Second World War

Russia’s Pearl Harbor Day

/ John Strickland / 5 Comments

For most Americans, December 7, 1941 possesses a gravity and symbolism like few other dates in our nation’s history. It was the moment when America ceased to be free of the Second World War and became one of its most consequential combatants. It ended an era of isolation and catapulted us into a global superpower. And it was marked, of course, by a devastating suprise attack by the Japanese on our naval base at Pear Harbor.

But many Americans do not realize that Pearl Harbor Day has an equivalent in Russia, where entry into the war also occured involuntarily after a suprise attack by the enemy. In fact, the event marking the beginning of what Russians call the Great Patriotic War dwarfed America’s tragic losses, as did the body count when the war finally ended.

Half a year before our “day of infamy” (to quote President Roosevelt), the Soviet Union was forced into World War II by a suprise attack by Germany. On June 22, 1941, the entire weight of the Nazi war machine came crashing down on her western borders. Operation Barbarossa was the largest invasion in world history and was an even greater example of diplomatic infamy than Pearl Harbor. Without warning, the Germans smashed Soviet defenses to pieces along a border stretching two thousand miles from the Baltic Coast to the Black Sea. Within hours there was nothing left of the border. Within days, the Germans had destroyed or surrounded its reeling defenders. Within a month they had conquered a territory greater than Germany itself. And by December, they could see Moscow–six hundred miles from the border–in their field glasses. No suprise attack has ever been so overwhelmingly successful.

And yet it would ultimately collapse and lead to the ruin of Nazi Germany. The Red Army sustained unimaginably high losses but kept fighting. By the time Germany’s ally Japan attacked Pearl Harbor, in fact, the Russians had launched a counterattack that saved Moscow from capture. The road to Soviet victory was a long one, and would pass through even greater catastrophes like the heartbreaking siege of Leningrad (in which the Germans starved a million unarmed civilians to death) and the epic Battle of Stalingrad. After the two titans all but exhausted themselves in the tank battle of Kursk, the Red Army rose again to continue the struggle. There was simply no stopping it. By the summer of 1944 it had recovered nearly all of the territories lost to the Germans since Barbarossa. During the year that followed, it advanced inexorably to Berlin, where Hitler committed suicide. Soon after Germany finally surrendered.

Russia’s war against Nazi Germany has never been ignored in the West, but it has been neglected. Americans are far more familiar with D-Day than Stalingrad, with the Battle of the Bulge than the Battle of Kursk, and with Pearl Harbor than Operation Barbarossa. This is a natural expression of patriotism. However, it can sometimes have troubling consequences.

Recently, Russian president Vladimir Putin published an article in a Western journal criticizing the West’s sometimes myopic narrative about the Second World War. There was much that was inevitably political about the piece. But it did raise an important point: No long-term harmony between the United States and Russia is possible as long as the latter’s role in destroying twentieth-century fascism is ignored. Indeed, Putin’s article was provoked by a White House communique stating that in the fall of Berlin “America and Britain had victory over the Nazis.” In point of fact it was the Red Army that captured the German capital, but nowhere was this acknowledged in the brief Twitter statement. The suggestion was that it was a Western achievment.

This helps explain why in Russia today so much attention has been given to patriotism and the importance of national unity. At a time when America is experiencing divisions comprable the 1960s and national monuments are being thrown to the ground for their association with historical evils, Russia recently raised a monument in Moscow to her victory over Nazi Germany. It is not a statue, but a church.

In fact, it is one of the largest Orthodox churches in the world. 261B1F77-D58E-4325-8E19-B381778D88CB_cx0_cy7_cw0_w1200_r1The Temple of the Resurrection of Christ was only completed within the past month and consecrated a week ago by Patriarch Kirill. And it was opened for public use today, June 22, the anniversary of Germany’s invasion of the Soviet Union.

It is an example of a very different vision of modern culture than that which currently prevails in the secularistic European Union or America. Whether Russia will succeed in rebuilding her nation on a foundation that includes Christianity–as Ukraine likewise sought to do with the commemoration of Saint Volodymyr in Kiev last year–remains to be seen. But one thing is certain, having lost twenty-seven million lives along with other Soviet states during the Second World War (compared to America’s 420,000–an unquestionably heroic but far smaller number), she deserves the West’s respect.

 

A Final Lullaby for Hitler

/ John Strickland / Leave a comment

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April, 1945 was not a good month for Hitler or the German nation he ruled. The Third Reich teetered on the brink of collapse and a national catastrophe loomed. As American soldiers fought their way across the Rhine River from the west, the Russians moved inexorably toward a doomed Berlin from the east. Soon the city Hitler had once dreamed of redesigning as a monument to Nazism would be reduced to rubble by the Red Army. Mere boys were conscripted to mount a hopeless defense and young women prepared for the worst at the hands of the approaching conquerors. The atmosphere was simply apocalyptic. And it was in exactly this atmosphere that a symbolic but unnoticed moment in the history of modern Christendom was played out.

Albert Speer, the evil genius of German wartime munitions production and a professional architect–indeed, the very man Hitler chose to give Berlin its modernistic face lift–organized one final, climatic performance of the city’s world-famous philharmonic. The event must have been surreal. He tells of it in his remarkable memoirs, Inside the Third Reich.  I always find myself fascinated by this work, written as it was by a man who looked over Hitler’s shoulder at some of the most important scenes in the history of Nazi Germany (he can be seen immediately to the Fuehrer’s right in the famous photograph taken before the Eiffel Tower after the fall of France).

The musical performance Speer organized as the capital was encircled served as a kind of artistic last will and testament of National Socialism. As such, it provided a kind of swan song or perhaps even final lullaby for the visionary Fuehrer who had now withdrawn underground into his bunker to prepare for the end, brooding over plans to kill himself.

What was Speer’s musical taste for such an occasion? What else could it be? Richard Wagner’s opera Goetterdaemmerung, or Twilight of the Gods. Wagner was, of course, the preeminent composer for Hitler, and the final opera in the series the Ring of the Nibelung contained an ending that was as nihilistic as Hitler’s vision of the world. I will have much to say about Wagner’s place in the history of Christendom in later posts. It is really quite significant. For the moment, it is striking how well the music suited that vision.

In the final scene of the work, the heroine Brunnhilde, who is herself preparing to commit suicide by riding atop the funeral pyre of her lover Siegfried, pauses for a moment to sing softly to her absent father, the impotent god Wotan. In fact she sounds more like a mother singing a bedtime lullaby to her child. “Ruhe, ruhe, du Gott!” she coos, “rest, rest, O god!” And then the ten-minute march toward the destruction of everything begins, as the Rhine River overflows and the palace of the gods, Valhalla, comes crashing down in flames. It is marvelous music, beautiful and stirring and, when put to use by the Nazis, chilling. If any of my readers has never experienced it, one particular good production (with Gwyneth Jones singing the lead) can be watched here. As the smoke rises on stage at the end of the  performance, the scene looks rather like what I expect Berlin did after its fall in 1945. 

“Rest, rest, O god!” These words say quite a bit about modern Christendom. No longer convinced that a heavenly paradise can be attained in this world, no longer hopeful that a secular utopia can be built in its place, the values of twentieth-century Christendom found it difficult to resist nihilism. And in the case of the Nazis, to a horrendous degree.

And what was it like to attend that final concert in the doomed Nazi capital? One account related that when it was over, and the chords of one of modern Germany’s greatest musical compositions gave way to the distant thud of approaching tanks, a Nazi official was standing by to distribute cyanide tablets to Berlin’s true believers as they departed.

Was such a scene inevitable for a culture that had lost its moorings in both paradise and utopia?