understanding Hitler's Mein Kampf as Longinus' visualization, or phantasia

In Kenneth Burke’s The Philosophy of Literary Form:  Studies in Symbolic Action, he explains the way in which Hitler’s Mein Kampf is “ideational imagery” or “imagistic ideation” and describes Hitler as “combining or coalescing ideas the way a poet combines or coalesces images” to effectively persuade his audience (Burke 206, 207).  Longinus’ On the Sublime suggests a notion of visualization, or phantasia, which could be a way in which one understands Hitler’s image/persuasion process (Longinus 356).  Longinus defines phantasia as “the situation in which enthusiasm and emotion make the speaker see what he is saying and bring it visually before his audience” (Longinus 356).  Thus, if such rhetorical visualization is successful, both author and reader are actively responding within a work.  According to Longinus, rhetorical visualization’s aim is “clarity” and it seeks “emotion and excitement” from its reader (Longinus 356).  Thus, one can understand Hitler’s “caricature of religious thought” as an coherent, metaphoric representation of a “worldview,” exciting emotion in its appeal to a feeling of “inborn dignity” through the “projection device” of the Jewish scapegoat (Burke 202, 208).  Longinus writes, “in an orator’s visualizations…it is the element of fact and truth which makes for its success” (Longinus 357).  Ultimately, because Hitler’s visualization was a criticism of his society, it had extensive appeal.  Critically, Longinus concludes, “There is much [rhetorical visualization] can do to bring urgency and passion into our words; but it is when it is closely involved with factual arguments that it enslaves the hearer as well as persuading him” (Longinus 357).  For obvious reasons, this statement pertains to Hitler’s doctrine, an excitation of Aryan self-righteousness through the assignment of blame for social contradictions and inadequacies to an innocent people.