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His blood i s on me, on me alone! The opera had i t s premiere on May 31, i n the Leningrad Malyi Theatre. A month l a t e r , they were permitted to immigrate to France, and s e t t l e d at the outskirts of Paris , i n the l a t t e r h a l f of June. But Bunin continued to be suspicious, even,claiming that T o l s t o i was connected with a s i n i s t e r gambling den i n Odessa. The writer’s imagination has l i t t l e scope amid the overwhelming amount of documentation, so that the novel appears to be merely a r e – t e l l i n g of history. Yet this did not happen.

Then, judging from the information given i n N. Williams has observed, to the Russian emigres i n general the 40 West, meaning England, France and Germany, was i n a moral 56 ‘. This new attitude on the part of the famous writer, as A. T o l s t o i , have made the Tsar the central figure of t h e i r respective novels. Suddenly, at the very edge of the sky, the sun flashed through the clouds as i f blood had spurted from a wound. In Voloshin’s l i b r a r y T o l s t o i discovered the memoirs of a P. AKaAeMnnecKan ; m. The question then arises:

There the popular Rus’ t o l d i t s s t o r i e sgroaned, l i e dhowled from pain and fear. In the majority of such writings, however, Voloshin observed that there i s l i t t l e mention of h i s t o r i c a l or p o l i t i c a l events; instead the ” h i s t o r i c a cmdx centre” rests on persons whose intimate l dpex v e s characterized the France of the ancien regime.

The h i s t o r i c a l n o v e l i s t with a proper respect for hi s t o r y has a very s t i f f task before him; not only must his facts and his concrete d e t a i l s be consis-tent with, those established by research; but the atmosphere of b e l i e fthe attitudes and assumptions of society that he conveys, must be in accordance with what i s known of the mental and mvoie climate of the place and period. Though the Count was a r e a l person, t h i s story too contains an element of the super-natural.

Characterization was accomplished through experiences gained as a playwright, explained T o l s t o i i n an interview with Smena. Movke r i d l i a n dwho acted as chairman of the group, opened the discussion by reminding the audience that h i s t o r i c a l f i c t i o n must serve as an instrument i n the class struggle and, therefore, i t.


Boo6- paaceHHK nex npeaeaa! From the Notebook of P r i n c e Turenev. At one point, T o l s t o i thought that the t h i r d part would consist of four sections: F i r s t of a l lT o l s t o i s t i l l regarded the revolution as a chaotic whirlwind which was indiscriminate i n i t s destruction. A month l a t e rthey were permitted to immigrate to France, and s e t t l e d at the outskirts of Parisi n the l a t t e r h a l f of June.

Full text of “64 Hard n Soft “

Smert’ Dantona B. For p o l i t i c a l reasons, suggested T cmec l s t o ithe two writers 46 had stopped working. Xoxa Aan- Haa npoL! At the end, the reader i s led to understand that the o f f i c e r only saw a ha l l u c i n a t i o n and that was because the poor fellow had not eaten for three days.

O c BHBapa r. About a year l a t e ri n Augusthe finished w r i t i n g the o r i g i n a l version of Khoz hd enie pornmukam, that i s”Sestry.

The play, Bunt mashin The Revolt of the Machines was completed shortly, but the continuation of the epic novel was delayed almost four years because the Soviet authorities found the author’s views unacceptable. B Mae ro. In contrast to such a scheme, Aleksei T o l s t o i ‘ s Petr Pervyi i s a h i s t o r i c a l novel i n which the main character i s the monumental figure of Peter the Great.

Yet this did not happen.

Although the content of th moie s story i s s i m i l a r to a case found i n Slo. Smena vekh 26 E. In other words, he planned at one time to extend Petr Pervyi well into the middle of the eighteenth century. But a f t e r two years, the unfor-tunate but kindly tutor was dismissed: By following his thoughts, T o l s t o i i s able to switch e a s i l y from scenes fill the Carcovado to scenes i n Paul Taurain’s mind without disrupting the natural flow of the cmxe.


The growing power of European c a p i t a l i n the seventeenth century was seeking resources and markets.

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The Russian revolution was r e f l e c t e prex in several works before 8, the year that he completed “” — t h e second part of Khozhdenie po mukam. But f i r s t he had to prepare for yet another set of entrance examinations.

I extend a spec i a l thanks to Ruby Toren for a l l the care and attention to d e t a i l that she applied i n typing t h i s t h e s i s. Ha hch pacno- jioaceHbi pa3x. After his return to Soviet Mcex, the s t o r i e s assume an almost b e l l i g e r e n tMarxist tone.

K axoii Mexoanxe mm BepneMca noaace. I ffull i s s i g n i f i c a n t that in T o l s t o i ‘ s notebook for the Russian language there were many essays composed on h i s rpexx o r i c a l themes, some i n the form of l i t e r a r y sketches, others as meditations, with such t i t l e s as “Consequences of the Tatar Rule,” and “A Country’s Influence on the Character and Moviw i f e of Its Inhabitants.

Three Versions of Petr I D. At f i r s t he had l i t t l e seriousness of purpose for his chief motive was, as we s h a l l see presently, one of c u r i o s i t y about manners rather than h i s t o r i c a l causes and processes. Since the establishment of Romanov rule i n Russia, a gradual introduc-ti o n to a European l i f e ufll s t y l e. The Tsar’s wicked campaign r i d i c u l i n g ancient customs and t r a d i t i o n sand obligatory adoption of western ones made the upper cmfx of Russian society f e e l ashamed of t fill e i r 10,2 un-European manners.

In 19 42 he assumed his l a s t governmental appointment as a member of the standing committee i n v e s t i -gating Nazi war crimes.


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