"A state always calls itself fatherland when it is ready for murder"
About this Quote
A country gets most dangerous, Durrenmatt suggests, right when it starts talking like your dad. "Fatherland" sounds warm, ancestral, unarguable: soil, blood, family. That’s the trap. By switching the vocabulary from politics to kinship, the state doesn’t have to justify itself as an institution with interests and failures; it can demand loyalty as if it were biology. Disagreement stops being civic dissent and becomes betrayal of the family. The word is a velvet glove over a clenched fist.
Durrenmatt, writing in the long shadow of European nationalism and the mechanized slaughter it licensed, knows how quickly sentimental language becomes a recruiting poster. "Ready for murder" is blunt on purpose. He’s not talking about abstract "violence" but the specific moral inversion required to get ordinary people to accept killing as duty. The state doesn’t announce, "We are preparing to kill"; it announces, "We are defending the fatherland". The euphemism doesn’t merely conceal the act; it recruits the conscience.
The line also needles the audience’s complicity. If the fatherland is invoked at the moment of imminent killing, then the citizen’s emotional reflex - pride, nostalgia, fear of outsiders - becomes part of the weaponry. Durrenmatt’s irony is surgical: the state’s most intimate rhetoric signals its most impersonal intent. When power needs bodies, it starts speaking in the language of home.
Durrenmatt, writing in the long shadow of European nationalism and the mechanized slaughter it licensed, knows how quickly sentimental language becomes a recruiting poster. "Ready for murder" is blunt on purpose. He’s not talking about abstract "violence" but the specific moral inversion required to get ordinary people to accept killing as duty. The state doesn’t announce, "We are preparing to kill"; it announces, "We are defending the fatherland". The euphemism doesn’t merely conceal the act; it recruits the conscience.
The line also needles the audience’s complicity. If the fatherland is invoked at the moment of imminent killing, then the citizen’s emotional reflex - pride, nostalgia, fear of outsiders - becomes part of the weaponry. Durrenmatt’s irony is surgical: the state’s most intimate rhetoric signals its most impersonal intent. When power needs bodies, it starts speaking in the language of home.
Quote Details
| Topic | War |
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