Марксовия

Marx's monumental style was admired by people of the rank of Engels, J. Marx, P. Lafargue, W. Liebknecht, Lenin, F. Mehring, and others. In their memoirs and notes, one finds extremely important observations and assessments of Marx's style, but without any attempt at analysis. Mehring merely sets the task: "The language of Karl Marx deserves a detailed study; this would be an important contribution to the study of Marx's personality and his work." 1 Exactly sixty years have passed since then, but the question still remains open. Why is the problem of style unanimously overlooked among the countless studies of Marx's literary heritage? Of course, as Mehring points out, this is not a primary task compared to propaganda and the further development of Marx's ideas. And although it is true in its essence, this explanation is already outdated and incomplete. According to Engels, when a new teaching is spread, for the sake of ideas, at first they do not pay attention to the form or attribute it to accidents, to the peculiarity of the creative personality. Later they begin to identify the thinker with his teaching, evaluating them as a whole. Finally, they reduce the ideas to the scale of the work, and the personality to the sum of the qualities necessary to carry it out. And so in the final stage they remain: Marxism as a revolutionary-proletarian teaching, Marx - the founder of scientific communism, and Marx the man - drowns in biographies. Therefore, the return path from the personality to the immanent features of its creativity encounters exceptional difficulties. But not so much because of a lack of biographical data, but as a result of the systematic underestimation of the principle of dialectical unity between the personality and its creativity. And they do not complement each other, but exist through each other. Marx did not construct his doctrine speculatively - the objective premises were prepared by history - but he created it. He is its creator. But not only with his genius and colossal erudition, but also with his will, his heart, his love for the proletariat, his contempt for the bourgeoisie, with his whole personality. On what grounds then is a titanic personality reduced to a function of intellect and class struggle?