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Hegel remarks somewhere that all facts and personages of great importance in world history occur, as it were, twice. He forgot to add: the first time as tragedy, the second as farce. Caussidiere for Danton, Louis Blanc for Robespierre, the Montagne of 1848 to 1851 for the Montagne of 1793 to 1795, the Nephew for the Uncle. And the same caricature occurs in the circumstances attending the second edition of the Eighteenth Brumaire!
Men make their own history, but they do not make it just as they please; they do not make it under circumstances chosen by themselves, but under circumstances directly encountered, given and transmitted from the past. The tradition of all the dead generations weighs like a nightmare on the brain of the living. And just when they seem engaged in revolutionizing themselves and things, in creating something that has never yet existed, precisely in such periods of revolutionary crisis they anxiously conjure up the spirits of the past to their service and borrow from them names, battle cries and costumes in order to present the new scene of world history in this time-honored disguise and this borrowed language. Thus Luther donned the mask of the Apostle Paul, the Revolution of 1789 to 1814 draped itself alternately as the Roman republic and the Roman empire, and the Revolution of 1848 knew nothing better to do than to parody, now 1789, now the revolutionary tradition of 1793 to 1795. In like manner a beginner who has learnt a new language always translates it back into his mother tongue, but he has assimilated the spirit of the new language and can freely express himself in it only when he finds his way in it without recalling the old and forgets his native tongue in the use of the new.
Consideration of this conjuring up of the dead of world history reveals at once a salient difference. Camille Desmoulins, Danton, Robespierre, Saint-Just, Napoleon, the heroes as well as the parties and the masses of the old French Revolution, performed the task of their time in Roman costume and with Roman phrases the task of unchaining and setting up modern bourgeois society. The first ones knocked the feudal basis to pieces and mowed off the feudal heads which had grown on it. The other created inside France the conditions under which alone free competition could be developed, parceled landed property exploited and the unchained industrial productive power of the nation employed; and beyond the French borders he everywhere swept the feudal institutions away, so far as was necessary to furnish bourgeois society in France with a suitable up-to-date environment on the European Continent. The new social formation once established, the antediluvian Colossi disappeared and with them resurrected Romanity—the Brutuses, Gracchi, Publicolas, the tribunes, the senators, and Caesar himself. Bourgeois society in its sober reality had begotten its true interpreters and mouthpieces in the Says, Cousins, Royer-Collards, Benjamin Constants and Guizots; its real military leaders sat behind the office desks, and the hog-headed Louis XVIII was its political chief. Wholly absorbed in the production of wealth and in peaceful competitive struggle, it no longer comprehended that ghosts from the days of Rome had watched over its cradle. But unheroic as bourgeois society is, it nevertheless took heroism, sacrifice, terror, civil war and battles of peoples to bring it into being. And in the classically austere traditions of the Roman republic its gladiators found the ideals and the art forms, the self-deceptions that they needed in order to conceal from themselves the bourgeois limitations of the content of their struggles and to keep their enthusiasm on the high plane of the great historical tragedy. Similarly, at another stage of development, a century earlier, Cromwell and the English people had borrowed speech, passions and illusions from the Old Testament for their bourgeois revolution. When the real aim had been achieved, when the bourgeois transformation of English society had been accomplished, Locke supplanted Habakkuk.
Thus the awakening of the dead in those revolutions served the purpose of glorifying the new struggles, not of parodying the old, of magnifying the given task in imagination, not of fleeing from its solution in reality; of finding once more the spirit of revolution, not of making its ghost walk about again.
From 1848 to 1851 only the ghost of the old revolution walked about, from Marrast, the republicain en gants jaunes [republican in yellow gloves] who disguised himself as the old Bailly, down to the adventurer, who hides his commonplace repulsive features under the iron death mask of Napoleon. An entire people, which had imagined that by means of a revolution it had imparted to itself an accelerated power of motion, suddenly finds itself set back into a defunct epoch and, in order that no doubt as to the relapse may be possible, the old dates arise again, the old chronology, the old nannies, the old edicts, which had long become a subject of antiquarian erudition, and the old minions of the law, who had seemed long decayed. The nation feels like that mad Englishman in Bedlam who fancies that he lives in the times of the ancient Pharaohs and daily bemoans the hard labor that he must perform in the Ethiopian mines as a gold digger, immured in this subterranean prison, a dimly burning lamp fastened to his head, the overseer of the slaves behind him with a long whip, and at the exits a confused welter of barbarian mercenaries, who understand neither the forced laborers in the mines nor one another, since they speak no common language. "And all this is expected of me," sighs the mad Englishman, "of me, a freeborn Briton, in order to make gold for the old Pharaohs." "In order to pay the debts of the Bonaparte family," sighs the French nation. The Englishman, so long as he was in his right mind, could not get rid of the fixed idea of making gold. The French, so long as they were engaged in revolution, could not get rid of the memory of Napoleon, as the election of 10 December proved. They hankered to return from the perils of revolution to the flesh-pots of Egypt, and 2 December 1851, was the answer. They have not only a caricature of the old Napoleon, they have the old Napoleon himself, caricatured as he must appear in the middle of the nineteenth century.
The social revolution of the nineteenth century cannot draw its poetry from the past, but only from the future. It cannot begin with itself before it has stripped off all superstition in regard to the past. Earlier revolutions required recollections of past world history in order to drug themselves concerning their own content. In order to arrive at its own content, the revolution of the nineteenth century must let the dead bury their dead. There the phrase went beyond the content; here the content goes beyond the phrase.
Bourgeois revolutions, like those of the eighteenth century, storm swiftly from success to success; their dramatic effects outdo each other; men and things seem set in sparkling brilliants; ecstasy is the everyday spirit; but they are short-lived; soon they have attained their zenith, and a long crapulent depression lays hold of society before it learns soberly to assimilate the results of its storm-and-stress period. On the other hand, proletarian revolutions, like those of the nineteenth century, criticize themselves constantly, interrupt themselves continually in their own course, come back to the apparently accomplished in order to begin it afresh, deride with unmerciful thoroughness the inadequacies, weaknesses and paltrinesses of their first attempts, seem to throw down their adversary only in order that he may draw new strength from the earth and rise again, more gigantic, before them, recoil ever and anon from the indefinite prodigiousness of their own aims, until a situation has been created which makes all turning back impossible, and the conditions themselves cry out:
Hic Rhodus, his salta! (Here is Rhodes, leap here!)