Showing posts with label Tolstoy. Show all posts
Showing posts with label Tolstoy. Show all posts

Sunday, February 27, 2022

Tolstoy and War and Peace by William Somerset Maugham

 



Tolstoy and War and Peace
by William Somerset Maugham








(1)

The last three chapters have dealt with novels which, in one way or another, stand apart. They are atypical. Now I come to one which, for all its complication, by its form and content takes its place in the main line of fiction, which, as I said on a previous page, began with the pastoral romance of Daphnis and Chloë. War and Peace is surely the greatest of all novels. It could only have been written by a man of high intelligence and of powerful imagination, a man with wide experience of the world and a penetrating insight into human nature. No novel with so grand a sweep, dealing with so momentous a period of history and with so vast an array of characters, was ever written before; nor, I surmise, will ever be written again. Novels as great will perhaps be written, but none quite like it. With the mechanisation of life, with the State assuming ever greater power over the lives of men, with the uniformity of education, the extinction of class distinctions and the diminution of individual wealth, with the equal opportunities which will be offered to all (if such is the world of the future), men will still be born unequal. Some will be born with the peculiar gift that makes them become novelists, but the world they will know, with men and manners so conditioned, is more likely to produce a Jane Austen to write Pride and Prejudice than a Tolstoy to write War and Peace. It has been justly called an epic. I can think of no other work of fiction in prose that can with truth be so described. Strakhov, a friend of Tolstoy’s and an able critic, put his opinion in a few energetic sentences: ‘A complete picture of human life. A complete picture of the Russia of that day. A complete picture of what may be called the history and struggle of people. A complete picture of everything in which people find their happiness and greatness, their grief and humiliation. That is War and Peace.’




(2)

Tolstoy was born in a class that has not often produced writers of eminence. He was the son of Count Nicholas Tolstoy and of Princess Marya Volkonska, an heiress; and he was born, the youngest but one of their five children, at his mother’s ancestral home, Yasnaya Polyana. His parents died when he was a child. He was educated first by private tutors, then at the University of Kazan, and later at that of Petersburg. He was a poor student, and took a degree at neither. His aristocratic connections enabled him to enter society, and first at Kazan, then at Petersburg and Moscow, he engaged in the fashionable diversions of his set. He was small and in appearance unprepossessing. ‘I knew very well that I was not good-looking,’ he wrote. ‘There were moments when I was overcome with despair: I imagined that there could be no happiness on earth for one with such a broad nose, such thick lips and such small grey eyes as mine; and I asked God to perform a miracle, and make me handsome, and all I then had and everything I might have in the future I would have given for a handsome face.’ He did not know that his homely face revealed a spiritual strength which was wonderfully attractive. He could not see the look of his eyes which gave charm to his expression. He dressed smartly (hoping like poor Stendhal that modish clothes would make up for his ugliness,) and he was unbecomingly conscious of his rank. A fellow-student at Kazan wrote of him as follows: ‘I kept clear of the Count, who from our first meeting repelled me by his assumption of coldness, his bristly hair, and the piercing expression of his half closed eyes. I had never met a young man with such a strange, and to me incomprehensible, air of importance and self-satisfaction … He hardly replied to my greetings, as if wishing to intimate that we were far from being equals …’




In 1851 Tolstoy was twenty-three. He had been spending some months in Moscow. His brother Nikolai, who was an artilleryman, arrived there on leave from the Caucasus, and when it was up and he had to return, Tolstoy decided to accompany him. After some months he was persuaded to enter the army and, as a cadet, engaged in the raids Russian troops made now and then on the rebellious mountain tribes. He seems to have judged his brother officers without indulgence. ‘At first,’ he wrote, ‘many things in this society shocked me, but I have accustomed myself to them without, however, attaching myself to these gentlemen. I have formed a happy mean in which there is neither pride nor familiarity,’ A supercilious young man! He was very sturdy, and could walk a whole day or spend twelve hours in the saddle without fatigue. A heavy drinker and a reckless, though unlucky, gambler, on one occasion, to pay a gambling debt, he had to sell the house on his estate at Yasnaya Polyana which was part of his inheritance. His sexual desires were violent, and he contracted syphilis. Except for this misadventure, his life in the army was very much like that of numberless young officers in all countries who are of good birth and have money. Dissipation is the natural outlet of their exuberant vitality, and they indulge in it the more readily since they think, perhaps rightly, that it adds to their prestige among their fellows. According to Tolstoy’s diaries, after a night of debauchery, a night with cards or women, or in a carousal with gipsies, which if we may judge from novels is, or was, the usual but somewhat naïve Russian way of having a good time, he suffered pangs of remorse; he did not, however, fail to repeat the performance when the opportunity offered.

Thursday, January 7, 2021

Tolstoy / War and Peace / That’s a fine death

 


That's a fine death
by Leo Tolstoy

Tolstói / Guerra y paz / Qué hermosa muerte


BOOK THREE: 1805
CHAPTER XIX


On the Pratzen Heights, where he had fallen with the flagstaff in his hand, lay Prince Andrew Bolkónski bleeding profusely and unconsciously uttering a gentle, piteous, and childlike moan.

Toward evening he ceased moaning and became quite still. He did not know how long his unconsciousness lasted. Suddenly he again felt that he was alive and suffering from a burning, lacerating pain in his head.

“Where is it, that lofty sky that I did not know till now, but saw today?” was his first thought. “And I did not know this suffering either,” he thought. “Yes, I did not know anything, anything at all till now. But where am I?”

Tolstoy / War and Peace / Prince Andrew and the flag

 

Illustration by Igor Karash


Price Andrew and the flag 
by Leo Tolstoy

Tolstói / Guerra y paz / El príncipe Andrés y la bandera

BOOK THREE: 1805

CHAPTER XVI


Kutúzov accompanied by his adjutants rode at a walking pace behind the carabineers.

When he had gone less than half a mile in the rear of the column he stopped at a solitary, deserted house that had probably once been an inn, where two roads parted. Both of them led downhill and troops were marching along both.

The fog had begun to clear and enemy troops were already dimly visible about a mile and a half off on the opposite heights. Down below, on the left, the firing became more distinct. Kutúzov had stopped and was speaking to an Austrian general. Prince Andrew, who was a little behind looking at them, turned to an adjutant to ask him for a field glass.

“Look, look!” said this adjutant, looking not at the troops in the distance, but down the hill before him. “It’s the French!”

Tolstoy / War and Peace / The Agony of Count Bezúkhov

 

Illustration by Carlos Barberena


The Agony of Count Bezúkhov 
by Leo Tolstoy

BOOK ONE: 1805

CHAPTER XXI

While in the Rostóvs’ ballroom the sixth anglaise was being danced, to a tune in which the weary musicians blundered, and while tired footmen and cooks were getting the supper, Count Bezúkhov had a sixth stroke. The doctors pronounced recovery impossible. After a mute confession, communion was administered to the dying man, preparations made for the sacrament of unction, and in his house there was the bustle and thrill of suspense usual at such moments. Outside the house, beyond the gates, a group of undertakers, who hid whenever a carriage drove up, waited in expectation of an important order for an expensive funeral. The Military Governor of Moscow, who had been assiduous in sending aides-de-camp to inquire after the count’s health, came himself that evening to bid a last farewell to the celebrated grandee of Catherine’s court, Count Bezúkhov.

Wednesday, January 6, 2021

Tolstoy / War and Peace / The Kiss

 


THE KISS
By Leo Tolstoy

BOOK ONE: 1805
CHAPTER XIII


When Natásha ran out of the drawing room she only went as far as the conservatory. There she paused and stood listening to the conversation in the drawing room, waiting for Borís to come out. She was already growing impatient, and stamped her foot, ready to cry at his not coming at once, when she heard the young man’s discreet steps approaching neither quickly nor slowly. At this Natásha dashed swiftly among the flower tubs and hid there.

Tolstoy / War and Peace / Anna Pávlovna’s reception



Anna Pávlovna’s reception
By Leo Tolstoi

Tolstói / Guerra y paz / Los salones de Anna Páuvlovna


BOOK ONE: 1805

CHAPTER I

“Well, Prince, so Genoa and Lucca are now just family estates of the Buonapartes. But I warn you, if you don’t tell me that this means war, if you still try to defend the infamies and horrors perpetrated by that Antichrist—I really believe he is Antichrist—I will have nothing more to do with you and you are no longer my friend, no longer my ‘faithful slave,’ as you call yourself! But how do you do? I see I have frightened you—sit down and tell me all the news.”

Tolstoy / War and Peace / The Bet

Illustrated by Nelson san Julian


THE BET
By Leo Tostoy

Tolstói / Guerra y paz / La apuesta


BOOK ONE: 1805
CHAPTER IX

It was past one o’clock when Pierre left his friend. It was a cloudless, northern, summer night. Pierre took an open cab intending to drive straight home. But the nearer he drew to the house the more he felt the impossibility of going to sleep on such a night. It was light enough to see a long way in the deserted street and it seemed more like morning or evening than night. On the way Pierre remembered that Anatole Kurágin was expecting the usual set for cards that evening, after which there was generally a drinking bout, finishing with visits of a kind Pierre was very fond of.

Wednesday, February 19, 2020

Ivan Ilych / The Tragedy of an Unexamined Life

  • Tolstoy on his death bed, 1910

IVAN ILYCH: THE TRAGEDY OF AN UNEXAMINED LIFE

by Robin Gretz
Each of us one day will face illness and death. Yet rarely do we consider whether the choices we make in life can help us face suffering and death with courage and dignity. The Death of Ivan Ilych, by the Russian writer Leo Tolstoy, is the story of a dying man’s struggle to come to terms with the meaning of his life, even as he endures an agonizing death. It is a powerful novel that raises disturbing questions about moral choice, the importance of being treated as a person rather than a patient, and the life-sustaining value of family and friends. This essay examines one man’s suffering and dying in a way that suggests that the choices we make during our lives have much to do with the kind of death we will experience.
When a man dies, he does not just die of the
disease he has: he dies of his whole life.
—Charles Peguy
Occasionally, a novel or story touches us indelibly, leading to the realization that we can never again look at our life in quite the same way. For me, The Death of Ivan Ilych by Leo Tolstoy is such a book. For those who have known death, either personally or professionally, or for those who find in literature clues to the diversity of human experience, this story is a valuable pathway to asking whether the choices we make in life can help us face death with courage and dignity.

Thursday, October 17, 2019

Tom Stoppard / 'Anna Karenina comes to grief because she has fallen in love for the first time'


Tom Stoppard: 'Anna Karenina comes to grief because she has fallen in love for the first time'


Tom Stoppard says his original approach to writing the screenplay for Joe Wright's new film adaptation of Anna Karenina was for a fast, modern movie about being in lust. Then wiser counsels – including his own – prevailed


Robert McCrum
Sunday 2 September 2012 00.04 BST
T
he latest film adaptation of Tolstoy's Anna Karenina began in what Tom Stoppard calls "a normal kind of way", though it did not exactly have a normal outcome. Sitting in his penthouse flat in west London with his back to a stunning view of the Thames, he lights the first of the six cigarettes that will measure out this conversation.
"Somebody rang my agent, Anthony Jones," he says, before adding: "It was to ask if I was up for adapting Anna Karenina for Joe Wright. It was Joe's choice of movie."

Tolstoy / The Death of Ivan Ilyich

    The Death of Ivan Ilyich. A book review for The Death of Ivan ...


    Lev Tolstoy: The Death of Ivan Ilyich


    Tolstoy had barely finished What Then Must We Do? when he returned to an unfinished story which he had begun in 1882, and polished it off in the space of not much more than a month. It was the novella The Death of Ivan Ilyich. Touchingly, the motive for finishing this searing tale was to have a pleasant surprise for Sofya when she returned from Moscow: a new work to be included in her Collected Edition. She was delighted, considering it the first purely artistic work which he had attempted since the completion of Anna Karenina.

    Wednesday, January 3, 2018

    Buy a cat, stay up late, don't drink / Top 10 writers’ tips on writing



    Ernest Hemingway
    by Fernando Vicente

    CREATIVE WRITING

    Buy a cat, stay up late, don't drink: top 10 writers’ tips on writing


    Made a New Year resolution to start writing that novel? Take some writing tips from Leo Tolstoy, Muriel Spark, John Steinbeck and other famous authors
    Travis Elborough
    Wed 3 Jan ‘18 11.27 GMT

    O
    ver the past year, Helen Gordon and I have been putting together Being a Writer, a collection of musings, tips and essays from some of our favourite authors about the business of writing, ranging from the time of Samuel Johnson and Grub Street, to the age of Silicon Roundabout and Lorrie Moore.

    Researching the book, it quickly became obvious that there isn’t a correct way to set about writing creatively, which is a liberating thought. For every novelist who needs to isolate themselves in a quiet office (Jonathan Franzen), there’s another who works best at the local coffee shop (Rivka Galchen) or who struggles to snatch an hour between chores and children (a young Alice Munro).
    Conversely, it also became apparent that alongside all this variety of approach, there are certain ideas and pieces of advice that many writers hold in common. In an 1866 letter to Mrs Brookfield, Charles Dickens suggests that: “You constantly hurry your narrative ... by telling it, in a sort of impetuous breathless way, in your own person, when the people [characters] should tell it and act it for themselves.” Basically: SHOW DON’T TELL. Three words that will be familiar to anyone who has sat in a 21st-century creative writing class.
    Our book therefore contains a lot of writing advice, ranging from the sternly practical to the gloriously idiosyncratic. We have writers talking about what went wrong, as well as what went right. They discuss failing to finish a manuscript, failing to find a publisher, badly realised characters and tortuous, unwieldy plots. Here are a just few of our favourite tips, which we believe any aspiring writer should take to heart.
    1. Hilary Mantel – a little arrogance can be a great help
    “The most helpful quality a writer can cultivate is self-confidence – arrogance, if you can manage it. You write to impose yourself on the world, and you have to believe in your own ability when the world shows no sign of agreeing with you.”





    Morning thoughts … Tolstoy puts in a shift. c.1903-10. Photograph: Ullstein Bild/Getty Images

    2. Leo Tolstoy and HP Lovecraft – pick the hours that work best for you

    Tolstoy believed in starting first thing: “I always write in the morning. I was pleased to hear lately that Rousseau, too, after he got up in the morning, went for a short walk and sat down to work. In the morning one’s head is particularly fresh. The best thoughts most often come in the morning after waking while still in bed or during the walk.”


    Or stay up late as HP Lovecraft did: “At night, when the objective world has slunk back into its cavern and left dreamers to their own, there come inspirations and capabilities impossible at any less magical and quiet hour. No one knows whether or not he is a writer unless he has tried writing at night.”
    3. William Faulkner – read to write

    “Read, read, read everything – trash, classics, good and bad, and see how they do it. Just like a carpenter who works as an apprentice and studies the master. Read! You’ll absorb it. Then write. If it is good, you’ll find out. If it’s not, throw it out the window.”

    4. Katherine Mansfield – writing anything is better than nothing

    “Looking back I imagine I was always writing. Twaddle it was too. But better far write twaddle or anything, anything, than nothing at all.”

    5. Ernest Hemingway – stop while the going is good

    “Always stop while you are going good and don’t worry about it until you start to write the next day. That way your subconscious will work on it all the time. But if you think about it consciously or worry bout it you will kill it and your brain will be tired before you start.”




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     John Steinbeck at Sag Harbor, 1962 … presumably after he’d finished his daily schedule. Photograph: Rolls Press/Popperfoto/Getty Images

    6. John Steinbeck – take it a page at a time

    “Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day. It helps.”

    7. Miranda July – don’t worry about the bad drafts

    “I was a lot dumber when I was writing the novel. I felt like worse of a writer … would come home every day from my office and say, ‘Well, I still really like the story, I just wish it was better written.’ At that point, I didn’t realise I was writing a first draft. And the first draft was the hardest part. From there, it was comparatively easy. It was like I had some Play-Doh to work with and could just keep working with it – doing a million drafts and things changing radically and characters appearing and disappearing and solving mysteries: Why is this thing here? Should I just take that away? And then realising, no, that is there, in fact, because that is the key to this. I love that sort of detective work, keeping the faith alive until all the questions have been sleuthed out.”


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     ‘The first draft was the hardest part’ ... Miranda July. Photograph: Richard Saker for the Observer

    8. F Scott Fitzgerald – don’t write and drink

    “It has become increasingly plain to me that the very excellent organisation of a long book or the finest perceptions and judgment in time of revision do not go well with liquor. A short story can be written on the bottle, but for a novel you need the mental speed that enables you to keep the whole pattern inside your head and ruthlessly sacrifice the sideshows … I would give anything if I hadn’t written Part III of Tender Is the Night entirely on stimulant.”

    9. Zadie Smith – get offline

    “Work on a computer that is disconnected from the internet.”


    10. Muriel Spark* – get a cat

    “If you want to concentrate deeply on some problem, and especially on some piece of writing or paper-work, you should acquire a cat. Alone with the cat in the room where you work … the cat will invariably get up on your desk and settle under the desk lamp. The light from a lamp … gives the cat great satisfaction. The cat will settle down and be serene, with a serenity that passes all understanding. And the tranquillity of the cat will gradually come to affect you, sitting there at your desk, so that all the excitable qualities that impeded your concentration compose themselves and give your mind back the self-command it has lost. You need not watch the cat all the time. Its presence alone is enough. The effect of a cat on your concentration is remarkable, and very mysterious.’ 
    *(or rather, the character of Mrs Hawkins in A Far Cry from Kensington.)

    • Being a Writer by Travis Elborough and Helen Gordon is published by Frances Lincoln, priced £15.

    • THE GUARDIAN




    Tuesday, January 2, 2018

    War and Peace by Leo Tolstoy / Digested read




    War and Peace by Leo Tolstoy – digested read


    We’re going to speak Frussian, join the army, fall in love, fall out of love, get very cold, and then die


    John Crace
    Mon 11 Jan ‘16 08.20 GMT




    I
    t was July 1805, and all St Petersburg was concerned about the advance of Bonaparte. Though not so much as to cancel a soiree at which Pierre, a bastard by birth but not by nature, was to be introduced to Russian society.

    “Pierre is not one of nous,” several guests observed. “Not only does he forget choses but he doesn’t speak Frussian. Et he drinks even plus que nous.”
    Prince Andrew, a bastard by nature but not by birth, cleared his throat delicately. “As a member of the officer class, I have decided to join the army,” he declared.

    “Leave your pregnant wife if you will, Pierre said, willingly accepting the mantle of fecklessness. “I shall eat, drink and copulate for Russia. That will be my duty for the glorious Motherland.”
    “I shall join the hussars,” Nicholas declared, while his sister Natasha eyed up potential husbands. They might become rather scarce.
    Pierre checked his fob watch. The pages were turning faster than he expected and his father had now died. “I seem to find myself the richest man in Russia.”
    War proved more terrible than either Andrew or Nicholas has expected. Dreams as well as men got killed. “How I embrace death,” Andrew murmured as the battle of Austerlitz raged. “Pas so vite,” said Napoleon. “Permettez-moi de vous donner une main. Now I must wash my chubby little body.”
    “I’m home,” said Andrew as his wife died in childbirth.


    Pierre felt the burden of expectation and married Helene but, helas, she had a bit on the cote. The anguish was intolerable, but Pierre felt obliged not to kill his love rival in a duel and left St Petersburg for many years to ruminate on Freemasonry before deciding a knotted handkerchief was not for him. Instead, he chose to improve the lot of his serfs, who had up till now remained entirely invisible. “Harrumph,” he concluded at last. “I cannot improve their lot because they have never had it so good.” Tolstoy nodded approvingly, lifting his eyes momentarily from the handsome handmaiden beneath him.
    “So, 500 roubles on the peace lasting,” said Nicholas, as Napoleon and the Tsar embraced in friendship, thereby losing the remains of the Rostov fortune.
    Andrew observed Natasha longingly. “Marry me, please,” he begged. “Oh, I do love you ever so much, Nick,” Natasha replied, but my father is making me wait a year and I’m bound to have developed une grande passion for the inside of Anatole’s trousers by then.”
    “I am distraught,” Andrew declared as Natasha fell dangerously ill.
    It was now 1812 and Pierre was beside himself as the French approached Moscow. “‘I am deranged with symbolism and Helene has left me even though I left her first. I vow to kill Napoleon,” he said.
    Je ne peux pas believe que je have justperdu the battle of Borodino,” Napoleon squeaked, his shoe-lifts giving him gip. “The French had by lointhe best army.”
    “But Russia had nature and spirituality on its side,” said Tolstoy while a chorus of Volga boatmen sang patriotic songs.
    “Can you not faire quelque chose about the fumee in Moscow?” asked Napoleon. “Et quand will I receive the surrender?”
    Jamais,” Mother Russia replied. First scorched earth, then General Winter. War is hell.
    Illustration by Matt Blease

    Pierre hovered between madness and death as the French performed atrocities during their withdrawal from the icy embrace of Mother Russia.
    “There is a nobility in being broke,” said Nicholas’s aunt. “So I am going to give you some more money.” “Oh, thank you,” Nicholas replied. “Now I can marry Mary. And maybe you and Andrew can make up now, Natasha?”
    “I forgive you, Natasha,” said Andrew, before dropping dead.
    “That’s handy,” said Pierre, appearing out of nowhere. “Maybe I can marry you instead.”
    “Yes please,” Natasha whimpered. “I can give up my singing, we can have four children and I can become a right old drudge, because Leo thinks that submission is a woman’s natural state.”
    Tolstoy bowed his head. He was tired. The novel was a difficult thing. Not that his book was a novel, of course. Though people would be bound to call it that. Fools all of them. We can only know we know nothing.
    THE GUARDIAN