By Donna Tussing Orwin
A century after Leo Tolstoy's demise, the writer of struggle and Peace is generally in demand yet too frequently considered purely just about his realism and judgment of right and wrong. the numerous facets of Tolstoy published in those new essays communicate to ultra-modern readers with stunning strength, relevance, and complexity. In a full of life, hard sort, major students diversity over his lengthy lifestyles, from his first paintings adolescence to the works of his outdated age like Hadji Murat, and the numerous genres during which he labored, from the main novels to aphorisms and brief tales. The essays current new techniques to his valuable topics: love, demise, spiritual religion and doubt, violence, the animal nation, and warfare. in addition they verify his reception either in his lifetime and consequently. surroundings new agendas for the research of this vintage writer, this quantity offers a photograph of present scholarship on Tolstoy.
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Extra info for Anniversary Essays on Tolstoy
As Andrei slowly succumbs to death in War and Peace, he, too, casts a “cold, stern” gaze at his sister, making her feel guilty for being alive (vol. 4, pt. 1, ch. 15; PSS 12: 57). He becomes increasingly detached from life and resentful of being called back to the living. When his sister enjoins him to look at his son, he responds with a “derisive” smile. Much like the Chechen warrior in The Cossacks, he has put all need for human commerce behind him. Finally, Ivan Ilych is not to be outdone. Firmly assured that he died a proper death, he confronts the living “with reproach or exhortation,” which 42 andreas scho¨ nle his former colleague ﬁnds positively unseemly (ch.
117. 27. A. E. Babaev, “Lev Tolstoi i muzyka” [introductory essay] in Lev Tolstoi i muzyka (1977), 17–18. Tolstoy and music 31 28. Michael A. Denner, “Accidental Art: Tolstoy’s Poetics of Unintentionality,” Philosophy and Literature 27 (2003): 284–303, esp. 291. 29. For a detailed analysis of musical and narrative parallels, see Janneke van de Stadt, “Narrative, Music, and Performance: Tolstoy’s Kreutzer Sonata and the Example of Beethoven,” in Tolstoy Studies Journal 12 (2000): 57–70, esp. 58–64.
Indeed, “her charming, pitiful, dead face” ﬁnally dares to voice the reproaches she was too shy to utter previously: “I love you all and did no harm to anyone and look at what you did to me,” her face seems to “speak” (vol. 2, pt. 1, ch. 9; PSS 10: 40). Liza’s face is further endowed with enviable tenacity, as three days later, during the funeral ceremony, it still speaks the same words, which elicit guilt in Andrei and anger in his father. Anna, too, keeps her “charming face” intact, with her heavy hair and curls and a halfopened rosy mouth, telltale signs of vitality, although her eyes seem to express, “as if in words, the terrifying warning that he [Vronsky] will repent” (pt.
Anniversary Essays on Tolstoy by Donna Tussing Orwin