Manifesto of the Communist Party

by Karl Marx and Frederick Engels February

1848
Written: Late 1847; First Published: February 1848; Source: Marx/Engels Selected Works, Vol. One,
Progress Publishers, Moscow, 1969, pp. 98-137; Translated: Samuel Moore in cooperation with Frederick
Engels, 1888; Transcribed: by Zodiac and Brian Baggins; Proofed: and corrected against 1888 English
Edition by Andy Blunden 2004; Copyleft: Marxists Internet Archive (marxists.org) 1987, 2000, 2010.
Permission is granted to distribute this document under the terms of the Creative Commons Attribution-Share-
Alike License.

Table of Contents
Editorial Introduction....................................................................................................................2
Preface to The 1872 German Edition..............................................................................................4
Preface to The 1882 Russian Edition..............................................................................................5
Preface to The 1883 German Edition..............................................................................................6
Preface to The 1888 English Edition...............................................................................................7
Preface to The 1890 German Edition............................................................................................10
Preface to The 1892 Polish Edition...............................................................................................12
Preface to The 1893 Italian Edition...............................................................................................13
Manifesto of the Communist Party................................................................................................14
I. Bourgeois and Proletarians........................................................................................................14
II. Proletarians and Communists...................................................................................................22
III. Socialist and Communist Literature........................................................................................28
1. Reactionary Socialism.......................................................................................................28
A. Feudal Socialism......................................................................................................28
B. Petty-Bourgeois Socialism.......................................................................................29
C. German or True Socialism....................................................................................29
2. Conservative or Bourgeois Socialism...............................................................................31
3. Critical-Utopian Socialism and Communism....................................................................32
IV. Position of the Communists in Relation to the Various Existing Opposition Parties.............34
Letter from Engels to Marx, 24 November 1847..........................................................................35
Draft of a Communist Confession of Faith...................................................................................36
The Principles of Communism......................................................................................................41
Demands of the Communist Party in Germany.............................................................................55
The Paris Commune. Address to the International Workingmens Association, May 1871.........58
Endnotes......................................................................................................................................67
DADA EXCITES EVERYTHING
DADA knows everything. DADA spits everything out.
BUT . . . . . . . . .
HAS DADA EVER SPOKEN TO YOU:
about Italy
about accordions
about women's pants
about the fatherland
about sardines
about Fiume
about Art (you exaggerate my friend)
about gentleness
about D'Annunzio
what a horror
about heroism
about mustaches
about lewdness
about sleeping with Verlaine
about the ideal (it's nice)
about Massachusetts
about the past
about odors
about salads
about genius, about genius, about genius
about the eight-hour day
about the Parma violets

NEVER NEVER NEVER

DADA doesn't speak. DADA has no fixed idea. DADA doesn't catch flies.
THE MINISTRY IS OVERTURNED. BY
WHOM?

BY DADA
The Futurist is dead. Of What? Of DADA
A Young girl commits suicide. Because of What? DADA
The spirits are telephoned. Who invented it? DADA
Someone walks on your feet. It's DADA
 If you have serious ideas about life,
If you make artistic discoveries
and if all of a sudden your head begins to crackle with laughter,
If you find all your ideas useless and ridiculous, know that
IT IS DADA BEGINNING TO SPEAK TO YOU
cubism constructs a cathedral of artistic liver paste
WHAT DOES DADA DO?
expressionism poisons artistic sardines
WHAT DOES DADA DO?
simultaneism is still at its first artistic communion
WHAT DOES DADA DO?
futurism wants to mount in an artistic lyricism-elevator
WHAT DOES DADA DO?
unanism embraces allism and fishes with an artistic line
WHAT DOES DADA DO?
neo-classicism discovers the good deeds of artistic art
WHAT DOES DADA DO?
paroxysm makes a trust of all artistic cheeses
WHAT DOES DADA DO?
ultraism recommends the mixture of these seven artistic things
WHAT DOES DADA DO?
creationism vorticism imagism also propose some artistic recipes
WHAT DOES DADA DO?

WHAT DOES DADA DO?

50 francs reward to the person who finds the best

way to explain DADA to us

Dada passes everything through a new net.

Dada is the bitterness which opens its laugh on all that which has been made
consecrated forgotten in our language in our brain in our habits.
It says to you: There is Humanity and the lovely idiocies which have made it happy to
this advanced age
DADA HAS ALWAYS EXISTED
THE HOLY VIRGIN WAS ALREADY A DADAIST

DADA IS NEVER RIGHT

Citizens, comrades, ladies, gentlemen

Beware of forgeries!
Imitators of DADA want to present DADA in an artistic form which it has never had

CITIZENS,
You are presented today in a pornographic form, a vulgar and baroque spirit which is
not the PURE IDIOCY claimed by DADA
BUT DOGMATISM AND PRETENTIOUS IMBECILITY
 Surrealist Manifesto
ANDR BRETON
(Abridged)
(1924)
(IMAGINATION)

So strong is the belief in life, in real life, I mean that in the end this
belief is lost. Man, that dreamer, every day more unhappy with his
destiny, has trouble assessing the objects he has been led to use,
objects that his carelessness has brought his way.

At this point he feels extremely modest: he knows what women he has

had, what silly affairs he has been involved in; he is unimpressed by
his wealth or his poverty, in this respect he is still a newborn babe
and, as for the approval of his conscience, I confess that he does very
nicely without it.

If he still retains a certain clarity, all he can do is turn back toward his
childhood. Which while his guides and mentors may have ruined it; it
still strikes him as somehow charming. There, the absence of any
known restrictions allows him the perspective of several lives lived at
once.

This illusion becomes firmly rooted within him; now he is only

interested in the fleeting, the extreme facility of everything. Children
set off each day without a worry in the world. Everything is near at
hand; the worst material conditions are fine. The woods are white or
black, one will never sleep.

But it is true that we would not dare to go so far, it is not merely a

question of distance. Threat is piled upon threat; one abandons a
portion of the terrain to be conquered. This imagination which knows
no bounds is from then on allowed to be exercised only in strict
accordance with the laws of an uninformed service. It is incapable of
assuming this inferior role for very long and, in the vicinity of the
twentieth year, generally prefers to abandon man to his lusterless fate.
Once a man reaches twenty, he is unable to access his imagination in
the same way he could when he was a child.

Though he may later try to pull himself together on occasion, having

felt that he is losing by slow degrees all reason for living, incapable as
he has become of being able to rise to some extraordinary situation
such as love, he will hardly succeed. This is because he from then on
belongs, body and soul, to a crucial practical necessity which
demands his constant attention. His needs come before his
imagination.

None of his gestures will be expansive, none of his ideas generous or

far-reaching. What am I saying: he will judge events real or imagined
in relationship to one of these events whose consequences are more
reassuring than the others. On no account will he view them as his
salvation. He will play it safe and make decisions only after assessing
the consequences.

Beloved imagination, what I most like in you is your generous quality.