[ Pobierz całość w formacie PDF ]
But let us come back to Kurt Heinrich Himmler, chief of the Gestapo,
which meant he held in his hand the essential reins of power of the regime.
Was it his personal merits which earned him such a high position? Did
Hitler see in him a superior genius when he compared him to the creator of the
Jesuit Order? It is certainly not what the testimonies of those who knew him
imply as they saw in him nothing more than mediocrity.
Was that star shining with a borrowed brightness? Was it really Kurt
Heinrich Himmler, the ostensible chief, who actually reigned over the
Gestapo and the secret services? Who was sending millions of people,
deported for political reasons, and Jews to their death? Was it the flat-faced
nephew or the uncle, former Canon at the Court of Bavaria, one of von
Ledochowski's favourites, a Jesuit Father and superior officer of the SS?
It may seem reckless, and even presumptuous, to take such an indiscreet
(121) Walter Hagen, op.cit., p.358.
THE GESTAPO AND THE COMPANY OF JESUS 169
look behind the scenes of History. The play is performed on the stage,
before the combined lights of the footlights, the stagelights and the arc lights.
This is normal for any show; and the one who wants to see behind the props may
well be regarded as troublesome and ill-bred.
However, the spell binding actors on whom the public's gaze is fixed have
all come from behind the scenes. This is more than evident when we study
these "sacred monsters" and realise that they are far from equal to the individuals
they are supposed to represent.
Such seems to have been the case of Himmler. But wouldn't it be right to say
the same of the one whom he helped as his right hand man, Hitler?
When we saw Hitler gesticulating on the screens or heard him bawling his
hysterical speeches, did we not have the impression of looking at the
movements of an automaton ill adjusted, with overstretched springs? Even his
most simple and composed movements reminded us of a mechanical puppet.
And what about his dull and globular eyes, flabby nose, bloated
physiognomy whose vulgarity could not be disguised by that famous lock of
hair and brush moustache which seemed glued under his nostrils.
Was this snarler at public meetings really a chief? the "real" master of
Germany, an "authentic" Statesman whose genius was going to turn the
world upside-down?
Or was he just a bad substitute for all that? A covering skin cleverly blown
up and a phantom for the use of the masses, a rabble rouser?
He himself admitted it when he said: "I am only a clarion". M. Francois-
Poncet, then French ambassador to Berlin, confirms that Hitler worked very
little, was not a reader and let his collaborators have their own way.
His helpers gave the same impression of emptiness and unreality. The first
one, Rudolf Hess, who flew to England in 1941, looked on his own trial at
Nuremberg as a total stranger, and we never learned if he was completely insane
or just a lunatic. The second one was the grotesque Goering, vain and obese,
who wore the most spectacular comic-opera uniforms, a glutton, a great
robber of paintings and, to top it all, a morphine drug addict.
The other main personalities of the party bore the same resemblance and,
at the trials of Nuremberg, it was one of the journalists greatest surprises to
have to report that apart from their own particular defects these Nazi
heroes lacked in intellect, character, and were more or less insignificant.
The only one who stood above that vulgar mob because of his
astuteness and not his moral worth was Franz von Papen the
chamberlain of His holiness, "the man for every job"... who was bound to be
acquitted.
If the Fuhrer comes out as an extraordinary puppet, was the one he
modelled himself upon more consistent? Let us recall the ridiculous
170 THE SECRET HISTORY OF THE JESUITS
exhibitions of that "Caesar fit for a carnival", rolling his big black eyes that he
wanted to flash under that strange hat decorated with curtain tassels! And
those photographs meant for propaganda, taken from his feet and depicting
only his jaws, jutting out against the sky, the wonder man, as an immovable
rock symbol of a will which knew no obstacles!
What a will! From the confidences of some of his companions, we get the
picture of a man constantly undecided; this "formidable man" who was going
to "invade everything", with elemental force (to use terms of Cardinal Ratti, [ Pobierz całość w formacie PDF ]
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But let us come back to Kurt Heinrich Himmler, chief of the Gestapo,
which meant he held in his hand the essential reins of power of the regime.
Was it his personal merits which earned him such a high position? Did
Hitler see in him a superior genius when he compared him to the creator of the
Jesuit Order? It is certainly not what the testimonies of those who knew him
imply as they saw in him nothing more than mediocrity.
Was that star shining with a borrowed brightness? Was it really Kurt
Heinrich Himmler, the ostensible chief, who actually reigned over the
Gestapo and the secret services? Who was sending millions of people,
deported for political reasons, and Jews to their death? Was it the flat-faced
nephew or the uncle, former Canon at the Court of Bavaria, one of von
Ledochowski's favourites, a Jesuit Father and superior officer of the SS?
It may seem reckless, and even presumptuous, to take such an indiscreet
(121) Walter Hagen, op.cit., p.358.
THE GESTAPO AND THE COMPANY OF JESUS 169
look behind the scenes of History. The play is performed on the stage,
before the combined lights of the footlights, the stagelights and the arc lights.
This is normal for any show; and the one who wants to see behind the props may
well be regarded as troublesome and ill-bred.
However, the spell binding actors on whom the public's gaze is fixed have
all come from behind the scenes. This is more than evident when we study
these "sacred monsters" and realise that they are far from equal to the individuals
they are supposed to represent.
Such seems to have been the case of Himmler. But wouldn't it be right to say
the same of the one whom he helped as his right hand man, Hitler?
When we saw Hitler gesticulating on the screens or heard him bawling his
hysterical speeches, did we not have the impression of looking at the
movements of an automaton ill adjusted, with overstretched springs? Even his
most simple and composed movements reminded us of a mechanical puppet.
And what about his dull and globular eyes, flabby nose, bloated
physiognomy whose vulgarity could not be disguised by that famous lock of
hair and brush moustache which seemed glued under his nostrils.
Was this snarler at public meetings really a chief? the "real" master of
Germany, an "authentic" Statesman whose genius was going to turn the
world upside-down?
Or was he just a bad substitute for all that? A covering skin cleverly blown
up and a phantom for the use of the masses, a rabble rouser?
He himself admitted it when he said: "I am only a clarion". M. Francois-
Poncet, then French ambassador to Berlin, confirms that Hitler worked very
little, was not a reader and let his collaborators have their own way.
His helpers gave the same impression of emptiness and unreality. The first
one, Rudolf Hess, who flew to England in 1941, looked on his own trial at
Nuremberg as a total stranger, and we never learned if he was completely insane
or just a lunatic. The second one was the grotesque Goering, vain and obese,
who wore the most spectacular comic-opera uniforms, a glutton, a great
robber of paintings and, to top it all, a morphine drug addict.
The other main personalities of the party bore the same resemblance and,
at the trials of Nuremberg, it was one of the journalists greatest surprises to
have to report that apart from their own particular defects these Nazi
heroes lacked in intellect, character, and were more or less insignificant.
The only one who stood above that vulgar mob because of his
astuteness and not his moral worth was Franz von Papen the
chamberlain of His holiness, "the man for every job"... who was bound to be
acquitted.
If the Fuhrer comes out as an extraordinary puppet, was the one he
modelled himself upon more consistent? Let us recall the ridiculous
170 THE SECRET HISTORY OF THE JESUITS
exhibitions of that "Caesar fit for a carnival", rolling his big black eyes that he
wanted to flash under that strange hat decorated with curtain tassels! And
those photographs meant for propaganda, taken from his feet and depicting
only his jaws, jutting out against the sky, the wonder man, as an immovable
rock symbol of a will which knew no obstacles!
What a will! From the confidences of some of his companions, we get the
picture of a man constantly undecided; this "formidable man" who was going
to "invade everything", with elemental force (to use terms of Cardinal Ratti, [ Pobierz całość w formacie PDF ]