masters of war essay

Untold Dylan

The meaning behind the music and words of Bob Dylan

“Masters of War”; the meaning of the music and the lyrics

Masters of War is always officially cited as being written by Dylan, but although the lyrics are totally original, as indeed is the accompaniment, the melody is not.

If one was starting from scratch in investigating this song the clue to it not being a Dylan tune comes from the fact that it is not in a major or minor key, as is (I think) every original Dylan melody, but is in the Dorian Mode.

Now what follows is the technical music stuff – if you are not into the issue of how music actually works, you might want to skip these next few paragraphs.

But to explain, in case you are interested – western music from the 16th century onwards has for the most part (at least until the avant garde of the 20th century) been written in either major or minor keys.   Even if you are not a musician you can probably recognise a piece in a minor key because to us it always sounds sad. If you want to get the feel of a major key against a minor key play C, E and G together on the piano.   Then to hear the feel of a minor key play C, E flat and G together.

Prior to the 16th century there were not just two types of scale (major and minor)  but seven, with each having its own secondary variation (which I won’t bore you with).  Two of these seven became our major and minor keys.  The rest have faded away, but one of these seven is still occasionally used: the Dorian Mode.

If you want to hear what it sounds like (apart from listening to Masters of War, or its original versions,) you can go to a piano and play the white notes from D up to the next D:

D, E, F, G, A, B, C, D

A tune created around those notes, and only those notes, is in the Dorian Mode.  Masters of War is one such tune, although what I think Dylan did on the original recording is put a capo on the guitar, so it is actually sounding three semi-tones higher.  But that doesn’t change the relationship between the notes.

OK, that’s all the technical stuff.

The song – the melody in the Dorian Mode –  is “Nottamun Town,” an ancient traditional English song, which was collected and then arranged by Jean Ritchie.  Ms Ritchie subsequently protested about Dylan’s use of the song, and appears to have reached a settlement with Dylan, which presumably means or meant she received royalties from it.

As for the lyrics of Nottamun Town, it is surreal.   What most people who have an interest in English folksong know best is the opening

As I rode out in Nottamun Town Not a soul would look up, not a soul would look down Not a soul would look up, not a soul would look down To show me the way to fair Nottamun Town

But that opening verse only gives a hint of the bizarre surrealism of the song

When I got there no one did I see They all stood around me just looking at me I called for a cup to drive gladness away And stifle the dust for it rained the whole day

It carries on later

Sat down on a hard hot cold frozen stone Ten thousand stood round me yet I was alone I took off my hat to keep my head warm Ten thousand was drowned that never was born

That last line sounds so Dylan that it is self-evident that he knew this song.  Indeed it spread from the English East Midlands (where I live) and where it can still be heard in folk clubs, and indeed where all the regulars know it and will join in if it is performed, across to north America.  It comes from a tradition of surreal confused words and meanings within English literature that stretches back 1000 years.

Dylan transmutes the chaotic nature of the original, perhaps launching from the “ten thousand” line into a piece about the arms industry – and about the fact that war is the game old men play with young men’s lives.

After a lifetime of knowing Masters of War, and including many years of never hearing it (but still being able to recite it line by line, even though today I can’t successfully learn the lines to the songs I write) it is as powerful as ever.  I guess for a long time in my life I just knew it too well, and with a growing family of my own it was not what I wanted to listen to.

However today, listening to it again, strangely the same single couplet comes back to haunt as it did when I first heard it.

For even Jesus would never Forgive what you do

If you’ve read my earlier commentaries you will know I am not a Christian, but I have always found that a remarkable line.  I’ve rambled on enough recently about my religious feelings, so I won’t do it again but will just say, I find that such a remarkable couplet that I have thought about many times over the years.

It is of course not the only Christian reference – there’s Judas, and “All the money you made, Will never buy back your soul,”

Of course as I have grown from a teenager and seen my own children grow and develop and have their own families nothing has changed.  The military industry is still out there.  Communism has mostly gone but Russia threatens the EU – the union members bound by the vision that an attack on one of them Ukraine, is an attack on them all.  And as the Islamic State rises (as I write this) still nothing has changed in terms of war.

And so, borrowed tune though it is, this is surely one of the most haunting songs ever written.

I just want you to know I can see through your masks

Index to songs

Tony, your analysis is so thorough, It leaves me bereft of comment. “Masters of War” is not plagiarism to me. Were it not for Dylan, the melody would be unknown (to the outside world).

just came across your site,tony. great stuff

It is very haunting and very now, sadly

This link is included in The Bob Dylan Project at: http://thebobdylanproject.com/Song/id/404/Masters-of-War (Additional Information)

I like your analysis. Dylan certainly listened and learned a lot of songs and styles from other folk players of the day.

Is it about Vietnam?

This song that is being analyzed is about Eisenhower preparing for what we now know as the Vietnam war. Outrage is putting it mildly. As a man who served in the military in the late sixties one cannot express in words the emotions we felt during that era. Unfortunately not much has changed in the 21st century. When will they ever learn?

I believe it is a commentary on the military industrial complex that Eisenhower warned against during the cold war. Though, it certainly applies to Vietnam, and many subsequent wars.

I have had this ong in my head for all te years since I bought “Freewheelin'” It has come to be a quite honest and clear picture of what I sense when I think of the guys who put us into uniforms, give us guns, tell us how bad the enemy is, bereaves the enemy of any human quality and sends us to go extermine him and her. And their children and parents. They are now so good at it that the song that mixes hate with agony would do well with an even higher dose of aggravation. Our “enemy” is now reduced to some target in a computer game and we can cheer everytime we have “taken out” a “target”. Well I keep getting back this song into my head when I read the news regardless of who fights whom – we send “our” best young men to extinguish lives of the enemies who are “their” best young men. Thus bereaving the world of wonderful family people, scientists, artists, innovators… The song gives the whole situation so adequately that I shiver when I close my eyes and recall the bullet holes I have seen in riddled villages, the sadness of survivors and the meaningless cheer of the braves who survived this time. So if there was a bit of change to make it would have been to add some more chillies in the soup. Thanks to Bob for having worded a clear opinion about war mongers and those who perpetuate conflict in order to make their living. When will we ever learn?

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Masters of War: a Deeper Dive into Bob Dylan’s Timeless Lyrics

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Bob Dylan’s “Masters of War” remains a powerful, relevant, and stirring piece of music, decades after its release. This song, a blistering condemnation of war profiteers and political leaders who advocate for conflict, still resonates with audiences today, highlighting Dylan’s prowess as a lyricist and his ability to tap into universal themes of peace, justice, and morality.

Dylan’s songwriting in “Masters of War” is particularly notable for its unflinching directness. He does not mince words or cloak his message in metaphor, but rather addresses the “masters of war” with a raw, accusatory tone.

The lyrics are a relentless, scathing critique of those who profit from conflict, those who “build the big guns,” “build the death planes,” and “build all the bombs.” Dylan’s choice to use direct address in the lyrics creates a sense of immediacy and intimacy, making the listener feel as though they are part of this conversation – or confrontation.

However, what sets “Masters of War” apart is not just its directness but the layers of meaning beneath its surface. Dylan’s lyrics are rich in historical and political context, subtly referencing the Cold War era in which the song was written. This historical backdrop adds depth to the song, as listeners are reminded of the real-world consequences of the actions of these “masters.” Furthermore, Dylan’s use of religious imagery, such as references to Jesus and the notion of judgment, introduces a moral dimension to the song. It’s not just a political statement; it’s an ethical outcry against the immorality of profiting from violence and destruction.

The song’s structure also plays a crucial role in its impact. The absence of a chorus means the verses flow unbroken, like a relentless march, mirroring the unending nature of the military-industrial complex that Dylan criticizes. Each verse builds on the last, growing in intensity and emotion, leading to the song’s climactic and controversial conclusion where Dylan expresses his desire for the death of these “masters.” This conclusion, while stark and jarring, serves as a testament to the depth of Dylan’s passion and anger. It’s a raw, emotional response to the atrocities of war, a sentiment that many listeners have found both shocking and profoundly moving.

Dylan’s “Masters of War” also serves as a remarkable example of protest music’s power to transcend its era. While written in the early 1960s, the song’s themes of greed, corruption, and moral bankruptcy in the face of war remain sadly relevant. In a world where conflicts continue to rage, driven by similar forces of profit and power, Dylan’s words still strike a chord. The song has been covered and referenced by numerous artists over the years, a testament to its enduring influence and relevance.

In conclusion, “Masters of War” stands as a testament to Bob Dylan’s skill as a lyricist and his ability to craft songs that are both of their time and timeless. The song’s direct, unflinching critique of the war profiteers, combined with its historical and moral layers, creates a powerful, enduring message. It’s a song that not only captures the spirit of its era but continues to resonate with new generations, reminding us of the ongoing struggle for peace and justice in a world all too often ravaged by war. Dylan’s “Masters of War” is more than a song; it’s a powerful call to conscience, a reminder of the human cost of conflict, and a plea for a more just and peaceful world.

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"Masters of War: A Deeper Dive into Bob Dylan's Timeless Lyrics." PapersOwl.com , 1 Dec 2023, https://papersowl.com/examples/masters-of-war-a-deeper-dive-into-bob-dylans-timeless-lyrics/

PapersOwl.com. (2023). Masters of War: A Deeper Dive into Bob Dylan's Timeless Lyrics . [Online]. Available at: https://papersowl.com/examples/masters-of-war-a-deeper-dive-into-bob-dylans-timeless-lyrics/ [Accessed: 31 May. 2024]

"Masters of War: A Deeper Dive into Bob Dylan's Timeless Lyrics." PapersOwl.com, Dec 01, 2023. Accessed May 31, 2024. https://papersowl.com/examples/masters-of-war-a-deeper-dive-into-bob-dylans-timeless-lyrics/

"Masters of War: A Deeper Dive into Bob Dylan's Timeless Lyrics," PapersOwl.com , 01-Dec-2023. [Online]. Available: https://papersowl.com/examples/masters-of-war-a-deeper-dive-into-bob-dylans-timeless-lyrics/. [Accessed: 31-May-2024]

PapersOwl.com. (2023). Masters of War: A Deeper Dive into Bob Dylan's Timeless Lyrics . [Online]. Available at: https://papersowl.com/examples/masters-of-war-a-deeper-dive-into-bob-dylans-timeless-lyrics/ [Accessed: 31-May-2024]

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Anti-War Owen’s “Dulce et Decorum Est” and Dylan’s “Masters of War” Essay

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War has always served as an object of ardent discussions and reflections among politicians, philosophers, and theologians. People of art have not stood aside, which has brought about a number of paintings, books, movies, and other pieces representing or examining war. The poem “Dulce et Decorum Est” by Wilfred Owen is considered as one of the most powerful images of war ever created by a poet. In his work, Owen condemns those who do not get involved in the deadly fight by themselves, but. At the same time, encourage others to do so. Bob Dylan’s famous song, “Masters of War,” has a similar meaning. Both Owen and Dylan express the emotions of disgust and hatred towards war through the use of word choice and poetic forms, such as emphatic structures, similes, repetitions, and word choice.

In the time dimension, there is a gap of several decades between the poem and the song. Owen wrote “Dulce et Decorum Est” at the end of the 1910s, whereas Dylan created “Masters of War” in 1963 (Araujo 326; Førland 340). Still, despite half a century between them, the two pieces have much in common in terms of the authors’ choice of stylistic devices for conveying their views. There are instances of similes in both writings, which Owen and Dylan employ to describe soldiers and those sending them to war, respectively. With the help of similes, Owen depicts those returning home from war “like old beggars under sacks (1) and “like a man in fire or lime” (12). Meanwhile, Dylan uses similes “Like it’s your little toy” (12) and “Like Judas of old” (17) to describe the rulers who send young men to participate in atrocious battles. The moral connection between the poem and the song is evident. Dylan’s criticism of capitalists who are ready to do anything to become richer is reflected in Owen’s description of how those exploited for such enrichment look after the war is over.

The word choice in the song and poem is similar to a great extent, although Owen’s vocabulary is much more sophisticated than Dylan’s. Still, there are some striking parallels between the two pieces, the closest one being in the description of young soldiers’ bodies upon being wounded. In Owen’s poem, it is mentioned that “Many had lost their boots, / But limped on, blood-shod” (5-6). In Dylan’s song, the masters of war hide at the time “young people’s blood / Flows out of their bodies / And is buried in the mud” (30-32). Thus, both authors make an emphasis on how bloody the war is. They show that many young people suffer unjustly, not quite sure what they are fighting for, and why they have to lose their health and lives.

A prominent place in both pieces is given to repetitions. In Owen’s poem, there is one instance of consecutive repetition: “Gas! GAS!” (9). Dylan repeats some phrases at the beginning or in the middle of several successive lines: “You that build” (2-4), “You that hide behind” (5-6), “I see through” (21-23), “You might say” (41-44). Although the structure of repetitions is different in the poem and the song, both authors pursue the same goal: the reiteration helps them to intensify certain ideas in the written pieces.

Another common issue pertaining to the poem and song is the mentioning of children. Owen uses children as a hypothetic object of addressing for the one who may try to persuade young people to go to war: “children ardent for some desperate glory” (26). Meanwhile, Dylan speaks about children as “Unborn and unnamed” generations due to the fear of people to procreate in this cruel world (38). Both poets blame those who are afraid to enlist but urge others to do so. Owen says, “you too could pace / Behind the wagon,” which means that they have not actually followed any of such wagons (17-18). Dylan, too, accuses the elites of being cowards, but he does it more directly. He says that the authorities “hide” (5), “never done nothin’” (9), ‘put a gun in my hand” (13) and “hide from my eyes” (14). Hence, both authors blame and condemn the system that destroys the lives of thousands of people while not helping them in any way both during and after the war.

Finally, it is relevant to note that anti-war views expressed in “Dulce et Decorum Est” and “Masters of War” have been acclaimed both by contemporary critics and those from the following generations. Day Lewis remarks that Owen was the only poet who rose above the “the sadly pedestrian rabble” (qtd. in Araujo 333). What concerns Dylan, he is regarded as the personality whose “footprints” were “so impressive” that his lead was followed by “a whole generation” (Førland 337). Both authors’ loathing of war is clearly depicted not only in the lyrics but also in the titles. Owen divides a famous Latin phrase into two parts so that someone seeing the title may think that his poem is going to be patriotic, which turns out to be the opposite. Dylan’s referring to the people ruling the wars as masters is also not void of irony.

Wilfred Owen’s “Dulce et Decorum Est” and Bob Dylan’s “Masters of War” have much in common. The use of similar stylistic devices makes it possible to draw common features in the two seemingly different pieces of poetry. Both authors have employed repetitions, similes, and emphatic structures to make their writing more impressive and expressive. However, what unites the poem and the song most of all is the mutual hatred of war and the cowards who hide behind soldiers’ backs.

Works Cited

Araujo, Anderson D. “Jessie Pope, Wilfred Owen, and the Politics of Pro Patria Mori in World War I Poetry.” Media, War and Conflict , vol. 7, no. 3, 2014, pp. 326-341.

Dylan, Bob. “Masters of War.” Bob Dylan , 1963, Web.

Førland, Tor Egil. “Bringing It All Back Home or Another Side of Bob Dylan: Midwestern Isolationist.” Journal of American Studies , vol. 26, no. 3, 1992, pp. 337-355.

Owen, Wilfred. “Dulce et Decorum Est.” Poetry Foundation , 1921, Web.

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IvyPanda. (2021, August 1). Anti-War Owen’s “Dulce et Decorum Est” and Dylan’s “Masters of War”. https://ivypanda.com/essays/anti-war-owens-dulce-et-decorum-est-and-dylans-masters-of-war/

"Anti-War Owen’s “Dulce et Decorum Est” and Dylan’s “Masters of War”." IvyPanda , 1 Aug. 2021, ivypanda.com/essays/anti-war-owens-dulce-et-decorum-est-and-dylans-masters-of-war/.

IvyPanda . (2021) 'Anti-War Owen’s “Dulce et Decorum Est” and Dylan’s “Masters of War”'. 1 August.

IvyPanda . 2021. "Anti-War Owen’s “Dulce et Decorum Est” and Dylan’s “Masters of War”." August 1, 2021. https://ivypanda.com/essays/anti-war-owens-dulce-et-decorum-est-and-dylans-masters-of-war/.

1. IvyPanda . "Anti-War Owen’s “Dulce et Decorum Est” and Dylan’s “Masters of War”." August 1, 2021. https://ivypanda.com/essays/anti-war-owens-dulce-et-decorum-est-and-dylans-masters-of-war/.

Bibliography

IvyPanda . "Anti-War Owen’s “Dulce et Decorum Est” and Dylan’s “Masters of War”." August 1, 2021. https://ivypanda.com/essays/anti-war-owens-dulce-et-decorum-est-and-dylans-masters-of-war/.

Masters of War

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Other works by Bob Dylan...

The festival was over, and the boy… The cabaret was quiet except for t… The curfew had been lifted and the… Anyone with any sense had already… He was standin’ in the doorway loo…

One time in London I’d gone out f… Past the place called a-Hyde park… ‘Bout all kinds of different gods–… To anyone passing by, ’n’ that’s w… There was someone on the platform…

If not for you Babe, I couldn’t find the door Couldn’t even see the floor I’d be sad and blue If not for you

Well, if you’re travelin’ in the n… Where the winds hit heavy on the b… Remember me to one who lives there She once was a true love of mine Well, if you go when the snowflake…

Seen a shooting star tonight And I thought of you You were trying to break into anot… A world I never knew I always kind of wondered

Love that’s pure hopes all things, Believes all things, won’t pull no… Won’t sneak up into your room, tal… Capture your soul and hold it for… You don’t want a love that’s pure

Who killed Davey Moore, Why 'n’ what’s the reason for? “Not I,” says the referee, “Don’t point your finger at me. Sure, I could’ve stopped it in th…

Lazy stadium night Catfish on the mound “Strike three,” the umpire said Batter have to go back and sit dow… [Chorus]

... It ain’t no use to sit and won… If’n you don’t know by now And it ain’t no use to sit and won… It’ll never do somehow When your rooster crows at the bre…

I will not go down under the groun… ’Cause somebody tells me that deat… An’ I will not carry myself down… When I go to my grave my head wil… Let me die in my footsteps

With your mercury mouth in the mis… And your eyes like smoke and your… And your silver cross, and your vo… Oh, who do they think could bury y… With your pockets well protected a…

Seems like only yesterday I left my mind behind Down in the Gypsy Cafe With a friend of a friend of mine… She sat with a baby heavy on her k…

Go away from my window Leave at your own chosen speed I’m not the one you want, babe I’m not the one you need You say you’re lookin’ for someone

Lay, lady, lay, lay across my big… Lay, lady, lay, lay across my big… Whatever colors you have in your m… I’ll show them to you and you’ll s… Lay, lady, lay, lay across my big…

I ain’t lookin’ to compete with yo… Beat or cheat or mistreat you, Simplify you, classify you, Deny, defy or crucify you. All I really want to do

Masters Of War Bob Dylan Analysis Essay

Poetry is a powerful tool used to exemplify and illustrate a message so inspirational, it will remain in the hearts and minds of one for ever. The new television show ‘Get Poetic’ has allowed the re-introduction of artistic poetry, to continue inspiring thousands of people. As our world faces the potential horrors of war every day, it is important to familiarise people with the apprehension it retains. It is essential a vast audience is introduced to the fascinating work of Bob Dylan on an episode of ‘Get Poetic’. Bob Dylan’s ‘Masters of War’ is a prestigious piece of protest poetry that shocked the world with its fierce vibe, making it an iconic stature. His poems provide the essence of profound messages and display very strong philosophies…

‘You hide in your mansion’, as young people’s blood, flows out of their bodies, and is buried in the mud’. This line creates striking imagery further stirring emotion and portrays a world of evil. The stanza further creates a world so horrific, that people do not want to live in it ‘As young people’s blood, flows out of their bodies, and is buried in the mud’. The ‘Masters of War’ have made the world so threatening all trust is lost further stirring our feelings. This can also been used as a fear factor, if our world continues in this heinous way, we will find ourselves in the situation described by him consequently making people want to take action.

Bob Dylan uses another religious reference, ‘Jesus would never forgive what you do,’ closely connecting to the religious population. Jesus is an iconic person of forgiveness which strongly displays the extremely evil which is being executed by the ‘Master of War,’ whom even Jesus will forgive. The sixth stanza starts with rhetorical questions ‘Is your money that good? Will it buy you forgiveness’? These rhetorical questions express his opinions and the government’s purpose of the war. Bob Dylan proclaims that the government is doing this for greed and the money gained from the war will not match the lives lost. He very bluntly exclaims they are prioritizing capital gain over the lives that are being slaughtered being a cognitive message to the audience provoking change to the…

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Putin’s master plan for Europe is bearing fruit

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For the next seven days The Telegraph is running a series of exclusive essays from international commentators imagining the consequences if Russia were successful in its war. The full list of essays so far can be found below.

“Ruscism” is the term often used to describe the sinister ideology underpinning Russia’s genocidal campaign . As Putin’s talking points have penetrated Germany’s AfD, Austria’s FPÖ and fringes of the US Republican party, it is clear the Kremlin’s special blend of “Russia” and “fascism” is becoming an export hit in the West.

Therefore, if Putin wins in Ukraine, expect this toxic ideology to spread.

A look back at the history of fascism in the 1920s and 1930s offers a valuable lesson in understanding the threat posed to liberal democracies by the spread of fascist-style parties. In contrast to Woodrow Wilson’s hope that the First World War had made the “world safe for democracy”, we forget most European democracies had died by 1940. We are not immune.

At present, the West displays a degree of complacency that is reminiscent of the early months of the Second World War. In a speech at Westminster on April 3 1940, the British Prime Minister Neville Chamberlain confidently declared that Hitler had “missed the bus”. Less than three months later, the Nazis held their victory parade in Paris.

The French historian Marc Bloch, who witnessed the collapse of the French army at first hand and was executed for his role in the Résistance in 1944, offered a compelling analysis of the reasons for defeat: “Our leaders, or those who acted for them, were incapable of thinking in terms of a new war.”

More than ten years since Putin’s soldiers first invaded Ukraine, annexing Crimea , Western politicians still struggle to understand the fact that the Russian leader, too, has forced a new type of war on the West. “The very ‘rules of war’ have changed”, observed the chief of the general staff of the Russian armed forces, General Valery Gerasimov, in 2016: “The role of nonmilitary means of achieving political and strategic goals has grown, and, in many cases, they have exceeded the power of force of weapons in their effectiveness.”

Nato economic and technological superiority, let alone the nuclear umbrella, have made Western leaders complacent about the prospect of a Russian victory – not just in Ukraine, but in Europe as a whole . Putin’s key to victory lies not in an all-out war against Nato, but in the use of non-military weapons and the subversion of democratic polities. In short, Putin wins once liberal democracies lose the will to fight – and that day might be catastrophically close.

If it comes, it is only the beginning of the spread of a dangerous new ideology the type of which has been unseen for decades.

Putin has already succeeded in muddying public discourse in the West. While Russian state TV prepares its domestic audience for war and genocide, pro-Putin voices in the West denounce as “warmongers” those who want to support Ukraine with the means for self-defence.

Ruscism has also been injected into the culture wars . False promises of “national rebirth” and “traditional values” appeal to disenchanted conservatives in the West, while the Left is happily feeding on anti-Americanism and anti-capitalism. As the recent Ivy League protests have shown, there is even a willingness to embrace terrorist groups such as Hamas, a close ally of Iran – which, in turn, supplies Russia with the Shahed drones used for murdering Ukrainian civilians.

Another success for Putin is the enlistment of key figures in the West. In Germany, where I live, this is evident in some infamous cases. It is less important whether they are “useful idiots”, paid-up lobbyists (such as former Chancellor Gerhard Schröder) or (alleged) recipients of bribes. What matters is that the democratic discourse has been compromised by agents willing to do the bidding of “ruscism”.

The “fascistisation” of populist movements is likely one of the most significant developments in recent years. For over a decade, scholars have debated whether nativist, illiberal, and anti-elitist positions could be termed fascist – and all too often, the term has been abused to denigrate opinions outside the political mainstream. Russian influence, however, has changed everything – and the fact that Putin has infiltrated opposition voices across Europe and the United States might turn out to be his most clever investment.

The German AfD is a case in point. Founded in 2013, the party was led by liberal and conservative economists who argued that the euro was incompatible with notions of national sovereignty and, in addition, economically harmful to both Greeks and Germans. Having missed the electoral threshold by a narrow margin in the same year, the party benefitted from Angela Merkel’s response to the refugee crisis in 2015. In 2017, the AfD entered the Federal parliament for the first time and has since become a fixture in German politics.

At the beginning, the AfD’s positions appeared to be not that dissimilar to those of conservative parties outside Germany: hostile to overreach from Brussels, critical of unrestricted immigration, and fiscally conservative, the AfD professed to merely occupy Right-of-centre positions vacated by Merkel’s Christian Democrats.

Quickly, however, it became clear that the AfD was anything but conservative. In 2018, its chairman Alexander Gauland declared that “Hitler and the Nazis are just a speck of birds*** in over 1,000 years of glorious German history”. As most moderate voices left over the years, the influence of the extreme right and the Thuringian party leader Björn Höcke, who wants to fuse the national and the social, grew stronger. “The most important book published in 2018”, according to Höcke, was aptly entitled “solidarity patriotism”.

More recently, he has told Elon Musk on Twitter that provisions in the German criminal code, which ban Nazi slogans, “aim to prevent Germany from finding itself again.” His usage of the Nazi stormtrooper catchphrase “Everything for Germany” has since earned him a hefty fine by a German court.

At the same time, “ruscism” has entered the party. In 2014, the AfD firmly rallied behind Nato, declaring that the party was “firmly committed” to binding Germany to the West. But only a few months after these “guiding principles” were accepted by the party congress, very different voices became louder, defending Russia’s annexation of Crimea. In the following years, pro-Putin positions became dominant.

In 2016 and 2018, the young MP Markus Frohnmaier visited occupied Crimea while some of his colleagues even made it to Donetsk and Luhansk. His former aide, Manuel Ochsenreiter, was even suspected of having committed arson in Ukraine as part of a false-flag operation (he died – mysteriously – in Moscow in 2021).

In 2023, one year into Russia’s full-scale invasion of Ukraine, the party chairman Tino Chrupalla attended a reception at the Russian embassy in Berlin while another MP, Steffen Kotré, was a guest in Vladimir Solovyov’s propaganda show on Russian prime time TV. The fact that Solovyov routinely threatens Berlin with nuclear annihilation seems to be of little concern to the self-avowed “patriots”.

The question of how far Right-wing (and Left-wing) populist parties in Germany have been subverted by Russian influence will remain a key question for years to come. What is clear, however, is that allegiance to Putin has transformed parties that were critical of mainstream positions into something much more sinister.

Already in August 2022, merely six months after Putin’s full-scale invasion, the AfD was not ashamed to ask the German government about “Ukraine’s rapprochement to Nato”. Since then, they have become one of Putin’s most reliable voices in German politics – much to the chagrin of minority voices within the party, including General Rüdiger Lucassen, who accused his own party members of “treason against the people” in 2023. More recently, he backtracked, lauding the “pluralism” in his party.

Putin’s success in influencing and, perhaps, taking over populist parties in the West has been one of his biggest achievements, because his grand prize and the openly stated goal of his war is the dismantlement of Nato and the European Union.

Such a scenario is anything but far-fetched. Earlier this year, Donald Trump even encouraged Russia to attack Nato countries if they failed to “pay their bills”. Meanwhile, Marine le Pen might well win the French presidential election in 2027. While she has recently adjusted her message, her long-held admiration for Putin and her party’s links to a Russian bank are well documented.

The democratic doomsday scenario involves of a number of unlikely – but far from impossible – steps: Putin overwhelms Ukraine and pushes to Moldova and the Suwałki gap, Trump removes the United States from Nato, and Europe’s only nuclear deterrent, the Force de frappe, is controlled by Le Pen. This would leave Europe’s eastern flank dangerously exposed – while extremists from the Left and Right might play the role of the Ephialtes, who betrayed the Spartan position at Thermopylae.

“Every time you sacrifice one of your potential allies to this pathetic desire to appease the tyrants you merely bring nearer and make more inevitable that war which you pretend you are trying to avoid”, the Labour MP Josiah Wedgwood presciently told Neville Chamberlain in 1938. Hitler’s (temporary) victory in 1940 was only made possible due to the inaction of the West after the remilitarisation of the Rhineland, the dismantlement of Czechoslovakia, and the “phoney war” following the attack on Poland.

The same holds true for Putin’s war of expansion. With impunity, Putin has been allowed to level cities, murder opponents (even on Nato territory), and slaughter civilians. Neither the war against Georgia in 2008 nor the annexation of Crimea in 2014 and the killing of 298 passengers of flight MH17 has kept the West from guzzling up Russian gas, courting Russian money and enjoying the 2018 World Cup.

So far, the price for this moral and strategic failure of the West has mostly been paid by Ukrainians. Should Putin be allowed to succeed, it will likely embolden him to test the limits of Article 5 and to intensify the hybrid war that he has already been waging for decades. Finally, it will strengthen the ruscist acolytes who have already made their way into Western parliaments and who eagerly proclaim the end of the “multipolar world order” (a shorthand for denying most states their right to self-determination).

It is therefore high time to enable liberal democracies to robustly defend themselves from their internal and external enemies. If Putin wins, Europe’s fascist future awaits.

Dr Thomas Clausen is a historian and former policy advisor.

He has contributed to The Telegraph’s daily podcast ‘Ukraine: The Latest’ , your go-to source for all the latest analysis, live reaction and correspondents reporting on the ground. With over 85 million downloads, it is considered the most trusted daily source of war news on both sides of the Atlantic.

You can listen to one extended interview with him on German attitudes to the war here .

‘Putin’s plot to destroy Nato is reaching its devastating climax’ by Aliona Hlivco

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