Literary development has not yet gone beyond the novel of disillusionment, and the most recent literature reveals no possibility of creating another type that would be essentially new; what we have now is an eclectic, epigonic imitation of earlier types, whose apparent productive force is confined to the formally inessential areas of lyricism and psychology.
Tolstoy himself, it is true, occupies a dual position. From the point of view purely of form (a point of view which, in Tolstoy’s special case, cannot possibly do justice to what matters most in his vision or in his created world), he must be seen as the final expression of European Romanticism. However, in the few overwhelmingly, great moments of his works—moments which must be seen as subjective and reflexive in respect of each particular work as a whole—he shows a clearly differentiated, concrete and existent world, which, if it could spread out into a totality, would be completely inaccessible to the categories of the novel and would require a new form of artistic creation: the form of the renewed epic.
This world is the sphere of pure soul-reality in which man exists as man, neither as a social being nor as an isolated, unique, pure and therefore abstract interiority. If ever this world should come into being as something natural and simply experienced, as the only true reality, a new complete totality could be built out of all its substances and relationships, It would be a world to which our divided reality would be a mere backdrop, a world which would have outstripped our dual world of social reality by as much as we have outstripped the world of nature. But art can never be the agent of such a transformation: the great epic is a form bound to the historical moment, and any attempt to depict the utopian as existent can only end in destroying the form, not in creating reality. The novel is the form of the epoch of absolute sinfulness, as Fichte said, and it must remain the dominant form so long as the world is ruled by the same stars. In Tolstoy, intimations of a breakthrough into a new epoch are visible; but they remain polemical, nostalgic and abstract.
It is in the words of Dostoevsky that this new world, remote from any struggle against what actually exists, is drawn for the first time simply as a seen reality. That is why he, and the form, he created, lie outside the scope of this book. Dostoevsky did not write novels, and the creative vision revealed in his works has nothing to do, either as affirmation or as rejection, with European nineteenth-century Romanticism or with the many, likewise Romantic, reactions against it. He belongs to the new world. Only formal analysis of his works can show whether he is already the Homer or the Dante of that world or whether he merely supplies the songs which, together with the songs of other forerunners, later artists will one day weave into a great unity: whether he is merely a beginning or already a completion. It will then be the task of historico-philosophical interpretation to decide whether we are really about to leave the age of absolute sinfulness or whether the new has no other herald but our hopes: those hopes which are signs of a world to come, still so weak that it can easily be crushed by the sterile power of the merely existent.
SOURCE: Lukács, Georg. The Theory of the Novel: A Historico-Philosophical Essay on the Forms of Great Epic Literature (1914-1915, 1916, 1920), translated by Anna Bostock (Cambridge, MA: The MIT Press, 1971), pp. 151-153 (conclusion of book).
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Theodor W. Adorno on modernism, Georg Lukács, James Joyce (2)
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in the Work of Imre Madách, György Lukács, and Other Hungarian Writers:
Fyodor Dostoevsky @ Reason & Society
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