By George von der Lippe, V. Reck-Malleczewen
A defining paintings within the "Inner Emigration" literary stream, Friedrich Reck-Malleczewen's heritage of the Münster Anabaptists used to be written in 1937 as a feedback of the Nazi regime. This English translation contains files, scholarly essays, and an in depth advent.
Read Online or Download A History of the Münster Anabaptists: Inner Emigration and the Third Reich: A Critical Edition of Friedrich Reck-Malleczewen’s Bockelson: A Tale of Mass Insanity PDF
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Extra info for A History of the Münster Anabaptists: Inner Emigration and the Third Reich: A Critical Edition of Friedrich Reck-Malleczewen’s Bockelson: A Tale of Mass Insanity
Some critics have pointed out that a number of representatives of the so-called inner emigration, not just Reck-Malleczewen, have resorted to that device as mentioned before. But writers and filmmakers closer to the Nazis also used history as a vehicle for their ideas. There were numerous plays and films about Fredrich II of Prussia. One of the more blatant examples is the film Jud Süss (Jew Süss), in which the screenwriters Ludwig Metzger, Veit Harlan, and the noted playwright Eberhard Wolfgang Möller used real events that occurred in Württemberg and Stuttgart in the eighteenth century to advance the anti-Semitic policies of the Nazis in the 1940s.
I was curiously alarmed by the shrill noises, and the hushed tones in which the three men and my father spoke, and I made my way down the stairs to eavesdrop. I believe my sister was behind me. Something was off, something made me start to scream with a terror that was, up to then, only reserved for nightmares. My father had already been handcuffed. There is a gap in my memories. I found myself sitting on an old chest in the lower hallway, my sister next to me. We were crying and the cook tried to console us.
But Peter the Great personally beheaded his bodyguards because “my hands were so idle,” and the Borgias poisoned friends and slept with their daughters and sisters, yet they remained at least gorgeous monsters—as God had created them—subject to a higher mercy because they were consistent. In this case, however, God’s higher hand had composed a dissonant waltz. Bockelson too beheads his victims with his own hands but without that gruesome excess of strength that we can ascertain in Peter. He too turns a respectable and perhaps even a somewhat bland city into a bordello for eighteen months, 28 yet I would like to see anyone who could find in this man something of the excess of Pope Alexander the Sixth 29 or even the tragedy of Don Juan.