b. Was the countryside in France as peaceful during World War II? Why?
c. How did he explain to Sancho why he was fighting a windmill?
Answers
Answer:
The German campaign is being carried out for the most part through the medium of the new Paris daily, Pariser Zeitung, which first appeared on 15 January last. It is written in German and contains eight to 12 pages, with an occasional single-sheet supplement in French summarising the news contained in the German part. This paper, the only source of information for the French people and the German army of occupation in northern France, has its "own correspondent" in Vichy (it does not circulate in unoccupied France) who summarises the Vichy press as though it were the press of a foreign country. The policy of the Pariser Zeitung is, of course, anti-British, anti-communist and antisemitic, and there is a daily anti-British cartoon; but that is not the interesting thing about it.
The interesting thing is the immense care that is taken to please the French people and to show that German and French culture are not only essentially harmonious, but are complementary to each other. "Collaboration" is the daily theme, profuse flattery being addressed to the French businesses represented at the Leipzig fair, to the France Européenne exhibition, to the French banking system, to the particular French political and economic gifts that could play their part in the new Europe. There are glowing articles about Paris, its monuments, places of historic interest, its cafes, gaiety, charm, its bread, its women. "The beauty of Paris is that she is really like an impressionist painting," ran one typical sentence in a recent article.
Nightclubs are praised and advertised. The suggestion is implied that Paris, with its historical, cultural and entertainment value, is to become the chief centre of recreation and relaxation for the German overlords of the future, and that France will thereby be contributing a valuable part in the future working of the New Order in Europe.
The emphasis that is laid on the life of Paris during the period of military occupation is designed to show that French cultural life is flourishing as impressively as before the occupation. French singers are given objective praise as artists. French authors, playwrights and actors are encouraged. The French film industry, suppressed in the early days of the occupation, is now resuscitated and encouraged, whereby the German authorities indirectly claim credit as the rebuilders of French cultural life.
The surprising feature of this German campaign is the persistent emphasis placed upon the future role of German-France as the holiday resort for the Nazi Herrenvolk, and the new attempt to win Paris by flattery instead of by repression.
The Observer, 7 September 1941
French resistance: Gisele Guillemot remembers
Like the good soldier that I was, I did what I was told. I typed out pamphlets, passed on messages and took care of supplies. There had been a lot of illicit passage through Calvados ever since Daladier had decided to break up the Communist party in response to the German-Soviet pact of August 1939. As well as ordinary party members, there were former politicians and city councillors who had clearly just escaped from prison.
I was responsible for finding them provisions and getting them their papers. At that time, everything was bought with supply coupons, from pairs of socks to household stocks. We organised raids on the town halls to get to these golden tickets. We operated in a downsized team, two or three people maximum, preferably in little villages to minimise risk. At the first opportunity – a door left open or a moment of absent-mindedness from the receptionist – we rifled through everything we could find: tickets, stamps and identity cards. The most insignificant document could prove useful to our organisation.
Explanation:
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