路易·波拿巴的雾月十八日
- 语言:
- 英语
- 状态:
- 完整作品
- 作者归属:
- 作者本人所著
- 文本状况:
- 文本清晰
- 篇幅:
- 约 43,600 词 · 207 个段落
引用本作品
- APA卡尔·马克思. (n.d.). 路易·波拿巴的雾月十八日. SigPhi. https://sigphiai.com/zh/works/karl-marx/the-eighteenth-brumaire-of-louis-bonaparte
- MLA卡尔·马克思. "路易·波拿巴的雾月十八日." SigPhi, https://sigphiai.com/zh/works/karl-marx/the-eighteenth-brumaire-of-louis-bonaparte.
- Chicago卡尔·马克思. 路易·波拿巴的雾月十八日. SigPhi. https://sigphiai.com/zh/works/karl-marx/the-eighteenth-brumaire-of-louis-bonaparte.
内容简介
一个平庸之辈如何在1851年当上法国皇帝,写于事情还在发生的时候。
背景与流传
这是作为作家的马克思最好的状态。开篇是「历史会重演,第一次是悲剧,第二次是笑剧」,书中还有「人们自己创造自己的历史,但并不是随心所欲地创造」。作为一篇趁热写下的政变政治分析,至今无人超越。
这是编辑性背景,不是可引用的来源:与作品本身的段落不同,这些说明无法在语料库中核对。
Hegel says somewhere that that great historic facts and personages recur twice. He forgot to add: “Once as tragedy, and again as farce.” Caussidiere for Danton, Louis Blanc for Robespierre, the “Mountain” of 1848-51 for the “Mountain” of 1793-05, the Nephew for the Uncle. The identical caricature marks also the conditions under which the second edition of the eighteenth Brumaire is issued. Man makes his own history, but he does not make it out of the whole cloth; he does not make it out of conditions chosen by himself, but out of such as he finds close at hand. The tradition of all past generations weighs like an alp upon the brain of the living. At the very time when men appear engaged in revolutionizing things and themselves, in bringing about what never was before, at such very epochs of revolutionary crisis do they anxiously conjure up into their service the spirits of the past, assume their names, their battle cries, their costumes to enact a new historic scene in such time-honored disguise and with such borrowed language Thus did Luther masquerade as the Apostle Paul; thus did the revolution of 1789-1814 drape itself alternately as Roman Republic and as Roman Empire; nor did the revolution of 1818 know what better to do than to parody at one time the year 1789, at another the revolutionary traditions of 1793-95. Thus does the beginner, who has acquired a new language, keep on translating it back into his own mother tongue; only then has he grasped the spirit of the new language and is able freely to express himself therewith when he moves in it without recollections of the old, and has forgotten in its use his own hereditary tongue. When these historic configurations of the dead past are closely observed a striking difference is forthwith noticeable. Camille Desmoulins, Danton, Robespierre, St.…