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_Roberts, Stephen,H. The house that Hitler built. 1938._

Indeed, he himself provides much evidence in the matter. 
According to his own statements, he loathes making 
decisions. He will not make up his mind unless forced 
along tumultuously by events. He could not come to 
any decision about Communism in 1919 until he had 
hesitated and heard both sides. He procrastinated 
every way at the time of the first November putsch. 
When the Berlin Storm Troops were mutinying and 
their leader telegraphed to Hitler for a decision, he 
could not answer. Explaining the killing of Roehm, he 
said: "During those months I delayed again and again 
making a final decision." He apparently doubted and 
hesitated on the occasion of June 30th, even after 
he had issued instructions to take drastic action. 
He cannot make up his mind what to say in his public 
speeches, and it is common knowledge in Germany that 
the man who sees him last before he mounts the 
rostrum has a good opportunity of determiningthe 
[sic] nature of his speech. His strength, then, is the 
unduly assertive characteristic of a man not certain of 
himself and shunning a real analysis of the problems 
confronting him. It is a mixture of brazenness and 
empiricism and above all, a form of escape from his 
own introspectiveness. He is harassed, tormented, 
tortured by imaginings and confused thoughts; and 
the only way out of the tangle is to take some act 
that is seemingly decisive, or, more often, to find 
refuge in the endless reiteration of stock arguments, 
such as those against Semitism or Bolshevism.

Associated with this is his fear about breaking the law. 
The spitting machine-guns used by the police against him 
in 1923 converted him for ever to a fervent belief in legal 
methods. Indeed, he hesitated for long about attempting a 
putsch, and only embarked on it when reassured that, 
owing to the preparations of Frick and others, there 
would be no fighting. Legality then became an obsession 
with him, and he made the Legal Division one of the 
stronger departments of his Party organization. Some of 
the more turbulent Brownshirt leaders coined a scoffing 
word combining Legality and Adolf, and even Goebbels 
said that he had a "legality complex".

His most drastic revolutionary acts had to be brought into 
harmony with the law.

The next obvious aspect of Hitler's make-up is that he is 
distinctly an associationalist. The association may come 
from music; it may be suggested by war stories, or by the 
tramp of marching feet; it may arise from something said 
by others or even by himself. He always needs a stimulus. 
That is why he can never keep his thread in a speech; 
everything suggests something else to him. His speeches 
are curiously monotonous. He never loses his self-consciousness 
in the early stages of a speech. He stiffly proceeds from 
phrase to phrase, and only gathers momentum as he goes 
along. Finally the stage comes when his last words bring 
no association to his mind. That is why he so often ends in 
an anticlimx. He sometims breaks off in the middle of an 
argement, and, nine time out of ten, his ending is abrupt 
and unexpected. He will stop suddenly and eitherraise [sic] 
his hand in the peculiar horizontal form of salute he has 
evolved or else cry in a broken voice: "Heil Deutschland!" 
or "Sieg! Sieg!" and gaze vacantly and fixedly before him.

He is pathetic when he loses the thread of an argument. 
As long as he is rushing along like a torrent, all is will 
with him, but ugly pauses occur in most of his public 
speeches. He looks round stonily. Usually his henchmen 
tide him over by frenzied shrieks of "Heil! Heil!" or that 
gasping "Ah/h/h!" which is the token of the German erotic 
indulgence at the moment. In the old days he frequently 
stopped talking in the middle of a speech and sat down. 
He is very temperamental in his speaking. Anything in the 
atmosphere around him may upset him - maybe some 
revulsion to his surroundings, maybe the presence of 
some antagonism which he feels.  This tempermentalism 
may have been as asset in the days when he was an agitator, 
for no other agitator arrogated to himself the moods of a 
prima donna, and it was part and parcel of his dramatic 
entries and exits and his studied eccentricities, but it is a

Roberts,.pp.13.14.15.

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Roberts, Stephen H.: The house that Hitler built. 1938

distinct weakness in a Reichskanzler.

It might have been supposed that the man's outlook would 
have expanded by the responsibilities of office. But it is 
difficult to see how the years of power have added to his 
mentality. I am firmly of opinion that the real clues to his 
character and to the whole of his later policy lie in the 
very early days of the Movement. Therein are shown the 
tendencies that have been working themselves out ever 
since: the fanatical belief in himself the conviction that 
he alone could save Germany (and later the world) from 
its ills; the attitude that it is sufficient for him to state 
a policy without justifying it in any ways, as if he received 
it as a result of communing with the Almighty; and especially 
the self-delusionthat [sic] leads him to justify any act, 
however starkly opportunist it may be, by cloaking it with 
a cover of high principles, a process which seems to be 
unconscious rather than deliberate with him.

He always uses the same methods the same tricks of 
oratory, the same half-dozen gestures (especially the 
outpointed finger and the curious corkscrew movement 
of his hand), the same appeal to the crudest emotions, 
the same exploitation of common hatreds, even the same 
words.

No display of emotionalism is too crude for him. He frequently 
weeps. He wept at the Court which tried him in 1924. He wept 
to his Brownshirt leaders in Berlin when they were mutinying 
in 1930. He wept before Gregor Strasse at the time of the 
Party split in 1932, and roamed up and down the corridors 
of his hotel, threatening to commit suicide. Hehas [sic] often 
threatened his own life or offered his body to the executioner's 
axe. "Crucify me if I fail you!" that is his ultimate (and often 
pathetic) adjuration, used to journalist and party gatherings 
alike. "We can always get Adolf to weep," Goering is supposed 
to have said when confronted with a difficult situation. Here 
again the contrast with, say, a Stalin is obvious.

He is a restless being. He likes opera, but is intolerant of the 
drama. When he is free, he walks in the Bavarian hills (inside 
his own estate), or dashes around the countryside in his car 
at great speed. It is typical of the man that he made such a 
personal friend of his chauffeur, Schreck, who even attained 
high rank in the S.S., and whose death was made a day of 
mourning throughout Germany. Hitler constituted a special 
Schreck formation in the S.S., and almost wept when its 
gilded banner passed him at Nuremberg this year for the 
first time.

He loves movement. A few years ago he invented the technique 
of aeroplane electioneering (everybody will remember his 
dash over the Polish Corridor), but carried it to extremes. 
Even in the earliest days, when the Party funds were counted 
in pfennigs rather than marks, Hitler would hire aeroplanes. 
The nebulous dash to Berlin at the beginning of 1923, with 
the unwilling Eckart as his companion, was by air, and in the 
next few years it became almost a joke at Headquarters to 
ask where Hitler was and to get the reply: "Oh, Adolf is up in 
the air again!"

He gets the same feeling out of speeding in the fastest of 
his destroyers.

During the Olympic Games in Berlin, it was almost tragic to 
watch his absolutely uncontrolled expression during the 
contests. In his eyes the events were not just sporting 
fixtures; each was a war in which the Fatherland had to 
win. I could see from my seat just below his stand that 
he would grip the edges of his box, rise from his seat, 
and hold himself stiff and taut during the events. If a 
German won, he relaxed and smiled all over his face; if 
a German lost, he scowled.

Roberts. pp.15.16.17.18
                  
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Roberts,Stephen ,H. :The house that Hitler built.1938                                                            

       Apparently he never reads very much beyond official papers. 
Even in his agitating days he would never open a book. His 
personal room at the Brown House had no books, and none 
of the pictures taken at his chalet show any. It is doubtful 
if he has ever made a serious study of historical or philosophical 
works. He makes much of Houghton Stewart Chamberlain, but 
it is said that even that is second-hand.  He met Chamberlain 
only once (four years before he died). Characteristically 
enough, he brought Chamberlain in touch with Siegfried 
Wagner, and still more characteristically,this meeting 
took place in the troubled weeks Just before the Munich 
revolt, when any other man would have lacked time for 
such gestures.

The written word has never had any appeal for him. Even 
in jail he would not read. He takes care, even today, to 
keep away from first-rate minds.

Instead he narrows his world to his old friends,-the 
propagandists and the fighters - and feels that he is 
cultured because he wallows in blatant Wagnerian music. 
Even there his interest is emotional and not intellectual - 
Wagner is to him what a luscious cake is to a school-child.

His workroom in the Brown House is typical of the man. 
It is severely modern in its decoration, with buff walls 
relieved by green lamps and red carpets and tables. A 
small room, it is commanded by the Fuehrer's writing desk. 
There are four pictures of Frederick the Great, one of them 
on the desk itself. There is even a reproduction of Frederick's 
death mask. The only outside note is provided by a bust of 
Mussolini, presented to Hitler some years ago, and 
notoriously relegated to a corner. From where Hitler 
sits, he looks straight on to a vividly colored painting 
of Bavarian infantry crossing a stream under fire in 
Flanders. It is said that it represented a battle in which 
Hitler himself gought [sic] . A very obvious piece of furniture 
is the elaborate bell-switch at Hitler's left hand, with no 
fewer than seventy-two buttons to press.

A strange man, this Adolf Hitler. He is infinitely polite and 
courteous in his interviews, pausing perceptibly after every 
statement in case there is something his questioner wishes 
to add. He is punctilious to the point of quixotism in 
acknowledging the salutes of his men and in himself saluting 
the standards.The odd feature is that he never seems at ease 
in formal gatherings or when being spoken to. He seems a 
hunted being and is always ready to find refuge in making 
aminiature [sic] speech, even when one asks him a question 
that could be answered by a single word.  In making a speech 
he is at least on firm ground. There he does not have to think,
there he can let himself go for he has said it all thousands 
of times and will keep on saying it until he dies.

       One fundamental fact is that Hitler never has any 
real personal contact. The charming pictures one sees, 
in which he is taking bouquets from tiny tot or graping 
[sic] the, horny hands of picturesque old peasants, are 
all arranged. Thez [sic] are triumphs of the photographic 
skill of his old friend Hoffmann. Hoffman blots out the 
surrounding guards, and we see the result. The Fuehrer 
is never alone. The giant Bruckner is always with him, 
and his "suicide-brigade" of special guards surround him 
everywhere. He goes out in his enormous Mercedes are 
(specially constructed so that he can stand up in front 
and receive support so that he is not wearied .... I was 
once present when he was talking to an English trade 
unionist at Nuremberg and after leaving him the English 
man said: What he wants is to get away from his guards 
for a while and talk with a few ordinary human beings." 
Most of his trouble, indeed, seems to be due to his 
enforced seclusion from mankind. When he is not walking 
in the ground of his heavily guarded Berchtesgaden chalet,
he is making public appearances inside his wall of S.S. 
men. He lives in an unnatural detachment that makes his 
disease of being a godhead batten on itself...

Roberts. pp. 20.21.22

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Roberts, Stephen. H. :The house that Hitler built. 1938.                                                                   

(they) make a great fuss about his diet orcelibacy [sic]: 
what seems to me far more important is his lack or ordinary 
human contacts. Abnormal himself....Nobody can tell him 
anything or speak frankly ..more aloof than any Sun-King..... 
...it is the most extraordinary comment on human evolution 
that, in this age of science and progress, the fate of mankind 
rests on the whimsy of an abnormal mind... and finally he 
becomes the Mythus of the German people.

Der Fuehrer in the most mythical sense of that word - 
and must one ultimately add: "Der Fuehrer-Gott."

When an unemployed ex-orderly-corporal was admitted 
as No. 7 ... the Corporal's name was put down as Adolf 
Hittler, but one "t" was crossed out at his request.

Hitler is said (probably falsely)to be the author of the 
following rhymed couplets, addressed to women:
 "Take hold of kettle, broom and pan,
Then you'll surely get a man!"

and

"Shop and office leave alone,
Your true lifework lies at home."

pp/22.23.33.228.

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