By Donna Tussing Orwin
A century after Leo Tolstoy's loss of life, the writer of conflict and Peace is largely popular yet too usually considered simply as regards to his realism and conscience. the various aspects of Tolstoy printed in those new essays communicate to modern readers with marvelous strength, relevance, and complexity. In a full of life, difficult kind, best students diversity over his lengthy existence, from his first paintings early life to the works of his previous age like Hadji Murat, and the numerous genres within which he labored, from the most important novels to aphorisms and brief tales. The essays current new methods to his valuable issues: love, demise, spiritual religion and doubt, violence, the animal nation, and struggle. in addition they verify his reception either in his lifetime and as a result. surroundings new agendas for the learn of this vintage writer, this quantity offers a picture of present scholarship on Tolstoy.
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Extra info for Anniversary Essays on Tolstoy
Verifying the fact-content of an experience (whether the hermits were paddling in a skiﬀ or walking the surface of the waves) is far less important than fostering humility and brotherhood. With that purpose achieved, does it make any diﬀerence, in the end, who sees what under the moon? All the tasks of true art are accomplished through the return of the hermits. The high are brought low, although gently and at their own volition. The bishop, who thought he commanded all the right verbal formulas, is converted by the homespun, simple, and humble.
Like Tolstoy’s beloved Mozart, Prokoﬁev had a spectacular lyrical gift. But unlike Mozart and eighteenth-century operatic practice generally, Prokoﬁev could sustain a prose utterance in a mesmerizing musical line. Radically for opera, he could develop this prosaic line toward serious rather than comic purpose. What is more, Prokoﬁev in music (like Tolstoy in literary prose) was a master at blending lyrical intimacy with patriotic military spectacle. Mira Mendelson extracted all episodes for part 1 of the opera, “Peace,” from volume 2, parts 3 and 4.
33; PSS 6: 120). ): “Everything seemed so futile and trivial in comparison with the stern and sublime train of thought 38 andreas scho¨ nle (s tem strogim i velichestvennym stroem mysli) that weakness from loss of blood, suﬀering, and the nearness of death, aroused in him” (vol. 1, pt. 3, ch. 19; PSS 9: 355). This recurrent nexus between sternness and sublimity acquires a strongly gendered character in the associative link between mountain and woman. Combined with the devaluation of daily life and its commonplace concerns, it seems designed to ward oﬀ the emergence of sexual desire.