For genius he had, genius on the grandest scale, a genius which finally found expression in works beside which those of Wagner sink to the timid maunderings of a church organist. The Nazi party was his brush, the German nation his palette, Europe – the world – his canvas. With these he created out of his sick imagination, out of all the anger, bitterness, frustration and contempt which boiled within him, one stupendous, horrible and tragic masterpiece. It was not in Ireland that Yeats's "terrible beauty" was born: but in Germany. In Hitler the romantic movement reaches a conclusion at once logical and grotesque. The artist, having established his independence of the world, now returns upon it as conqueror. The unacknowledged legislator is at last acknowledged, and lays down the law. The arch-romantic bends the world to his will, and expresses himself at the world's expense. He makes a picture out of our reality.

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "For genius he had, genius on the grandest scale, a genius which finally found expression in works beside which those of Wagner sink to the timid maunderings of a church organist. The Nazi party was his brush, the German nation his palette, Europe – the world – his canvas. With these he created out of his sick imagination, out of all the anger, bitterness, frustration and contempt which boiled within him, one stupendous, horrible and tragic masterpiece. It was not in Ireland that Yeats's "terrible beauty" was born: but in Germany. In Hitler the romantic movement reaches a conclusion at once logical and grotesque. The artist, having established his independence of the world, now returns upon it as conqueror. The unacknowledged legislator is at last acknowledged, and lays down the law. The arch-romantic bends the world to his will, and expresses himself at the world's expense. He makes a picture out of our reality." in the context of "Colin Welch, "Hitler the Arch-Romantic – and His Masterpiece", The Daily Telegraph (8 November 1960), quoted in Colin Welch, The Odd Thing About the Colonel & Other Pieces, eds. Craig Brown and Frances Welch (1997), p. 72" to mean that wisdom is timeless.