Criticism and argument

The psychological context shown in this handwriting clearly explains why Marx’s great theoretical works were, in fact, very long diatribes against personages actually unknown to the most, but who triggered his sarcastic verbosity; Engels himself often asked him not to waste his gifted mind against such worthless targets.
Why such a genius, to whom everybody acknowledged a highly sophisticated philosophical culture, in addition to a deep and original thinking, (many of the policemen in charge to watch this dangerous revolutionary were actually charmed by his culture and speech), needed to come to hard polemic against his – real or supposed – opponents, often disconcerting all who knew him?
Why such a creative mind had to lower to such a poor level, so full of rancour, while arguing against somebody else’s thesis? Even ignoring the obvious effect of his emotionality, directly responsible for his verbal aggressiveness, because it leads the mind to react against imaginary danger, Marx is aware of the fact that this process allows him not only to define himself, but also to break free, at least, from this indecision that plagues him, from this endless gathering of data.
In the meantime, he argues, but after collecting enough data, arguments, evidence, certainly –he believes- truth would appear in front of him in perfect clarity and, at least, he would be able to present it to the world.
In a sense, his indecision is what allows him to move always forward, never satisfied of what he gathered.
Only his friend Engels, who recognized both his genius and his weak points, helped him carry out what could not otherwise be done just by means of his contradiction. Thus, he did just as only love itself can do, urging him to conclude, because all the time Marx was immersed in a deep sea of new reading materials and further in-depth studies; working in his father’s firm in order to support his friend, as Marx, by evidence, was incapable of keeping any job and, without Engels’ support, all Marx family would have starved to death.
Engels offered Marx also his first-hand knowledge of the proletariat, because Marx did not even know what a proletarian was, even less as for the whole working class.
Engels could even take the blame on himself for the birth of Marx’s illegitimate child, to protect his friend’s reputation.

 Handwriting sample: Friedrich Engels

As shown by his handwriting (Forward slant, Fluid, Accurate, Connected), Engels could change everything in a refined, well packaged product, but always admitted the creative genius in their friendship was only, exclusively, Marx’s.
Modestly, Engels wrote about himself : “All my life, I performed the role I was created for: second violin… I am glad I had such an outstanding first violin like Marx.”(7)