Excerpt from Mein Kampf- "My Struggle" by Adolph Hitler
WHEN MY mother died my fate had already been decided in one respect. During the last months of her illness I went to Vienna to take the entrance examination for the Academy of Fine Arts. Armed with a bulky packet of sketches, I felt convinced that I should pass the examination quite easily. At the REALSCHULE I was by far the best student in the drawing class, and since that time I had made more than ordinary progress in the practice of drawing. Therefore I was pleased with myself and was proud and happy at the prospect of what I considered an assured success.
But there was one misgiving: It seemed to me that I was better qualified for drawing than for painting, especially in the various branches of architectural drawing. At the same time my interest in architecture was constantly increasing. And I advanced in this direction at a still more rapid pace after my first visit to Vienna, which lasted two weeks. I was not yet sixteen years old. I went to the Hof Museum to study the paintings in the art gallery there; but the building itself captured almost all my interest, from early morning until late at night I spent all my time visiting the various public buildings. And it was the buildings themselves that were always the principal attraction for me. For hours and hours I could stand in wonderment before the Opera and the Parliament. The whole Ring Strasse had a magic effect upon me, as if it were a scene from the Thousandand-one-Nights.
And now I was here for the second time in this beautiful city, impatiently waiting to hear the result of the entrance examination but proudly confident that I had got through. I was so convinced of my success that when the news that I had failed to pass was brought to me it struck me like a bolt from the skies. Yet the fact was that I had failed. I went to see the Rector and asked him to explain the reasons why they refused to accept me as a student in the general School of Painting, which was part of the Academy. He said that the sketches which I had brought with me unquestionably showed that painting was not what I was suited for but that the same sketches gave clear indications of my aptitude for architectural designing. Therefore the School of Painting did not come into question for me but rather the School of Architecture, which also formed part of the Academy. At first it was impossible to understand how this could be so, seeing that I had never been to a school for architecture and had never received any instruction in architectural designing.
After the death of my mother I came to Vienna for the third time. This visit was destined to last several years. Since I had been there before I had recovered my old calm and resoluteness. The former self-assurance had come back, and I had my eyes steadily fixed on the goal. I would be an architect. Obstacles are placed across our path in life, not to be boggled at but to be surmounted. And I was fully determined to surmount these obstacles, having the picture of my father constantly before my mind, who had raised himself by his own efforts to the position of a civil servant though he was the poor son of a village shoemaker. I had a better start, and the possibilities of struggling through were better. At that time my lot in life seemed to me a harsh one; but to-day I see in it the wise workings of Providence. The Goddess of Fate clutched me in her hands and often threatened to smash me; but the will grew stronger as the obstacles increased, and finally the will triumphed.
I am thankful for that period of my life, because it hardened me and enabled me to be as tough as I now am. And I am even more thankful because I appreciate the fact that I was thus saved from the emptiness of a life of ease and that a mother's darling was taken from tender arms and handed over to Adversity as to a new mother. Though I then rebelled against it as too hard a fate, I am grateful that I was thrown into a world of misery and poverty and thus came to know the people for whom I was afterwards to fight.
It was during this period that my eyes were opened to two perils, the names of which I scarcely knew hitherto and had no notion whatsoever of their terrible significance for the existence of the German people. These two perils were Marxism and Judaism.
For many people the name of Vienna signifies innocent jollity, a festive place for happy mortals. For me, alas, it is a living memory of the saddest period in my life. Even to-day the mention of that city arouses only gloomy thoughts in my mind. Five years of poverty in that Phaecian (Note 5) town. Five years in which, first as a casual labourer and then as a painter of little trifles, I had to earn my daily bread. And a meagre morsel indeed it was, not even sufficient to still the hunger which I constantly felt. That hunger was the faithful guardian which never left me but took part in everything I did. Every book that I bought meant renewed hunger, and every visit I paid to the opera meant the intrusion of that inalienabl companion during the following days. I was always struggling with my unsympathic friend.
And yet during that time I learned more than I had ever learned before. Outside my architectural studies and rare visits to the opera, for which I had to deny myself food, I had no other pleasure in life except my books. I read a great deal then, and I pondered deeply over what I read. All the free time after work was devoted exclusively to study. Thus within a few years I was able to acquire a stock of knowledge which I find useful even to-day.
But more than that. During those years a view of life and a definite outlook on the world took shape in my mind. These became the granite basis of my conduct at that time. Since then I have extended that foundation only very little, and I have changed nothing in it.
On the contrary: I am firmly convinced to-day that, generally speaking, it is in youth that men lay the essential groundwork of their creative thought, wherever that creative thought exists. I make a distinction between the wisdom of age--which can only arise from the greater profundity and foresight that are based on the experiences of a long life--and the creative genius of youth, which blossoms out in thought and ideas with inexhaustible fertility, without being able to put these into practice immediately, because of their very superabundance. These furnish the building materials and plans for the future; and it is from them that age takes the stones and builds the edifice, unless the so-called wisdom of the years may have smothered the creative genius of youth.
http://www.greatwar.nl/books/meinkampf/meinkampf.pdf
Power of Propaganda and Hitler: http://www.bbc.co.uk/schools/gcsebitesize/history/tch_wjec/germany19291947/2politicalpolicy1.shtml
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