Tolstoy was a frame of reference in the work of Lukács twice, during 1914–16 and 1935–6 respectively. His first-time encounter with Tolstoy was presented in the chapter of The Theory of the Novel involving both Dostoevsky and Tolstoy, but the former was given more credit and reckoned as the prophet of a new world. It was not until the 1930s that Lukács’ taste changed, and his top priority went to Tolstoy instead. Yet, with due respect to the vicissitudes of his life throughout the 1910s until the 1930s, Lukács remained faithful to his philosophy of history in terms of aesthetic judgment. His preference for the grand artworks was not new as his admiration for Homer showed, but his belief in the resurrection of grand art as realism was rooted in a new and false illusion. Still, his essays on Tolstoy of the 1930s are rich in aesthetic analysis, such as the different aspects of temporality.

中文翻译：

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乔治·卢卡奇和列夫·托尔斯泰

在 1914-16 年和 1935-6 年期间，托尔斯泰两次成为卢卡奇作品的参考框架。他第一次与托尔斯泰的相遇是在小说理论的一章中介绍的，陀思妥耶夫斯基和托尔斯泰都有，但前者得到了更多的赞誉，被认为是新世界的先知。直到 1930 年代，卢卡奇的品味发生了变化，他的首要任务转而投向了托尔斯泰。然而，考虑到他从 1910 年代到 1930 年代的变迁，卢卡奇在审美判断方面仍然忠实于他的历史哲学。他对宏大艺术的偏爱并不新鲜，正如他对荷马的钦佩所表明的那样，但他对宏大艺术作为现实主义的复活的信念植根于一种新的错误幻觉。尽管如此，他关于 1930 年代托尔斯泰的文章还是有丰富的美学分析，