The podcast explores the utilization of classicism by European fascist movements. It defines fascism as a political system with a powerful leader and extreme pride in country and race. Classicism is defined as an aesthetic attitude based on Greek and Roman art. Key figures in this context are Julius Evola, Roger Griffin, and Alfred Rosenberg. Mussolini used classicism to shape Italy's identity and connect the past with the present. The Nazis used classicism to manipulate ideology and create a sense of grandeur and destiny. In Britain, Oswald Moseley and Enoch Powell also used classical imagery to convey strength and express concerns about immigration. Overall, classicism was used in various ways to justify, rejuvenate, and establish identity within fascist movements.
Welcome to Classical Conversations. I'm your host, Tom Lang, and in today's episode we will be focusing on the utilisation of classicism by the European fascist movement of the 20th and 21st centuries. Firstly, to understand this topic, I think it's important to understand the roots of fascism and further the ideological use of classics in fascism. So to start, I think it's important to define what classicism and fascism are. As written by the Cambridge Dictionary, fascism can be defined as a political system based on a very powerful leader's state control and being extremely proud of country and race and in which political opposition is not allowed.
The word fascism stems from the Latin word fascis, which means a group of sticks tied together. While it's easy to break one stick, it is much harder to break a group of sticks. This principle reflects the view that fascists believe a country is stronger if everybody rigidly follows the same political ideals. I think this is interesting because here we can already see the connection between Latin language and political meaning. Equally, classicism can be defined as a style in painting, sculpture and building based on standards in Greek and Roman society.
Simply put, it's the aesthetic attitude of reiterating themes, techniques and subjects of art from Ancient Greece and Rome. Developing this idea further, and to try to underpin the ambiguous question of why classicism was utilised by the European fascist movement, I believe it's necessary to highlight and evaluate the influential spokespeople within this topic. The works of Julius Evola, also known as Giulio Cesare Andrea Evola, but known as Julius Evola to emphasise his spiritual links to Ancient Rome, was brought on 19th May 1898.
An avidly traditionalist, authoritarian, anti-modern, anti-democratic and anti-liberal political thinker. Through Evola's most traditional work, Rivolto contro il mondo moderno, published in 1934, it's asserted that the Greek and Roman worlds were to be figuratively put, the Golden Age. He adored how they could be used to critique the modern world. He thought of the early Greek Doric culture as an expression of proper masculine values, like asceticism, severity, discipline and self-sacrifice. The next political thinker, or key spokesperson, is that of Roger Griffin.
But on the 31st January 1948, the case of Griffin is interesting as he may be portrayed as a modern commentator and clearly writes in retrospect due to not being present within the European fascist movement. Nonetheless, the role of Griffin's analysis is intriguing and pivotal in describing how fascism utilised symbolism and the theory of rebirth to shape narratives. One of Griffin's core focuses is the appropriation of classical imagery for the desire to rebirth and to draw on values of an ideologically invented national past to regenerate a nation's future.
And finally, through the analysis of Alfred Rosenberg's most widely published book in the midst of the 20th century, the principle of racial alienation and the encouragement of exploitation of minority groups is prevalent. Rosenberg uses the minority group of the Etruscans in Rome as an illustration of the past, as the Etruscans would have threatened Rome just like the Jewish faith threatened the idea of labour's realm in Nazi Germany. Although the Etruscans don't form the core of Rosenberg's work, they do appear as a prevalent theme.
I think what's clear is that there are multiple key ideological motivations. However, I believe these to be the most important and most significant. These are moral justification, rejuvenation and rebirth, identity and purpose, legitimacy of the cause validation, historical focal point to inspire arguments around, aesthetic symbolism and racial superiority. Thinking chronologically, within this next section I'll tackle how fascist Italy under Benito Mussolini implemented classical symbolism, identity and ideology to create the so-called rebirth. Firstly, to dissect this section of debate, I think it's necessary to differentiate how classism was utilised by Mussolini personally and by Italy as a whole.
Mussolini, a veteran of WW1, can be seen as somewhat pragmatist, guided by a narrow and focused perspective. His knowledge revolved around 18th century enlightenment and 19th century revolutionary literature through the works of Theodore Monson and Ferdinand Gregor Vorious. Mussolini himself embollished Caesar and Augustus. He compared himself to the equal portrayal of peace, that being a racial peace. Furthermore, the aim was to absorb classicism and create a medium where past and present could be connected to a civic Rome's glorious past.
For example, the consistent repetition and comparison between Italy's inclination to regain European dominance and the Roman maritime success in the Punic Wars. Il Duce's desire was to shape Italy as the naturally cultural leader in the context of modern Europe after the destructive Treaty of Versailles. Italy needed a central point which it could grow socially, economically and politically. This is exemplified in one of Mussolini's most famous speeches, Passato e Avvenire, which translates as quite literally, Past and Future.
Within the quote, Mussolini states, Rome is our point of departure and reference. So from this, it may be assumed that ancient Rome served as a historical focal point to inspire the rebirth of Italy. Comparatively, in Germany between 1930 and 1945, the role of classicism played a pivotal part in the subordination of the German people, as well as the manipulation of Nazi ideology. Primarily, the Nazis utilised classicism through the appropriation of symbols, identity and legitimisation of manipulation.
The adoption of classics by the Nazi party has been argued to have been used as a conceptual myth, fabricated to provide the German people a distinguished lineage due to the nation being severely humiliated during the First World War. The imagery and symbolism of ancient Greece and Rome were extensively used in Nazi propaganda to evoke a sense of grandeur, power and destiny. The swastika, for example, was appropriated from ancient symbols and associated with the concept of Aryan supremacy.
Nazi propaganda often depicted Hitler and other leaders in poses reminiscent of classical statues, presenting them as heroic figures destined to lead Germany to glory. This is similar to The David by Michelangelo. Adolf Hitler emphasised the importance of Greece and Rome because he believed they provided great learning and teachings, which would circumnavigate the cultural, economic and political challenges. This is greatly exemplified by his work in Mein Kampf, where he writes that Rome is the best teacher, the best leader on this island.
That Aryan obsession transcended into the utilisation of Greco-Roman art to serve the purpose of demonstrating the ideal masculine man, free from other influences such as Semites, Gypsies or disability. The Aryan man was personified beautifully through multiple examples of Greek art. However, I think the Discogolous best exaggerates the Nazi's passion for Greek art. The marble statue clearly demonstrates a bold outline of the perfect Aryan man and was a trophy of the mythical Aryan race. The statue defines Aryan masculinity and emphasises that society should be full of strong and bold individuals who have the capability to lead.
Equally, Greek artwork and figures were also utilised and used as symbols within Nazi propaganda films. The influential director Lenny Reifenstahl's film Olympia demonstrates this idea. Hitler admired Greek society, and in particular, the Spartans. He admired the way Spartans as Herrenvolk mastered thousands of subservient helots, and that Sparta was the clearest example of a city-state based on race. Moving on, with Britain and classical populism. In contrast, Britain still faced the epidemic of fascism, and through Oswald Moseley used classical imagery to employ strength and power.
They used the Roman salute, with their arms raised in a manner reminiscent of ancient Roman depictions of power and authority. But also, another great example is the utilisation of classics by a far-right political figure, Enoch Powell, in his famous speech Rivers of Blood. The speech drew comparisons between the decline of the Roman Empire and what he perceived as the dangers of immigration and multiculturalism in Britain. Powell warned of the potential for societal disintegration and conflict. Also, Powell quoted Virgil's line, the River Tiber foaming with much blood, suggesting that unchecked immigration would lead to violence and the chaos akin to the downfall of Rome.
By drawing parallels to Rome's decline, Powell sought to emphasise the gravity of the situation, and rally support. To conclude, I believe that with the examples given within this podcast, the European fascist movement utilised classics in multiple different ways. However, the key core ideas are moral justification, rejuvenation and rebirth, identity and purpose, legitimacy of the cause for validation, and a historical focal point to inspire arguments around. However, the main themes are here, but classics can be utilised and have been utilised by the fascist movement in multiple different ways, and not just the ones I've listed.
I hope this has been insightful for you, and thank you for listening to the Classical Conversations Podcast. I've been your host, Tom Lang, and I'll see you in the next episode. Thank you.
