The “type” embodies itself, Jünger affirms, in the Figure of the Worker. The latter does not correspond” to the “fourth estate”; that is “a bourgeois view that considers the quality of the worker as an ‘estate,’ and moreover this interpretation is unconscionably fallacious because it returns to lock up the new aspirations in an old cadre, thus leading to prolong a state of submission.” The Figure of the Worker is poised to dominate the world; founded on the technicality of the world; it bears in itself the seed of totality. Beside it, all the other human types appear obsolete, retrograde, romantic, and must wither away until they no longer have land or roots, or air to breathe.
Searching in the Figure of the Worker for the meaning of the “type” is an ultimately justified case; this interpretation is neither arbitrary nor forced. It betrays no less, otherwise, a political warrior will, with an anti-bourgeois essence. The bourgeois is simply sidelined as a form of existence. Incapable of resisting the vehemence with which we deny his right to existence, he is finished by declaring himself lost! The advent of the Figure of the Worker in the rank of a planetary type removes the bourgeois from its last recess on earth. Of the rest, even its idea is already somewhat exterminated; of little import, in practice, we starve its body, its lamentable residue, we hang it on the wall, or we exterminate it in some manner or another! Faced with the Figure of the Worker, there is no longer any place for the bourgeois. In the fashion where the “type” discards the bourgeois, there is something implacable. The superiority of the Figure of the Worker results from its relations with technology: “the role that technology plays in these processes is comparable to the advantage that the first Christian missionaries, formed in the schools of the Roman empire, possessed when faced with the ancient German dukes.”
It is this superiority that is the base of the imperial rank of the Figure of the Worker. “Sovereignty, that is to say the overtaking of anarchic spaces by a new order, is only possible today as the representation of the Figure of the Worker, who professes a planetary validity.” The important fact is “that it again becomes possible to lead on earth a grand style life according to elevated standards.” The new feeling-of-the-world (Erdgefühl) that animates the Figure of the World conceives the terrestrial globe as a unity; it is “a feeling of the world sufficiently audacious to undertake great works, and sufficiently deep to understand organic tensions.”