Anniversary Essays on Tolstoy by Donna Tussing Orwin

By Donna Tussing Orwin

A century after Leo Tolstoy's demise, the writer of conflict and Peace is greatly renowned yet too usually considered in simple terms with regards to his realism and sense of right and wrong. the numerous aspects of Tolstoy published in those new essays communicate to state-of-the-art readers with incredible strength, relevance, and complexity. In a full of life, difficult sort, major students diversity over his lengthy existence, from his first paintings youth to the works of his outdated age like Hadji Murat, and the various genres during which he labored, from the foremost novels to aphorisms and brief tales.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 methods to his critical issues: love, dying, non secular religion and doubt, violence, the animal state, and warfare. in addition they investigate his reception either in his lifetime and for this reason. atmosphere new agendas for the examine of this vintage writer, this quantity presents a image of present scholarship on Tolstoy.

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23. Leo Tolstoy, Anna Karenina, trans. Richard Pevear and Larissa Volokhovsky (New York: Penguin, 2000), pt. 3, ch. 12, 275. 24. Tolstoy, War and Peace, vol. 1, pt. 2, ch. 2, 121–22. 25. Detstvo, third redaction, ch. ” – Muzyka. PSS 1: 181–83, esp. 181. 26. , Lev Tolstoy and the Concept of Brotherhood (New York and Ottawa: Legas, 1996), 116–27, esp. 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.

Oliver Sacks, Musicophilia: Tales of Music and the Brain (New York: Knopf, 2007), 279–84. 34. Tolstoy, Anna Karenina, pt. 1, ch. 1, 2. 35. Tolstoy, War and Peace, vol. 4, pt. 3, ch. 10, 1055. 36. “Tri otryvka o muzyke” [*Otryvok ii] [1848–50], in PSS 1: 242. 37. Entry for December 18, 1899, Moscow. In Tolstoy’s Diaries, ed. and trans. R. F. Christian (New York: Charles Scribner’s Sons, 1985), vol. 2, 473. 38. Lev Tolstoi i muzyka, 259–66. A 2008 Russian on-line search reveals a scarcely updated list.

For all its dependence on the resonating body, it has a strong metaphysical dimension. Petya’s triumphant symphony occurs at such a threshold, as does the translucent “whispering music” of the piti-piti chorus heard by the fatally wounded Prince Andrei in his delirium at Mytishchi (War and Peace, vol. 3, pt. 3, ch. 32). With this Janus-faced function in mind, part chaotic mystery and part an ordered progression toward the Light, we might now try to place Tolstoy and music in larger perspective.

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