What Men Live By | Leo Tolstoy, Mallette Dean, Illustrator | Limited Edition. Belvedere, California: The L-D Allen Press, 1951. Mallette Dean. Limited Edition. Hardcover. Limited edition, one of 150 copies, large octavo size, 24 unnumbered leaves. Leo Tolstoy (1828-1910) is considered by many to have been one of the greatest writers of at least the last two centuries, if not of all time, having given us works such as "War and Peace" (1869) and "Anna Karenina" (1877). This edition marked a change in the printing and living activities of the Allen Press founders; this is their first book printed at the new home of the press in Belvedere Lagoon, utilizing a Reliance hand press and dampened hand-made paper for the first time. ___CONDITION: A near fine copy, with clean boards, straight corners with minimal rubbing to the bottom corners, a strong, square text block with solid hinges, the interior is clean and bright, and entirely free of prior owner markings; some minor fraying at the head and tail of the backstrip and faint sunning to the top edges, else fine.
Poet and Prophet: Dosteovsky of our Time - Juergen Spiess. The Trouble with Tolstoy #1. "Tolstoy's Confessions" by Clifford Goldstein. DOSTOEVSKY RESEARCH STATION: Table of Contents. Irwin Weil on Dostoevsky. "Dostoyevsky's Question" by Clifford Goldstein. Dostoevsky and Nietzsche. Ivan Karamazov and The Devil. Afterword to The Brothers Karamozov | Author Sara Paretsky. A portrait of Dostoevsky hangs in my living room, drawn from photographs by my stepson Philip: Dostoevsky is his favorite writer, The Brothers Karamazov his favorite novel. The writer’s deep-set eyes are brooding, even forbidding; as I read and re-read Karamazov, and realized how little fit I am to discuss it, I felt his gaze scorching me for my impudence in taking on the task. I don’t read Russian. I don’t know much about Russian political and literary history, or about the Orthodox faith or Pushkin—Dostoevsky’s own favorite writer—and all these play a prominent role in The Brothers Karamazov.
I’ve read Tolstoy, about whom Dostoevsky felt ambivalent, but not Turgenev, whom he despised, and even though I share his love for Dickens, Shakespeare and George Sand—in her obituary, he wrote how greatly he admired her for the “ideals [to which] she boldly and nobly entrusted her life”—I’d be hard-put to find their tracks in Karamazov without scholarly assistance. The Gooseberry Fallacy. Email This Post Print This Post Tolstoy’s 1886 parable, How Much Land Does a Man Need has been on my mind recently. In the tale, the debt-ridden peasant Pahom rises to the status of a small landowner but remains dissatisfied, unable to let go of the idea that if only he had more land, he would not even fear the devil. The devil of course, takes him up on his challenge. In the story, Pahom overestimates his stamina and attempts to claim too much land. By preaching a morality of modest, self-limiting aspirations, the good Count was trying to have his feudalism-cake and eat serf-emancipation too.
I call it the gooseberry fallacy. Acting Dead, Choosing Life When you consider the state of the world and Russia in 1886, the tale reads less like a simple fable about greed, and more like conservative moral authoritarianism trying to backstop a failing political authoritarianism in post-emancipation Russia. My reading of this story is unflattering to Tolstoy. Act dead in short. Chekov versus Tolstoy. The Grand Inquisitor - John Gielgud. Leo Tolstoy on Emotional Infectiousness and What Separates Good Art from Bad. By Maria Popova “A real work of art destroys, in the consciousness of the receiver, the separation between himself and the artist.” By 1897, Leo Tolstoy (September 9, 1828–November 20, 1910) was already a literary legend of worldwide acclaim and a man deeply invested in his ultimate quest to unravel the most important wisdom on life. But he shocked the world when he published What Is Art? (public library; public domain) that year — an iconoclastic , which gave us Tolstoy’s addition to history’s finest definitions of art and which pulled into question the creative merits of Shakespeare, Beethoven, and even his very own Anna Karenina.
Underneath his then-radical and controversial reflections, however, lies a rich meditation on the immutable, eternal question of what art — especially “good art” — actually is, and how to tell it from its impostors and opposites. Tolstoy defies the academy’s intellectualizations of art: Infectiousness, however, is not a mere binary quality. Donating = Loving. LEO TOLSTOY on Film (1908) - 80th Birthday plus more rare footage. Don Sheehan. DOSTOEVSKY AND MEMORY ETERNAL An Eastern Orthodox Approach to the Brothers Karamazov by Donald Sheehan Central to Eastern Orthodox Christendom is the singing, at the end of every Orthodox funeral, of the song known as “Memory Eternal” (in Church Slavonic: Vechnaya Pamyat). This song also concludes Dostoevsky’s great, final novel, The Brothers Karamazov, when, following the funeral of the boy whom Alyosha Karamazov (and the circle of schoolboys around Alyosha) had deeply loved, Alyosha speaks to the boys about the funeral and about the meaning of the resurrection, with this brief song as their steady focus.
My thesis is simply this: to know something of this song’s meaning is to comprehend both the Eastern Orthodox faith and Dostoevsky’s greatest novel. We can best approach the meaning of this song through following the connection between the Orthodox funeral services and the crucifixion of Christ. Fr. An elder is one who takes your soul, your will into his soul and into his will. Why We Hurt Each Other: Tolstoy’s Letters to Gandhi on Love, Violence, and the Truth of the Human Spirit | Brain Pickings.
By Maria Popova “Love is the only way to rescue humanity from all ills.” In 1908, Indian revolutionary Taraknath Das wrote to Leo Tolstoy, by then one of the most famous public figures in the world, asking for the author’s support in India’s independence from British colonial rule. On December 14, Tolstoy, who had spent the last twenty years seeking the answers to life’s greatest moral questions, was moved to reply in a long letter, which Das published in the Indian newspaper Free Hindustan. Passed from hand to hand, the missive finally made its way to the young Mahatma Gandhi, whose career as a peace leader was just beginning in South Africa.
He wrote to Tolstoy asking for permission to republish it in his own South African newspaper, Indian Opinion. Gandhi’s introduction to the original edition, in which he calls Tolstoy “one of the clearest thinkers in the western world, one of the greatest writers,” offers a pithy caveat to the text, as perfect today as it was a century ago: George Orwell: Lear, Tolstoy and the Fool. Tolstoy's pamphlets are the least-known part of his work, and his attack on Shakespeare(1) is not even an easy document to get hold of, at any rate in an English translation. Perhaps, therefore, it will be useful if I give a summary of the pamphlet before trying to discuss it. Tolstoy begins by saying that throughout life Shakespeare has aroused in him ‘an irresistible repulsion and tedium’. Conscious that the opinion of the civilized world is against him, he has made one attempt after another on Shakespeare's works, reading and re-reading them in Russian, English and German; but ‘I invariably underwent the same feelings; repulsion, weariness and bewilderment’.
Now, at the age of seventy-five, he has once again re-read the entire works of Shakespeare, including the historical plays, and Tolstoy's final verdict on Lear is that no unhypnotized observer, if such an observer existed, could read it to the end with any feeling except ‘aversion and weariness’. Kholstomer - The Story of a Horse, by Leo Tolstoy. Higher and higher receded the sky, wider and wider spread the streak of dawn, whiter grew the pallid silver of the dew, more lifeless the sickle of the moon, and more vocal the forest. People began to get up, and in the owner's stable-yard the sounds of snorting, the rustling of litter, and even the shrill angry neighing of horses crowded together and at variance about something, grew more and more frequent. "Hold on! Plenty of time!
Hungry? " said the old huntsman, quickly opening the creaking gate. "Where are you going? " he shouted, threateningly raising his arm at a mare that was pushing through the gate. The keeper, Nester, wore a short Cossack coat with an ornamental leather girdle, had a whip slung over his shoulder, and a hunk of bread wrapped in a cloth stuck in his girdle. "Now then! " The piebald gelding stopped licking and without moving gave Nester a long look. "What are you sighing for? " The gelding switched his tail as if to say, "Nothing in particular, Nester! " First Night. Tolstoy the Spiritual Anarchist: On "A Confession" Leo Tolstoy's Theory of History. TOLSTOY - The Three Questions by Leo Tolstoy - Short story audiobook - FAB. Thecrocodile. The Crocodile An Extraordinary Incident A true story of how a gentleman of a certain age and of respectable appearance was swallowed alive by the crocodile in the Arcade, and of the consequences that followed.
Ohe Lambert! Ou est Lambert? As-tu vu Lambert? By Fyodor Dostoevsky Translated by Constance Garnett I ON the thirteenth of January of this present year, 1865, at half- past twelve in the day, Elena Ivanovna, the wife of my cultured friend Ivan Matveitch, who is a colleague in the same depart- ment, and may be said to be a distant relation of mine, too, expressed the desire to see the crocodile now on view at a fixed charge in the Arcade.