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Lukács's neo-naivety does not even call a halt before Thomas Mann, whom he plays off against Joyce in a fulsome flattery which would have nauseated the great chronicler of decay.

The stentorian voice of manly conviction which Lukács employs to assert in good Hegelian fashion the primacy of the substantial universal over the specious

points in its negativity to despair, to an uncontrollable Weltschmerz and to love

their transition to objectivity remains contemplative and fails to become praxis

Lukács contents himself with Schopenhauer's aperçu that