The hymn on the Nazi bayonet: the "poetic war" under Hitler's rule ... Today, Germany belongs to us, and tomorrow, we will occupy the world! ..... "Like other military songs in the world, in the eyes of Nazi poets, the world is completely binary, and even the same death has a completely different meaning. "Sharpen a long knife on the well and stab it into the Jewish body with a long knife, and the blood will drip thick and urgent ... the blood must flow ... a black pig will be hoisted in the synagogue and a Grenade will be stuffed into the parliament building! Blood must flow ... drag the bitch out of the imperial bed and go to the guillotine with the fat Jew. Blood must flow. " This revolutionary vocabulary of "cramp", "skinning" and "frying" can effectively suppress the fear of "revolutionaries" inspired by human instinct. The profanity and profanity filled with it recorded the abnormal life and psychology of that barbaric era in the form of grass roots loved by the people. However, when "ourselves" are also killed bloodily, death becomes a beautiful farewell way, a channel and tool for death, and even an honor worth pursuing: "... we will die like this and become heroes at the age of 18, just like them. This is called: our front-line celebration! " One of the contributions of Poetry of the Third Reich is to put boring political words into poetry. Poetry became an editorial, and poetry became a declaration. In the poems that should be the outlet of personal feelings, "I" completely disappeared, replaced by "we", and the political party-country-nation * * * was the same body, which successfully occupied the living space of individuals in an all-round way. "As always, we are attracted by this call ... because our fists are holding the national flag! Because we hold it tightly, it also holds us tightly together and flutters in the wind. So we dare to take any risks. "This poem by Gerhard Schumann has eleven lines, but" we "appears nine times. More poems of the same kind completely give up the lyrical voice of personal whispering and become editorials written by branches. Nazi poets not only picked up a pen to praise the leader enthusiastically, but also carried a gun and went to the battlefield. Hans Bowman is the pride of imperial youth. Because of his outstanding contribution to the national socialist cause, he won one of the highest honors in the Nazi party, "Dietrich? Aicart Prize "(award). He can not only write poems, but also compose music. The national anthem of DAF- German Labor Front, the official trade union of the Third Reich, is his work, and its title is full of Nazi characteristics: Eszitter Die Morschen Knochen. As the head of cultural affairs in the German Parliament, Bowman became the core figure of the Nazi Party in uniting and uniting young people. His famous speech "The Test of Poets" delivered at the Congress of Imperial Poets became the clarion call for imperial poets to defend "sacred Nazism" with their poems. It is such a typical young man who didn't enjoy his glory in the rear. During the six years from 1939 to 1945, Hans? As the propaganda company commander of 50 1, Bowman was stationed in the front line of eastern Germany, interacting with cold snow and bullets. Gerhard? Schumann directly picked up the gun and fought bloody battles at the front. He didn't return to Stuttgart until 1942 was injured, and then he became a senior officer of Die Waffen-SS. Heinrich? Although Anaquel is Swiss, he took the initiative to become a German citizen. As a member of the Imperial Cultural Association, during the war, he always served in the forefront, sometimes analyzing intelligence, sometimes being a military doctor, and sometimes simply fighting with a gun ... Nazi poetry can be used as a gun and bayonet, and it is extremely sharp, or it is precisely because the poet walked out of the ivory tower with his own flesh and blood and practiced a cruel "performance art" of blood and fire.