Lendvai - György Lukács 1902-1918 His Way To Marx

György Lukács 1902-1918: His Way to Marx
Author(s): Ferenc L. Lendvai

Source: Studies in East European Thought, Vol. 60, No. 1/2, The Sociological Tradition of
Hungarian Philosophy (Jun., 2008), pp. 55-73
Published by: Springer
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Stud East Eur Thought (2008) 60:55-73
DOI 1 0. 1 007/s 1121 2-008-9052-0
Gyorgy Lukacs 1902-1918: His way to Marx
Ferenc L. Lendvai
Published online: 9 February 2008

© Springer Science+Business Media B.V. 2008
Abstract At the end of his life Gyorgy Lukacs described his intellectual career a
4my way to Marx' [mein Weg zu Marx]. By this he meant that his professional lif
can be interpreted as an attempt to get to the real Marx. In this paper I use this
expression in a narrower and more direct meaning: I attempt to present the road
the end of which the young Lukacs arrived at a Marxist standpoint.
Keywords Lukacs' early writings • Marx • Sociological and revolutionary

aspects • Aesthetics • Philosophy of history
In Marx's system I differentiate two elements. First, there is the method o

'historical materialism', a sociological approach, which interprets social an
political phenomena as 'superstructure' determined by the material life of society
its 'base'. The other is the theory of 'scientific socialism,' the Marxist Utopi
according to which human society consists of class struggles, these antagonisms
lead to the dictatorship of the proletariat and in the end to a classless society in t
not too distant future.
In Middle and Eastern Europe at the turn of the 19th and the 20th centuries, thi
latter point of view was represented by socialist movements (social democracy and
syndicalism), partly in a reformist and partly in a radical-revolutionary spirit.
However, the previous point of view was popular in 'bourgeois' circles, too, as a
determining trend of sociology, which as a science was rapidly evolving in that
period. Positivistic scholarship in philosophy was expanding in this period i
Hungary too, especially in sociology: Herbert Spencer and Hippolyte Taine were
F. L. Lendvai (3)
Faculty of Arts, Department of Philosophy, University of Miskolc,
Miskolc-Egyetemvaros 3515, Hungary
e-mail: bollelfe@gold.uni-miskolc.hu
© Springer
56 F. L. Lendvai
particularly
influences, M
The young Lu
not at all a de
positivistic te
emphasized th
supporter of
Marx's theori
own professio
of Marx's sys
when Marx's
Lukacs' s com
Utopian ideas
well, are sepa
earlier and later too.
Sociological interpretation and Utopian perspective on art
Aesthetic culture
Lukacs's first writings appeared in different journals in 1902 and 1903. The genres
were mainly feuilleton, bearing on theatre or art, diaries, and also occasionally
literary critiques. These critiques are related, both in their topics and tendencies, to
the series of critiques that, from the year 1906, were published in the prestigious
periodicals of Hungarian progressive thinking: Huszadik Szdzad and Nyugat. They
partly appeared in 1912 in Lukacs's collected volume Esztetikai kultura [Aesthetic
Culture]. As a critic, the young Lukacs manifested a kind of duplicity, both in
content and methodology. He joined the Hungarian progressives and supported their
efforts, yet at the same time he differed from them in his expectations: he expected
modern art to continue the tendencies of the great art of the past. Partially, this was
projected into the methodological field: Lukacs, on the one hand, joins the
sociological tendencies of contemporary Hungarian progression, and on the other
his writings also exhibit tendencies of a romantic cultural criticism.
Lukacs provided his first comprehensive attempt at summing up his sociological
outlook in his "Megjegyzesek az irodalomtortenet elmeletehez" [Notes toward the
theory of literary history], which was published in 1910; however a draft entitled
"Miiveszetsociologia" [Sociology of Art] (1909) can be considered its first version.
It starts from the insight that the new synthesis of literary history has to unite
sociology and aesthetics in an organic way. Here the term 'milieu' suggests Taine's
influence; however the way he uses it suggests that he goes beyond 'milieu' -theory.
For him 'form' is what is really social in literature. Each style grows out of the spirit
of an age: a new way of experiencing the world, which yearns to express itself both
in poets and their public. The spirit of an age is what is common in the authors who
are said to belong to one particular style, or rather - because of the deep connection
between form and world view - the problems of the form, and the technical
^ Springer
Gyorgy Lukacs 1 902- 1918 57
questions evolving from it, have

art is hopeless because its attemp
direct: it finds all too direct conn
of literature, an approach devoid
On the one hand, Lukacs sees t
disillusionment; while on the
individualism and its social embed
the question concerns the relation
his article "Gauguin" (1907). His an
unbearable situation for every art
order and harmony but has to be i
everything he does. For Lukacs, t
impressionism' identified as decad
science. In the first place he refe
sciences (for example Marxism), b
'impressionist' views of life and, a
statements and established an ord
writing,likewise concerned with
have parted] (1910).
Endre Ady's revolutionary poe
gradually but progressively change
that is seeing everything as tragic
writes Lukacs in the first part of
poetry] (1909) about Ady - and ob
Bizarrely, they champion new
Hungarian culture to which the
meaning nothing from this per
community they dream of. This r
at least they have a revolution and
it gives weight to those works
Hungary, the revolution is only a
essentially religious character.
The realistic forms of socialism d
of technology and 'bourgeois' (for
says in his programmatic writing
there are some who, while talking
speed of the telegram and the se
people could read - as if their live
asks, how many people are deprive
times? Are our letters more profo
ironically, merely because they
Nietzsche's cultural criticism, in
socialism, is there a hope that bar
down all the sophistication. But h
is not very promising: socialism
social democracy) does not pos
^ Springer
58 F. L. Lendvai
primitive Chr
aestheticism t
History of the
The period of
to work on t
tortenete [Hi
essays, Soul an
the first piec
volumes are
character whil
existentialism
At the core o
Gesamtkunstw
element of lif
a prize by the
Society in 191
utolso negyede
past century],
published book
table of the h
Engels, Das ko
comment: 'wh
publication; th
main raison d
extended and
In this work,
writes of the
relations as th
the direct cau
form of dram
theatre are in
theatre. As on
have an imme
The sociologic
effects of dra
reader. The er
of mind than
effects of the
that takes pla
fact that it has
fate and repre
principle of d
^ Springer
Modern urban life, according to

he refers to the dissolution of th
private seminars Lukacs frequent
The longing for rationalization an
formulas are continually on the r
words, is to reduce qualitative de
relies to a great extent on Simmel
Already in the definition of the
artistic stylisation, and as the soc
the references to Simmel likewise
references to Marx: for example, L
of Marx's concept of 'base and su
In this book Lukacs also addre
Though at the time he considered
socialist artist in Maxim Gorky, t
Depths" but rather in "Mother."
novel. For this reason, Gorky's 'tr
deeply reassuring, clearly epic-lik
say, their lives are somewhere els
end unknown even to them. 'Di
then he repeats his previous ideas
socialism and its worldview - Mar
rigorous synthesis since the Cath
rigorous as the art of those times
synthesis, as soon as the time com
socialists (i.e. social democrats) ar
their political and social views; th
worldview. This is why they can
dogmatic, it cannot be other than
Soul and form
In 1910 Lukacs published a volume of essays under the title A lelek es a formdk
[The soul and the forms] (in English edition: "Soul and Form"), which appeared in
German in the following year with some alterations and supplements, though with
the same title: Die Seele und die Formen. The pieces in the volume - though not
intended as parts of a book they were unquestionably essays belonging to the same
cycle - were published in Hungarian from 1908. The German volume was
supplemented with two essays: "Charles-Louis Philippe" (published in Hungarian,
1910) and "Paul Ernst - Die Metaphysik der Tragodie" (published in German,
1911). Lukacs wrote an introductory essay to the volume that in the German version
carried the introductory subtitle "Uber Wesen und Form des Essays" and the title
"Ein Brief an Leo Popper" dated 'Florenz, Oktober 1910'. As a whole, the German
volume has a more characteristic form, and it is obvious that only it could have (and
did have) a significant philosophical impact. Nevertheless, we have to say that the
£) Springer
60 F. L. Lendvai
Hungarian vol
represent a spi
line with Luka
original versio
by five pages
thus: the essa
1909, claim q
philosophy, i.
essays of the
giving form to
According to
self, not the e
Utopian sense,
this chaos dire
desperately loo
effort. Someti
separate from
for itself becau
interest (the co
made as if it w
for this is th
countries, and
for much long
the order and h
Today, people
the essence of
dooming them
consciousness;
that is only se
Whilst in the
German vers
emphasis. It g
author at the
life is imposs
different way
reason its bor
and death is o
abruptly ends
the reality of
A twist: spirit
According to
boundaries stro
once belonged
^ Springer
lower orders, because the borders

thus without form, there is only
that 'our democratic times' sought
attempts to open up the heavens
vain. Now Lukacs reinterprets the
entitled "Von der Armut am Geis
written originally in German). H
occupy a higher order.
That is to say most people have
formal duties for them and this alo
cannot, on the one hand, be forced
only the life of 'spiritual reality' . O
goes beyond them. So the world
beyond tragedy, which is clearly et
as Kierkegaards' Abraham has also
world of Agamemnon. Kindliness i
The category of 'spiritual poverty
order, as belonging to the mystical:
to realise works of art. Hence this
people: everyone has to follow the
In reality, Lukacs' conversion in
influence of Endre Ady, and was
whilst his predicament became str
(the refusal of his Habilitation fo
private life (the suicide of his one
friend, Leo Popper). This is what
older sister prepared the groun
acquainted with Ernst Bloch, the
made a poor impression on his fa
join them.
In the obituary for the talented philosopher of art, Leo Popper, Lukacs wrote: "For
Popper the form was the thought, because a significant man has only one thought, and it
is doubtful whether thought can be plural at all." And, according to "Ein Brief an Leo
Popper" the essayist is a Schopenhauer writing Parerga, waiting for his (or somebody
else's) Welt als Wille und Vorstellung to come; he is a Baptist who withdraws in order
to preach about the coming of someone whose shoes he is not fit to shine. The Essay is a
judgement (Gericht), though no mere judging (Urteil), but the process of judging
(Prozess des Richtens): it is therefore a judgement, though not the Last one. Before the
Last Judgement a new Saviour is to come.
From Utopian philosophy of history to revolutionary eschatology
The great advantage of Heidelberg for Lukacs was not so much that he could
philosophise with Ernst Bloch, but his contacts with Max Weber. However, the
intellectual interaction was rather strange: for a while it was Weber who was
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62 F. L. Lendvai
influenced by
influence m
Klassenbewusstsein.
German sociology of culture and Russian philosophy of religion
Between 1914 and 1917 some of Lukacs' works were published in Archiv fur
Sozialwissenschaft und Sozialpolitik. Of these the first was the introductory chapter
of the drama book. The plan for the German version of the Modern Drama survived
giving the planned lengths of the chapters:
I. Theoretical section
1. Drama and tragedy (40)

2. Drama and our age (100)
II. Historical section
1 . Problems of style in German classicism and romanticism (40)

2. Friedrich Hebbel; the metaphysical grounding of the new tragedy (30)
3. Henrik Ibsen and the problem of the bourgeois tragedy (30)
4. Naturalism and the illusion of the social drama (30)
III. The drama of today

5. The soullessness of the drama after naturalism (20)
6. The non-tragic drama (20)
7. The new tragedy (20)
Accordingly, of 330 planned pages only 20 would have been dedicated to th

'non-tragic drama' and the same amount to the closing chapter on the 'new tragedy
while a hundred pages would be reserved for the introductory chapter on 'the dram
and our age'.
Another piece, "Zum Wesen und zur Methode der Kultursoziologie," focuses on
Hans Staudinger's book: Individuum und Gemeinschaft in der Kulturorganisation
des Vereins, with a foreword by Alfred Weber. Here Lukacs emphasizes first of all
that in the field of the sociology of culture there have been large-scale but
unfortunately isolated efforts, such as Tonnies' Gemeinschaft und Gesellschaft and
Simmel's Philosophie des Geldes\ thereupon he switches to the analysis of Alfred
Weber's methodology. For Lukacs, the methodological correctness of Alfred
Weber's polemic finds its own true basis in those he attacks (in speculative
historians like St. Simon-Comte-Spencer-Lamprecht etc.). They did not really
create sociology but a concealed and thus methodologically muddled philosophy of
history: they try to reduce the evolution of human kind to one or more principles.
Staudinger's book could have been interesting for Lukacs in view of later
developments, too. If Staudinger's observations are correct, for example that the
thought processes of a worker do not allow higher abstractions and conclusions
drawn from these, what can we expect at the level of culture?
£} Springer
The most important piece in the

philosophy of history, Benedet
Historiographie. Lukacs here emp
view of history can be best unders
parallel between Croce's theories
theory of history on Hegel's conce
'empirical' character of the science
history. He claims that none of t
concerning the historical aspects of
in itself, as the object of their inv
art, religion and philosophy have
insufficient and often misundersto
as a unique case.) The fact that Tr
subject, referred to a highly proble
it is not altogether bereft of v
unrecognised aspects of the subjec
proper methodology can be fruitfu
that historiography will progress
ology: Although historical materi
till then, had almost always degen
history, this should not render th
solving the problem are intrinsic t
the theory must be dusted and giv
In this period Lukacs' interests, i
Russia. He published three review
shows that Lukacs was not satisfie
overshadowed by Dostoyevsky, an
Russian culture is a problem of re
prevents any crucially deep insigh
Two of his reviews were obvious
the sources of Russian mysticism
selected works. In the first part o
anticipation: Solov'ev's thinking is
Following the inspirational self-an
a theoretician of the Russian m
representative thinker since Russ
Yet knowledge of Solov'ev's view
Utopian philosophy of history
philosophical understanding of
the arbitrary selection from Solo
He had high expectations for the
philosophical masterpiece'. Yet it
is evident from the second part o
was not able to realize his own
visionary objectivity [Gegenstdnd
Tolstoy's as well as Dostoyevsky's
4y Springe
64 F. L. Lendvai
metaphysics
romanticism)
ancient and m
to think that
Drafts and m
According to
his methodic
astonished re
reflection. "T
reported to h
indicates Simm
positions is an
of thought. T
though less b
with his own
character of
comes out mo
Lukacs' s firs
the so-called
1912 and 1917
only one cha
reliance on th
this and the world of his earlier works.
Lukacs definitely placed the description of the work (of content), instead of the
description of beauty (of form) as a central question of aesthetics. For in an artwork
the 'form' is not what is commonly meant by the word: when the recipient separates
form and content the important shaping forms belong to the field of the contents and
have almost no relation to what the recipient separates as form. The essence of the
work is the worldview it manifests. The vision of the genius is the sentiment that
Novalis demands from philosophy: the longing for a home. If art fulfills this task, it
can become again an element of life, it can return to 'pure form.'
Lukacs' s concept of art - contrary to the Kantian starting point - is reminiscent
of a Kantianism diluted in a Hegelian philosophy of history. (Max Dvorak's works
doubtlessly had a great effect on him in the first decade of the twentieth century.)
Classic art is taken to be the very rare meeting of unique sentiments and possibilities
that are threatened from all directions. However, this is why it can become eternal:
the Greek epic reached its classic form with Homer, drama with Sophocles,
sculpture with Pheidias, Medieval painting with Giotto, and modern music with
Mozart. On the other hand, from the abstract-idealistic vision of the so-called
'eternal human' an epigonistic work of art is created, which, in what it achieves (as
opposed to what it intends), will be the most closely tied to its epoch from among all
the works of art. It is because after the sentiment that created it passes away, its
relevance will be of an antiquarian kind only.
£) Springer
Gyorgy Lukacs 1902-1918 65
Experiments in philosophy of h
In 1913 and 1915 Lukacs drew

Ueffort libre: these are basical
formally addressed to Felix Be
only published posthumously.
George and Paul Ernst, he wri
sive, deep and fruitful world
criticises the aristocratic attit
with religious presupposition
themselves and gaining nothing
appears, almost like nostalgia fo
last culturally vital force in G
force to hidden elements of
worldview that could solicit a
describes how the war brou
experience in the collective,
Gundolf, and Sombart, as well
Lukacs' s work "Ariadne auf
with the poetry of Paul Ernst
and his only equal, the lyricist
beyond all chaos; to the essenc
substance, in the unwritten
immemorial. The essence of h
it is a world, where, in Nietzs
and with pathos, becomes the m
God exists? If one of the gods
different essence and differ
[Werden]! If the darkness of ou
between one god's sunset and a
only a dim glimmer on us, more
isn't this coming god's househol
lonely isolation? This is the sen
the tragic as the ultimate value o
most substantial formation of
by "Ariadne auf Naxos," the G
In 1914/15 in Heidelberg Luka
book, and he also made many n
contained basically all of Lukac
history, and ethics. Therefore
moved to the philosophy of hi
nature; the novel befitted so
primitively natural in the hum
societal formations. Thoughts
reality (or substance) of spirit o
be contrasted with our reality.
£} Springer
66 F. L. Lendvai
be negatively
quite within t
the attributiv
The Jehovian
in the Jehovia
truly a world
essence of God
and gone int
[Gebilde] of th
of the state -
cruel intentio
itself. The exi
organised tub
founded a wor
for the exist
'ontological p
the words of
God exists the
Lukacs oppose
'Luciferian' re
the 'Paracletic
love. However
principals of f
represent a 's
'poverty in sp
'three stages'
Rogoshin and
on the princip
this religious
This question
The wish for
manuscripts.
pessimistic wa
the historic f
Lukacs mentio
world: 1. Ab
Christianity;
truly because
elsewhere, be
Reformation,
Contrary to th
line tradition
transition and
hand and to t
Lukacs once a
redemption o
© Springer
Gy orgy Lukacs 1 902- 1918 67
Anabaptists. He refers often to Ha

Valentin Weigel; and the title from
with emphasis in his draft. Accor
great classical (philosophical and lit
Jehovian tradition, but then the
reconciliation with (Jehovian) reali
Therefore German classicism p
referred again to trends and name
exits: romanticism, Novalis, Hau
However, he is not even content w
either (the line starting with Eckha
who started to speak within man,
proves no more than the impossibil
out? With Marx, perhaps? Well, L
philosophische Manifest der his
Hegelschen Rechtsphilosophie. E
religion and atheism. Finally, how
prophet claiming that in the end h
This is why the author turns
Dostoyevsky. However, at this poi
(Western) Europe; therefore he
Dostoyevsky offer, according to L
completely different character. We
based on individual disappointmen
Jacobsen, and Paul Ernst atheism
asks: can one live without God? Fo
since only among the Russians has
sociological problem for the peopl
in God. Dostoyevsky 's own views
because they are on the last leg of
well remain blocked at this stage. S
Hegel believed, a 'world historical p
become, as Dostoyevsky affirme
community is a fraternal unity.
Though Dostoyevsky was not a re
a new world and a new type of hu
for a long time, as the dilemma of
Judith's person in connection with
Judith and like terrorists then tak
at all to act without sin? Since no
terrorist - sacrifice themselves w
inevitable sin upon themselves. (It
refers to Judas but to a short s
destroyed.) However, the problem
the banner of the ethics of revolu
^ Springer
68 F. L. Lendvai
(viz. who order

signs' and 'th
And here a ne
'democracy in
expression 'all
Christianity is
he adds that w
passage twice
all men to be
problem with
based on free
from the prin
Lukacs, Christ
remains of thi
medieval and
Zohar and the
by way of Blo
course not onl
Menschen' tur
damne's de la
review) is bey
Whether and
revolution bu
socialism will
other question
The world of
Theorie des Ro
grossen Epik,
a genre, and m
if compared to
philosophy of
opening chapte
relation to wh
one," is devote
viewpoint of t
that was alrea
three parallel
the age of the
The second ch
outlines the
'transcendenta
Only tragedy,
pay a price as
dramatic but p
of essence' in a
new great epic
^ Springer
impossible to find a closed worl

find his philosophy of history:
own age. The Greek epic as the
humanity; novel is the form tha
After this, the fifth chapter,
novel and its significance," is co
who comes ever more forcef
quintessence and apex of the
novels are deeply melancholic. H
melancholy of adulthood stems f
voice of dedication at a young ag
world, it is impossible to hear a
an aim. Old gods have disappeare
for which reason our world is po
that has been abandoned by G
psychology [das Dd'monische]
mature comprehension that the m
the mind reality would collap
Wesenlosigkeit]. Again, the m
mysticism - but the fullness of
Saviour, are not yet revealed by
history.
The Theory of the Novel turns into an actual theory on the novel in the second
part, "Attempt at a typology of the novel form," with a return to the philosophy of
history at the end. After the analyses of the 'abstract idealism' of Cervantes and the
'romanticism of disillusionment' of Balzac, the author names Tolstoy as the first
great representative of a creative polemic against our world of conventions. In
Tolstoy's works a return to nature is announced, however it is only a polemic as an
opposition to culture in the manner of a factual assurance that there is essential life
outside the conventions. However in Tolstoy, writes Lukacs, experiencing the
essence of nature can be detected as well. In certain rare moments (usually the
moment of death) a reality is opened up for the person in which - with an
instantaneousness that shines through everything - she sees and understands the
truth, the meaning of her life, presiding over and at the same time inside her. The
entire course of life before this moment disappears with this experience, all its
conflicts and the suffering at its basis, the torments and meanderings, now appear
meaningless and petty. In some of these rare great moments of Tolstoy's works a
clearly differentiated and demarcated world emerges which, were it to become a
totality, it would be impossible to approach with the categories of the novel. It
would require a new formative principle, the revived form of the epic.
However, to want to revive an extinct artistic form, is this not a Utopia
predestined for failure? Indeed it is in case the aim is merely artistic (like the efforts
of the pre-Raphaelites, in particular Ruskin and Morris), but it is not in case a
suitable ground in society is created where it can grow and develop in reality.
Therefore, Lukacs can proclaim the new epopeia only if he at the same time
announces the coming of a new reality in society. According to Lukacs, the novel is,
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70 F. L. Lendvai
in Fichte's words, the form of the era of 'absolute sinfulness' [vollendete

Sii'ndhaftigkeit], and as long as the world remains under this star nothing can change.
However, a new world is projected in the works of Dostoyevsky who so to say did
not write novels, and the creative sentiment discernible in his works has nothing to
do with nineteenth century European romanticism, be it positive or negative. By so
reasoning Lukacs does not include the works of Dostoyevsky in his analyses.
But this is problematic. He would need it in order to clarify his point, as it is not
clear whether Dostoyevsky is the Homer or Dante of the new world, i.e. he
expressed its totality, or he only wrote songs that would add up to a totality only at a
later time, as a result of someone else's work. This could only be answered by a
form-analysis of Dostoyevsky's works. In Fichte's philosophy of history the age of
absolute sinfulness is followed by the age of the incipient rationality' [beginnende
Vernunftigkeit] and he sees his own age as a transition between the two. This is how
Lukacs too sees his own age. Therefore, fulfilled with hopes and doubts he asks a
prophetic question: are we stepping out of the state of absolute sinfulness or only
our hopes portend the coming of the New, which is still so weak that the power of
fruitless 'mere existence' can crush it at any time.
A new twist: bolshevism as a moral problem
Lukacs very probably felt at home in the Weber household, though less so in
Heidelberg and in Germany generally. Even though he was attracted to the George-
circle he nevertheless could not (or did not want to) establish a real relationship with
it. Apart from Ernst and Weber, he held Emil Lask in high esteem, who died in the
war. The elaboration of his Aesthetics (his planned Habilitationsschrift) dragged on
and even though Weber greeted the completed parts with enthusiasm, Rickert, to
whom the work was submitted, treated it sceptically, and the whole work seemed to
be never ending. Following the total failure of his marriage to Jelena Grabenko he
found refuge in Budapest, alongside Gertrude Borstieber. And in Budapest there
was the enthusiastic 'Sunday Circle' with Bela Balazs, and outside the circle Szabo,
and the moving force that was Endre Ady. Because social development became ever
more stimulating following the Russian revolution, Hungary was certainly
perceived differently from Germany, the East was so different from the West! Ex
oriente lux... However incredible the date may appear today, more like an absurd
historical joke, it remains that 'Georg von Lukacs' (last time with the 'von' in his
name) deposited a suitcase with his personal documents in a bank in Heidelberg and
left for Hungary on the 7th of November in 1917.
His anticipation of redemption and his need for religion were increasing
throughout the years of the World War. This was apparent most of all this in his
collected studies of the poet Bela Balazs (1918). Contrasting the Hungarian and
Russian situations had been of importance to Lukacs since he wrote the Ady article,
and now in the foreword of the book he tried to provide a wider background for this.
In a controversy with the conservative poet Mihaly Babits about the spirit of
"Oblomov" he writes that there is no deeper contrast than between Hungarian and
Russian inaction. Hungarian inaction is sober, and when it is not, it consciously
£) Springer
steps into the realms of fantasy; b

done is almost at the level of acce
accessible reality to an Utopian rea
In many senses at a dead end and
18, with real revolutions erupting
chance for a revolution that would
actual
problems in Hungary did no
remarks, forcefulls, to two ongoin
His "Konzervatfv es progresszi
idealism] was basically of a philos
and Fichte. The theme of the "A n
szempontjabol" [The question of na
of the individual and society] had a
but the collected contributions w
of a sociological and sociophilos
undoubtedly carried political over
them in his article "A koztarsasag
was published on the 10th of Nove
amongst the throng of articles and
about revolutionary movements.
wrote that political institutions
reality, and they depend on the l
rebirth of Hungary, he stated, and
and irresponsible bureaucracy are
Lukacs obviously sided with th
1918; however, he did not expect t
he probably held out hope for the
at first his attitude to it was neg
problema" [Bolshevism as a m
December 1918, and by that time
article was written from the viewp
facts this is not so surprising) w
between social democracy and bol
considerations. The dilemma is th
realize the final aim, in which cas
as our point of view. Or we stick
the means of true democracy, tho
want this new world order.
However at this point Lukacs, who kept informed about Marxist and socialist
views, finally discovered - for whatever reason - in the Russian working-class
movement (that grew up in the midst of half-barbarian Russian conditions in
patriarchal-organic communities) and in its Leninist ideology the messianic
movement he was looking for. He regarded the World War as a total catastrophe;
neither the subjective heroism nor the expected objective advantages could convince
him to the contrary. As he wrote in the 1962 foreword of the Theory of Novel, he
finally came to the conclusion that the Central Powers would probably defeat
£) Springer
72 F. L. Lendvai
Russia, and t
probability th
the Hohenzoll
us from Wes
could have bel
obliged himse
European, th
beginning, on
Russian civi
revolutionary
by his good o
Either-or! in
the Communi
References
1. Books of Lukacs
1. Lukacs, G. [1907] (1980). A drdmaiirds fb'bb irdnyai a mult sza'zad utolsd negyedeben [posthumous].
Budapest: Akademiai Kiado.
2. Lukacs, G. (191 1). A modern drama fejlbdesehek tortenete (vols. 1-2). Budapest: Franklin Tarsulat .
3. Lukacs, G. (1910). A lelek es a formdk. Kiserletek. (Budapest: Franklin Tarsulat); [in German
enlarged edition, 1911:] Die Seele und die Fonnen. Essays. (Berlin: Egon Fleischel et Co.); [in
English edition, 1974:] Soul and Form. London: Merlin Press.
4. Lukacs, G. (1912). Esztetikai kulnira [Collected Papersl. Budapest: Athenaeum.
5. Lukacs, G. [1912-14] (1974). Heidelberger Philosophie der Kunst [posthumous]. Darmstadt-
Neuwied: Luchterhand.
6. Lukacs, G. [1916-18] (1975). Heidelberger Asthetik [posthumous]. Darmstadt-Neuwied:
Luchterhand.
7. Lukacs, G. [1914-15] (1985). Dostojewski. Notizen und Entwurfe [posthumous]. Budapest: Akade-
miai Kiado .
8. Lukacs, G. (1920). Die Theorie des Romans. Ein geschichtsphilosophischer Versuch iiber die Formen
der grossen Epik. (Berlin: Cassirer); [in English edition, 1971:1 The Theory of the Novel. A His-
torico-philosophical Essay on the Form of Great Epic Literature. London: Merlin Press.
9. Lukacs, G. (1918). Balazs Bela es akiknek nem kell. Osszegyiijtott tanulmanyok. Gyoma: Kner.
2. Articles of Lukacs in Hungarian
10. Timar, A. (Ed.). (1977). Ifjukori mu'vek 1902-1918. (Budapest: Magveto) [=IM1; Mesterhazi, M.
(Ed.). (1987). Forradalomban. Cikkek, tanulmanyok 1918-19. Budapest: Magveto [=F].
11. Lukacs, G. (1907). Gauguin. Huszadik Szdzad, 8, 559-562 [IM: 1 1 1-1 151.
12. Lukacs, G. (1909). Uj magyar lira I. [Ady Endre]. Huszadik Szdzad, 10, 286-292 [IM: 248-2561.
13. Lukacs, G. (1910). Megjegyzesek az irodalomtortenet elmeletehez. In Dolgozatok a modern filozdfia
kbrebbl Emlekkbnyv Alexander Berndt hatvanadik szulete'se napjdra (pp. 388^21). Budapest:
Franklin Tarsulat [IM: 385-4211 .
14. Lukacs, G. (1910). Az utak elvaltak. Nyugat, 3, 190-193 [IM: 280-2861.
15. Lukacs, G. (1910). Esztetikai kultura. Renaissance, 7, 123-136 [IM: 422-4371.
^ Springer
16. Lukacs, G. (1918). Konzervativ e

837-8441.
17. Lukacs, G. [19181 (1919). A nemzetisegi kerdes a tarsadalmi es egyeni fejlodes szempontjabol. In
Vdlasz a Huszadik Sz.dz.ad korkerdesere (pp. 61-81). Budapest: Uj Magyarorszag fLantos] fF:
42-711.
18. Lukacs, G. (1918). A koztarsasagi propaganda. Vilag, 10th November [F: 33-351.
19. Lukacs, G. (1918). A bolsevizmus mint erkolcsi problema. Szabadgondolat, 8, 228-232 fF: 36-411.
3. Articles of Lukacs in German
20. Lukacs, G. (191 1). Leo Popper (1896-191 1). Ein Nachruf. Pester Lloyd, 18th December .
21. Lukacs, G. (1912). Von der Armut am Geiste. Ein Brief und ein Dialog. Neue Blatter, 2, 67-92.
22. Lukacs, G. (1914). T. G. Masaryk: Zur russischen Geschichts- und Religionsphilosophie. Archiv fu
Sozialwissenschafi und Sozialpolitik, 38, 871-875.
23. Lukacs, G. (1915). Zum Wesen und zur Methode der Kultursoziologie. Ibid., 39, 216-222.
24. Lukacs, G. (1915). Croce, Benedetto: Zur Theorie und Geschichte der Historiographie. Ibid
878-885.
25. Lukacs, G. (1915). Solowjeff, Wladimir: Ausgewahlte Werke. Ibid., 572-573.
26. Lukacs, G. (1916-17). Solowjeff, Wladimir: Die Rechtfertigung des Guten. Ibid., 42, 978-980.
27. Lukacs, G. (1916). Ariadne auf Naxos. In W. Mahrholz (Hg.): Paul Ernst. Zu seinem 50. Geburtstag
(pp. 1 1-28). Munchen: Georg Muller.
28. Lukacs, G. (1918). Emil Lask. Ein Nachruf. Kant-Studien, 22, 349-370.
29. Lukacs, G. (1918). Georg Simmel. Pester Lloyd, 2nd October.
^ Springer

Lendvai - György Lukács 1902-1918 His Way To Marx

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Lendvai - György Lukács 1902-1918 His Way To Marx

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György Lukács 1902-1918: His Way to Marx

Author(s): Ferenc L. Lendvai

Gyorgy Lukacs 1902-1918: His way to Marx

Published online: 9 February 2008

Keywords Lukacs' early writings • Marx • Sociological and revolutionary

In Marx's system I differentiate two elements. First, there is the method o

Sociological interpretation and Utopian perspective on art

questions evolving from it, have

Modern urban life, according to

Soul and form

lower orders, because the borders

From Utopian philosophy of history to revolutionary eschatology

German sociology of culture and Russian philosophy of religion

1. Drama and tragedy (40)

1 . Problems of style in German classicism and romanticism (40)

III. The drama of today

Accordingly, of 330 planned pages only 20 would have been dedicated to th

The most important piece in the

In 1913 and 1915 Lukacs drew

Anabaptists. He refers often to Ha

(viz. who order

impossible to find a closed worl

in Fichte's words, the form of the era of 'absolute sinfulness' [vollendete

A new twist: bolshevism as a moral problem

steps into the realms of fantasy; b

2. Articles of Lukacs in Hungarian

16. Lukacs, G. (1918). Konzervativ e

3. Articles of Lukacs in German

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