If the Revolution has the right to destroy bridges and art monuments whenever necessary, it will stop still less from laying its hand on any tendency in art which, no matter how great its achievement in form, threatens to disintegrate the revolutionary environment or to arouse the internal forces of the Revolution, that is, the proletariat, the peasantry and the intelligentsia, to a hostile opposition to one another. Our standard is, clearly, political, imperative and intolerant.

The history of a revolution is for us first of all a history of the forcible entrance of the masses into the realm of rulership over their own destiny.

Is it possible to fulfill this task, is it possible to achieve the definite victory of Socialism in one country without the combined efforts of the proletarians of several advanced countries? No, it is impossible.

Revolutionary realism tries to draw the maximum advantage from every situation - that is what makes it revolutionary - but at the same time it does not permit us to set ourselves fantastic aims - that is what makes it realistic.

The creative union of the conscious with the unconscious is what one usually calls 'inspiration.'

The usages and methods of warfare are thus determined by changing circumstances and, therefore, they themselves can in nowise be eternal.

Where force is necessary, there it must be applied boldly, decisively and completely.