute made it doubtful how long the fight could be kept up. In this respect there was a gaping void.

Long before the War I was of the same opinion and that was the reason why I could not decide to join any of the parties then existing. During the course of the World War my conviction was still further confirmed by the manifest impossibility of fighting Social-Democracy in anything like a thorough way: because for that purpose there should have been a movement that was something more than a mere ‘parliamentary’ party, and there was none such.

I frequently discussed that want with my intimate comrades. And it was then that I first conceived the idea of taking up political work later on. As I have often assured my friends, it was just this that induced me to become active on the public hustings after the War, in addition to my professional work. And I am sure that this decision was arrived at after much earnest thought.

In watching the course of political events I was always struck by the active part which propaganda played in them. I saw that it was an instrument, which the Marxist Socialists knew how to handle in a masterly way and how to put it to practical uses. Thus I soon came to realize that the right use of propaganda was an art in itself and that this art was practically unknown to our bourgeois parties. The Christian-Socialist Party alone, especially in Lueger’s time, showed a certain efficiency in the employment of this instrument and owed much of their success to it.

It was during the War, however, that we had the best chance of estimating the tremendous results which could be obtained by a propagandist system properly carried out. Here again, unfortunately, everything was left to the other side, the work done on our side being worse than insignificant. It was the total failure of the whole German system of information - a failure which was perfectly obvious to every soldier - that urged me to consider the problem of propaganda in a comprehensive way. I had ample opportunity to learn a practical lesson in this matter; for unfortunately it was only too well taught us by the enemy. The lack on our side was exploited by the enemy in such an efficient manner that one could say it showed itself as a real work of genius. In that propaganda carried on by the enemy I found admirable sources of instruction. The lesson to be learned from this had unfortunately no attraction for the geniuses on our own side. They were simply above all such things, too clever to accept any teaching. Anyhow they did not honestly wish to learn anything.

Had we any propaganda at all? Alas, I can reply only in the negative. All that was undertaken in this direction was so utterly inadequate and misconceived from the very beginning that not only did it prove useless but at times harmful. In substance it was insufficient. Psychologically it was all wrong. Anybody who had carefully investigated the German propaganda must have formed that judgment of it. Our people did not seem to be clear even about the primary question itself: Whether propaganda is a means or an end?

Propaganda is a means and must, therefore, be judged in relation to the end it is intended to serve. It must be organized in such a way as to be capable of attaining its objective. And, as it is quite clear that the importance of the objective may vary from the standpoint of general necessity, the essential internal character of the propaganda must vary accordingly. The cause for which we fought during the War was the noblest and highest that man could strive for. We were fighting for the freedom and independence of our country, for the security of our future welfare and the honour of the nation. Despite all views to the contrary, this honour does actually exist, or rather it will have to exist; for a nation without honour will sooner or later lose its freedom and independence. This is in accordance with the ruling of a higher justice, for a generation of poltroons is not entitled to freedom. He who would be a slave cannot have honour; for such honour would soon become an object of general scorn.

Germany was waging war for its very existence. The purpose of its war propaganda should have been to strengthen the fighting spirit in that struggle and help it to victory.

But when nations are fighting for their existence on this earth, when the question of ‘to be or not to be’ has to be answered, then all humane and esthetic considerations must be set aside; for these ideals do not exist of themselves somewhere in the air but are the product of man’s creative imagination and disappear when he disappears. Nature knows nothing of them. Moreover, they are characteristic of only a small number of nations, or rather of races, and their value depends on the measure in which they spring from the racial feeling of the latter. Humane and esthetic ideals will disappear from the inhabited earth when those races disappear which are the creators and standard-bearers of them.

All such ideals are only of secondary importance when a nation is struggling for its existence. They must be prevented from entering into the struggle the moment they threaten to weaken the stamina of the nation that is waging war. That is always the only visible effect whereby their place in the struggle is to be judged.

In regard to the part played by humane feeling, Moltke stated that in time of war the essential thing is to get a decision as quickly as possible and that the most ruthless methods of fighting are at the same time the most humane. When people attempt to answer this reasoning by highfalutin talk about esthetics, etc., only one answer can be given. It is that the vital questions involved in the struggle of a nation for its existence must not be subordinated to any esthetic considerations. The yoke of slavery is and always will remain the most unpleasant experience that mankind can endure. Do the Schwabing 12) decadents look upon Germany’s lot to-day as ‘aesthetic’? Of course, one doesn’t discuss such a question with the Jews, because they are the modern inventors of this cultural perfume. Their very existence is an incarnate denial of the beauty of God’s image in His creation.

Since these ideas of what is beautiful and humane have no place in warfare, they are not to be used as standards of war propaganda.

During the War, propaganda was a means to an end. And this end was the struggle for existence of the German nation. Propaganda, therefore, should have been regarded from the standpoint of its utility for that purpose. The most cruel weapons were then the most humane, provided they helped towards a speedier decision; and only those methods were good and beautiful which helped towards securing the dignity and freedom of the nation. Such was the only possible attitude to adopt towards war propaganda in the life-or-death struggle.

If those in what are called positions of authority had realized this there would have been no uncertainty about the form and employment of war propaganda as a weapon; for it is nothing but a weapon, and indeed a most terrifying weapon in the hands of those who know how to use it.

The second question of decisive importance is this: To whom should propaganda be made to appeal? To the educated intellectual classes? Or to the less intellectual?

Propaganda must always address itself to the broad masses of the people. For the intellectual classes, or what are called the intellectual classes to-day, propaganda is not suited, but only scientific exposition. Propaganda has as little to do with science as an advertisement poster has to do with art, as far as concerns the form in which it presents its message. The art of the advertisement poster consists in the ability of the designer to attract the attention of the crowd through the form and colours he chooses. The advertisement poster announcing an exhibition of art has no other aim than to convince the public of the importance of the exhibition. The better it does that, the better is the art of the poster as such. Being meant accordingly to impress upon the public the meaning of the exposition, the poster can never take the place of the artistic objects displayed in the exposition hall. They are something entirely different. Therefore. those who wish to study the artistic display must study something that is quite different from the poster; indeed for that purpose a mere wandering through the exhibition galleries is of no use. The student of art must carefully and thoroughly study each exhibit in order slowly to form a judicious opinion about it.

The situation is the same in regard to what we understand by the word, propaganda. The purpose of propaganda is not the personal instruction of the individual, but rather to attract public attention to certain things, the importance of which can be brought home to the masses only by this means.

Here the art of propaganda consists in putting a matter so clearly and forcibly before the minds of the people as to create a general conviction regarding the reality of a certain fact, the necessity of certain things and the just character of something that is essential. But as this art is not an end in itself and because its purpose must be exactly that of the advertisement poster, to attract the attention of the masses and not by any means to dispense individual instructions to those who already have an educated opinion on things or who wish to form such an opinion on grounds of objective study - because that is not the purpose of propaganda, it must appeal to the feelings of the public rather than to their reasoning powers.

All propaganda must be presented in a popular form and must fix its intellectual level so as not to be above the heads of the least intellectual of those to whom it is directed. Thus its purely intellectual level will have to be that of the lowest mental common denominator among the public it is desired to reach. When there is question of bringing a whole nation within the circle of its influence, as happens in the case of war propaganda, then too much attention cannot be paid to the necessity of avoiding a high level, which presupposes a relatively high degree of intelligence among the public.

The more modest the scientific tenor of this propaganda and the more it is addressed exclusively to public sentiment, the more decisive will be its success. This is the best test of the value of a propaganda, and not the approbation of a small group of intellectuals or artistic people.

The art of propaganda consists precisely in being able to awaken the imagination of the public through an appeal to their feelings, in finding the appropriate psychological form that will arrest the attention and appeal to the hearts of the national masses. That this is not understood by those among us whose wits are supposed to have been sharpened to the highest pitch is only another proof of their vanity or mental inertia.

Once we have understood how necessary it is to concentrate the persuasive forces of propaganda on the broad masses of the people, the following lessons result therefrom:

That it is a mistake to organize the direct propaganda as if it were a manifold system of scientific instruction.

The receptive powers of the masses are very restricted, and their understanding is feeble. On the other hand, they quickly forget. Such being the case, all effective propaganda must be confined to a few bare essentials and those must be expressed as far as possible in stereotyped formulas. These slogans should be persistently repeated until the very last individual has come to grasp the idea that has been put forward. If this principle be forgotten and if an attempt be made to be abstract and general, the propaganda will turn out ineffective; for the public will not be able to digest or retain what is offered to them in this way. Therefore, the greater the scope of the message that has to be presented, the more necessary it is for the propaganda to discover that plan of action which is psychologically the most efficient.

It was, for example, a fundamental mistake to ridicule the worth of the enemy as the Austrian and German comic papers made a chief point of doing in their propaganda. The very principle here is a mistaken one; for, when they came face to face with the enemy, our soldiers had quite a different impression. Therefore, the mistake had disastrous results. Once the German soldier realised what a tough enemy he had to fight he felt that he had been deceived by the manufacturers of the information which had been given him. Therefore, instead of strengthening and stimulating his fighting spirit, this information had quite the contrary effect. Finally he lost heart.

On the other hand, British and American war propaganda was psychologically efficient. By picturing the Germans to their own people as Barbarians and Huns, they were preparing their soldiers for the horrors of war and safeguarding them against illusions. The most terrific weapons which those soldiers encountered in the field merely confirmed the information that they had already received and their belief in the truth of the assertions made by their respective governments was accordingly reinforced. Thus their rage and hatred against the infamous foe was increased. The terrible havoc caused by the German weapons of war was only another illustration of the Hunnish brutality of those barbarians; whereas on the side of the Entente no time was left the soldiers to meditate on the similar havoc which their own weapons were capable of. Thus the British soldier was never allowed to feel that the information which he received at home was untrue. Unfortunately the opposite was the case with the Germans, who finally wound up by rejecting everything from home as pure swindle and humbug. This result was made possible because at home they thought that the work of propaganda could be entrusted to the first ass that came along, braying of his own special talents, and they had no conception of the fact that propaganda demands the most skilled brains that can be found.

Thus the German war propaganda afforded us an incomparable example of how the work of ‘enlightenment’ should not be done and how such an example was the result of an entire failure to take any psychological considerations whatsoever into account.