By Donna Tussing Orwin
A century after Leo Tolstoy's demise, the writer of conflict and Peace is broadly well known yet too frequently considered purely with regards to his realism and conscience. the numerous facets of Tolstoy published in those new essays communicate to contemporary readers with stunning strength, relevance, and complexity. In a full of life, demanding variety, top students variety over his lengthy lifestyles, from his first paintings formative years to the works of his previous age like Hadji Murat, and the various genres during which he labored, from the foremost novels to aphorisms and brief tales. The essays current new techniques to his significant subject matters: love, loss of life, non secular religion and doubt, violence, the animal country, and warfare. in addition they check his reception either in his lifetime and for this reason. atmosphere new agendas for the research of this vintage writer, this quantity offers a photograph of present scholarship on Tolstoy.
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Extra resources for Anniversary Essays on Tolstoy
The little boy “kept forgetting that the dead body, at which he looked senselessly as if at an object that has nothing in common with his memories, was her” (ch. 27; PSS 1: 85). Obfuscating the resemblance between the two wards oﬀ the necessity of coming to terms with the reality of death. Yet at the same time, the narrator does not deny that the corpse of his mother exerts an uncanny power over him. Not only is he surprised by the expression on her face – a coldness and severity that seem vaguely to reproach him for something – but he also discovers something attractive in the features of her face, a folding of her lips called at once beautiful and sublime.
8, ch. 5; PSS 19: 362). Death becomes a unique opportunity to settle scores, and Anna’s corpse seems not to have lost any of her intensity. Indeed, earlier in the novel she had imagined her death as a way to punish Vronsky and had anticipated his reaction. These examples also illustrate the uncanny expressiveness of corpses, which all seem keen to ﬂaunt facial markers of their owners’ experiences at the threshold of death. In “Three Deaths,” the aristocratic lady exhibits a “stern, calm and lofty” face, much reminiscent of the mother in Childhood, despite the profound moral diﬀerences between the two women (ch.
12. For a good overview of the relationship, see N. N. Gusev, Lev Nikolaevich Tolstoi: materialy k biograﬁi s 1870 po 1881 god (Moscow: Izd. AN SSSR, 1963), ch. 37, 245–48. Quoted phrases are on 245 and 247. 13. “L. N. Tolstoi i muzyka (iz arkhiva N. N. Guseva),” in Iasnopolianskii sbornik (Tula: Priokskoe knizhnoe izdatel’stvo, 1986), 171. 14. Gol’denveizer, Vblizi Tolstogo, 38. The English translation diﬀers somewhat from later Soviet-era Russian versions; translation amended here from A. B. Gol’denveizer, Talks with Tolstoy, trans.
Anniversary Essays on Tolstoy by Donna Tussing Orwin