Aesthetics and Politics. Theodor Adorno

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СКАЧАТЬ published four years ago in Internationale Literatur. It is that essay which furnishes the conceptual framework for the latest funeral oration on Expressionism. In what follows we shall concentrate our attention on it, since Lukács supplies the intellectual foundations of both Ziegler’s and Leschnitzer’s contributions. In his conclusions, Lukács was indeed significantly more circumspect than they; he insisted that the conscious tendencies of Expressionism were not Fascist, and that in the final analysis, Expressionism ‘could only become a minor component of the Fascist “synthesis”’. But in his summing-up he also observed that ‘the Fascists were not without justification in discerning in Expressionism a heritage they could use’. Goebbels had found the ‘seeds of some sound ideas’⁵ here, for ‘as the literary mode corresponding to fully-developed imperialism (!), Expressionism is grounded in an irrationalist mythology. Its creative style tends towards that of an emotive, rhetorical, vacuous manifesto, a declamatory pseudo-activism.… What the Expressionists intended was undoubtedly the very opposite of atavistic. But since they were unable to free themselves intellectually from an imperialist parasitism, and since they colluded in the ideological decay of the imperialist bourgeoisie without offering either criticism or resistance, acting indeed on occasion as its vanguard, their creative method could without distortion be pressed into the service of that synthesis of decadence and atavism which is the demagogy of Fascism’. It can immediately be seen that the view that Expressionism and Fascism are cast in the same mould has its ultimate source here. The antithesis of Expressionism versus – let us say – the Classical Heritage, is just as rigid in Lukács as in Ziegler. However, in Lukács it acquires a conceptual foundation and is not just a matter of purple-patch journalism.

      However, objectively the antithesis is not so readily demonstrable. Anyone who actually looks at Lukács’s essay (a procedure highly to be recommended: the original is always the most instructive), will notice at the very outset that nowhere is there any mention of a single Expressionist painter. Marc, Klee, Kokoschka, Nolde, Kandinsky, Grosz, Dix, Chagall simply do not figure at all – to say nothing of musical parallels, such as the contemporary works of Schönberg. This is all the more surprising in that the links between painting and literature at that time were extremely close, and the paintings of Expressionism were far more characteristic of the movement than its literature. Reference to the painters, moreover, would have had the additional advantage of making it harder to dismiss Expressionism so categorically, for some of their pictures have a lasting importance and greatness. But even the literary works have not received the attention they merit, either qualitatively or quantitatively – their critics being content to make do with a very limited and highly untypical ‘selection’. Trakl, Heym and Else Lasker-Schüler are totally absent; Werfel’s early work is only mentioned because he wrote a few pacifist verses; the same is true of Ehrenstein and Hasenclever. The early and often important poems of Johannes Becher merely attract the comment that the author ‘gradually succeeded in discarding’ the Expressionist manner, while quotations from poetasters like Ludwig Rubiner abound, again only for the purpose of reinforcing the charge of abstract pacifism. Significantly, a quotation from René Schickele is also introduced in this context, even though Schickele was never an Expressionist but just an abstract pacifist (like many worthy men and poets, Hermann Hesse and Stefan Zweig among them).

      What material does Lukács then use to expound his view of the Expressionists? He takes prefaces or postscripts to anthologies, ‘introductions’ by Pinthus, newspaper articles by Leonhard, Rubiner, Hiller, and other items of the same sort So he does not get to the core of the matter, the imaginative works which make a concrete impression in time and space, a reality which the observer may re-experience for himself. His material is second-hand from the outset; it is literature on Expressionism, which he then proceeds to use as a basis for literary, theoretical and critical judgements. No doubt Lukács’s purpose is to explore ‘the social base of the movement and the ideological premisses arising from that base’. But it thereby suffers from the methodological limitation that it produces only a concept of concepts, an essay on essays and even lesser pieces. Hence the almost exclusive criticism merely of Expressionist tendencies and programmes, chiefly those formulated, if not foisted on the movement, by its own commentators.

      In this connection Lukács makes many accurate and subtle observations. He draws attention to the ‘abstract pacifism’, the Bohemian concept of ‘the bourgeois’, the ‘escapist quality’, indeed the ‘ideology of escapism’ in Expressionism. Again, he uncovers the merely subjective nature of the Expressionist revolt, as well as the abstract mystification implicit in its attempt to reveal the ‘essence’ of objects by depicting them in the Expressionist manner. But even on this question of the subjective nature of the Expressionist revolt, he does not really do these poets justice, in berating them – on the evidence of Prefaces – for their ‘pretentious showiness’, their ‘tinny monumentality’. The same can be said of his claim that all the content of their works reveal is ‘the forlorn perplexity of the petty-bourgeois caught up in the wheels of capitalism’, or ‘the impotent protest of the petty-bourgeois against the kicks and blows of capitalism’. Even if they had done nothing else, even if the Expressionists had no other message to proclaim during the Great War than peace and the end of tyranny, this would not entitle Lukács to dismiss their struggles as shadow-boxing or to describe them as no more than ‘a pseudo-critical, misleadingly abstract, mythicizing form of imperialist pseudo-opposition’ (my italics).

      It is true that after the War Werfel and others of his kind transformed their abstract pacifism into a toy trumpet; in the context of revolution, the slogan of ‘non-violence’ became a palpably counter-revolutionary maxim. But this does not invalidate the fundamentally revolutionary character of that slogan during the War itself, prior to the point where the War might have developed into a civil war; and it was understood precisely in this way by the politicians who were intent on fighting on to the bitter end. Moreover, there was no lack of Expressionists prepared to come out in favour of ‘virtue in arms’, Christ’s scourge driving the money-changers from the Temple. These ideals of brotherly love were not as naive as all that. Indeed the assertion that Expressionism never abandoned ‘the general ideological assumptions of German imperialism’, and that its ‘apologetic critique’ ultimately furthered imperialism, is not merely one-sided and distorted: it is so warped that it provides a textbook example of that schematic brand of sociologism which Lukács himself has always opposed. But as we have remarked, none of this even touches the actual creative works of Expressionism, which alone are of interest to us. It belongs essentially to the Ziel-fahrbuch⁶ and similar diatribes, now justifiably forgotten (even though under the leadership of Heinrich Mann there were at least no imperialist war cries). But there is surely no need to labour the point that in the emotional outbursts of the art of the period, with their semi-archaic, semi-utopian hypostases, which remain today as enigmatic as they were then, there is to be found far more than the ‘USPD ideology’⁷ to which Lukács would like to reduce Expressionism. No doubt these emotional outbursts were even more dubious than enigmatic when they had no object outside themselves. But to describe them as the expression of ‘the forlorn perplexity of the petty-bourgeois’ is scarcely adequate. Their substance was different; it was composed partly of archaic images, but partly too of revolutionary fantasies which were critical and often quite specific. Anyone who had ears to hear could hardly have missed the revolutionary element their cries contained, even if it was undisciplined and uncontrolled, and ‘dissipated’ a considerable amount of the ‘classical heritage’ – or what was then more accurately ‘classical lumber’. Permanent Neo-classicism, or the conviction that anything produced since Homer and Goethe is not worth considering unless it is produced in their image or as an abstraction from them, is no vantage-point from which to keep one’s eye on the last avant-garde movement but one, or to pass judgement on it.

      Given such an attitude, what recent artistic experiments can possibly avoid being censured? They must all be summarily condemned as aspects of the decay of capitalism – not just in part, which might not be unreasonable, but wholesale, one hundred per cent. The result is that there can be no such thing as an avant-garde within late capitalist society; anticipatory movements in the superstructure are disqualified from possessing any truth. That is the logic of an approach СКАЧАТЬ