Цитаты из книг — Дьёрдь Лукач

Великое историческое искусство состоит в оживлении прошлого как предыстории настоящего, в художественном оживлении тех общественных и человеческих сил, которые, за время долгого развития, сформировали нашу жизнь такой, как она есть.

Для романа девятнадцатого века стал важнее иной тип неизбежно неадекватных отношений между душой И действительностью: душа шире, обширнее тех судеб, которые открывает перед ней жизнь. Проистекающее из этого важнейшее различие состоит в том, что здесь перед нами не абстрактная априорность по отношению к жизни, стремящаяся…

В романтизме вполне осознается поэтический характер всякой априорности по отношению к действительности: отрезанное от трансцендентности Я осознает себя источником всякого долженствования и, как неизбежное следствие, единственным достойным материалом для его осуществления. Жизнь становится художественным творчеством, но…

..."Мертвые души" Гоголя остались незаконченными: было уже с самого начала невозможно найти "положительный" противовес столь удачной и в художественном отношении плодотворной, но "отрицательной" фигуре Чичикова, а для создания подлинной тотальности, которой требовал эпический замысел Гоголя, такой противовес был…

Сервантес живет в период последнего расцвета великой и отчаянной мистики, фанатичной попытки самообновления теряющей силы религии, в период нового миропонимания, развивавшегося в мистических формах, в последний период по-настоящему переживаемых, но уже утративших цель, увлекательных и искушающих оккультных устремлений.…

For the novel, irony consists in this freedom of the writer in his relationship to God, the transcendental condition of the objectivity of form-giving. Irony, with intuitive double vision, can see where God is to be found in a world abandoned by God; irony sees the lost, Utopian home of the idea that has become an ideal,…

The novel is the epic of a world that has been abandoned by God. The novel hero’s psychology is demonic; the objectivity of the novel is the mature man’s knowledge that meaning can never quite penetrate reality, but that, without meaning, reality would disintegrate into the nothingness of inessentiality.

The immanence of meaning which the form of the novel requires lies in the hero’s finding out through experience that a mere glimpse of meaning is the highest that life has to offer, and that this glimpse is the only thing worth the commitment of an entire life, the only thing by which the struggle will have been…

The inner form of the novel has been understood as the process of the problematic individual’s journeying towards himself, the road from dull captivity within a merely present reality—a reality that is heterogeneous in itself and meaningless to the individual—towards clear self-recognition. After such self-recognition has…

The outward form of the novel is essentially biographical. The fluctuation between a conceptual system which can never completely capture life and a life complex which can never attain completeness because completeness is immanently Utopian, can be objectivised only in that organic quality which is the aim of biography.

The irony of the novel is the self-correction of the world’s fragility: inadequate relations can transform themselves into a fanciful yet well-ordered round of misunderstandings and cross-purposes, within which everything is seen as many-sided, within which things appear as isolated and yet connected, as full of value and…

The self-recognition and, with it, self-abolition of subjectivity was called irony by the first theoreticians of the novel, the aesthetic philosophers of early Romanticism.

Dante is the only great example in which we see the architectural clearly conquering the organic, and therefore he represents a historico-philosophical transition from the pure epic to the novel. In Dante there is still the perfect immanent distancelessness and completeness of the true epic, but his figures are already…

What is a symbol in tragedy becomes a reality in the epic: the weight of the bonds linking an individual destiny to a totality. World destiny, which in tragedy is merely the number of noughts that have to be added to i to transform it into a million, is what actually gives the events of the epic their content; the epic…

THE EPIC and the novel, these two major forms of great epic literature, differ from one another not by their authors’ fundamental intentions but by the given historico-philosophical realities with which the authors were confronted. The novel is the epic of an age in which the extensive totality of life is no longer…

The short story is the most purely artistic form; it expresses the ultimate meaning of all artistic creation as mood, as the very sense and content of the creative process, ...

Great epic writing gives form to the extensive totality of life, drama to the intensive totality of essence. That is why, when essence has lost its spontaneously rounded, sensually present totality, drama can nevertheless, in its formal a priori nature, find a world that is perhaps problematic but which still is…

The language of the absolutely lonely man is lyrical, i.e. monological; in the dialogue, the incognito of his soul becomes too pronounced, it overloads and swamps the clarity and definition of the words exchanged.

The tragic hero takes over from Homer’s living man, explaining and transfiguring him precisely because he has taken the almost extinguished torch from his hands and kindled it anew. And Plato’s new man, the wise man with his active cognition and his essence-creating vision, does not merely unmask the tragic hero but also…