"Speaking of literature, we must also jump to another chapter, in
which we can appropriately admire Moritz Wolf and Salomon Baer.
Out theatres, the places that Wagner once wished darkened in
order to produce the greatest degree of consecration and
seriousness, in which he wanted to perform works that he was
ashamed to call mere plays, and called "consecration plays," the
place where there should be nothing but the highest elevation,
the detachment of the individual from all sorrow and misery, but
also from all the rottenness that we otherwise unfortunately
encounter on God's earth, that is supposed to lift the
indivdidual into a purer air -- what has become of it? A place
where one is ashamed to enter today, lest someone should
recognize you when you walk in. We see that a Friedrich Schiller
may have received 346 Thalers for Mary Stuart, but that one
receives 3.5 million today for a Merry Widow; that one earns
millions today for the greatest kitsch, for which an author in
ancient Greece would probably have been exiled from the state."

-- Hitler, from his speech of August 13th, 1920, titled
"Why Are We Antisemites?"

But his translator had a brain freeze when he annotated this
comment:

"Two stage plays; Mary Stuart deals with the life of Mary, Queen
of Scots and premiered in 1800; The Merry Widow is a
light-hearted operetta by Austrian playwright Franz Lehar about a
widow in a poor Balkan state who inherits a fortune from her late
husband, and the convolated machinations of government officials
to make sure she marries a local and thus keeps her wealth in the
country; it is bizarre and perhaps outright dishonest that Hitler
cites this play as an example of the degeneracy of theatre,
seeing as it was actually his favorite play, to the extent that
it was performed constantly in National Socialist Germany, and he
even had Lehar's entirely Jewish wife declared an "honorary
Aryan" just because he enjoyed the play so much; perhaps at this
time the play was a guilty pleasure of his, and later on with his
power secured as Fuhrer he felt comfortable dropping the pretence
and openly proclaiming his love for this silly and racy
operetta."

Or he changed his mind.