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Count Aleksey Konstantinovich Tolstoy, often referred to as A.K. Tolstoy (Russian: Алексе́й Константи́нович Толсто́й) (September 5 [O.S. August 24] 1817 – October 10 [O.S.September 28] 1875), was a Russian poet, novelist and playwright, considered to be the most important nineteenth century Russian historical dramatist. He also gained fame for his satirical works, published under his own name and under the collaborational pen name of Kozma Prutkov. He
spent many years in state service as a bureaucrat and diplomat. He
began his career in the Economic Affairs and Statistics Department in
Saint Petersburg in 1835. From 1837 to 1840 he was attached to the
Russian Embassy in Frankfurt. In late 1840 he was transferred back to
Russia to a position in the Tsar's Imperial State Chancellery 2nd
Department where he continued to work for many years, slowly rising in
the hierarchy. In 1856, on the day of his Coronation, Alexander II appointed him one of his personal aide - de - adjutants. Tolstoy also served as an infantry major in the Crimean War. He eventually left state service in the early 1860s to pursue his literary career. A.K. Tolstoy was born in Saint Petersburg to the famed family of Tolstoy.
His father, Count Konstantin Petrovich Tolstoy (1780 - 1870), a son of
the army general, was a Russian state assignation bank councilor. His
mother, Anna Alekseyevna Perovskaya (1796 - 1857), was an illegitimate
daughter of Count Aleksey Kirillovich Razumovsky (1784 - 1822), an heir of
the legendary Ukrainian hetman Aleksey Razumovsky. A. K. Tolstoy's uncle (on his father's side) was Fyodor Tolstoy (1783 - 1873). His uncle on his mother's side was Aleksey Perovsky (1787 - 1836), an author known under the pen name of Antony Pogorelsky. Aleksey Konstantinovich was a second cousin of Leo Tolstoy; Count Pyotr Andreyevich Tolstoy was their common great - grandfather. Konstantin
Tolstoy and Anna Perovskaya's marriage was short - lived; they divorced
in October 1817. With her six weeks old son Anna moved first to her own
Blistava estate in Chernigov Governorate,
then to Krasny Rog, belonging to her brother Aleksey Perovsky, who
became Aleksey Konstantinovich's tutor and a long time companion. Common
knowledge has it that Pogorelsky's famous fantasy fairytale The Black Chicken or The People of the Underground was
premiered at home, his young nephew being the only member of
Pogorelsky's audience. It was under the latter's influence that Aleksey
started to write poetry, as early as 1823. As for the Tolstoys, Anna
Perovskaya stopped seeing them altogether, sending them postcards on
major dates and holidays. Remembering those happy years, A.K. Tolstoy wrote later: In
early 1826 Anna Perovskaya returned to Saint Petersburg with her
brother and son. Here, due to his mother's closeness with the court of
the Tsar, Aleksey was admitted to the future Tsar Alexander II's
childhood entourage and in August became what was officially termed "a
comrade in games" for the young Crown Prince. They became friends and this friendship lasted for several decades, ending in the mid 1860s. In autumn of 1826 Aleksey also met Aleksander Pushkin for the first time. In summer 1827 the family visited Germany where in Weimar young Aleksey met Goethe. The great man greeted the boy very warmly and left him a fragment of a mammoth tusk with his own drawing (depicting a frigate)
on it, for a present. Aleksey, having been awe - stricken, remembered
little: "Only his magnificent features and the way he took me upon his
lap", according to his autobiography. The family spent the next ten years in continuous travel, both in Russia and abroad. An 1831 trip to Italy (where he met for the first time Karl Bryullov,
who painted his portrait five years later) especially impressed the
13 year old. "Back in Russia I fell into deep nostalgic depression,
longing for Italy which felt like a real motherland; desperately
mourning the loss, I cried at night when dreams carried me off to this
Paradise lost", he wrote in his autobiography decades later. In January 1837 Tolstoy became attached to the Russian Embassy in Frankfurt where he spent the next two years, often visiting Italy and France. It was during one of these visits that he wrote his first two "gothic" novellas - Vurdalak's Family and Three Hundred Years On (originally in German, later translated into Russian by Boleslav Markevich). Tolstoy
showed great interest in all things macabre, influenced, again, by his
late uncle who "was obscessed with mysticism in every possible form" and who, in turn, was influenced by E.T.A. Hoffmann whom he was personally acquainted with. In
late 1840 Aleksey K. Tolstoy was transferred back to Russia to a
position in the Tsar's Imperial State Chancellery 2nd Department where
he continued to work for many years, slowly rising in the hierarchy. As
time went by, though, he showed less and less enthusiasm for what felt
more and more like a major hindrance to his literary aspirations. In May 1941 Tolstoy debuted with The Vampire (a
novella published under the pen name of "Krasnorogsky", a reference to
Krasny Rog, his residence). Complicated in structure, multi - layered and
rich in counterpoints, featuring both the element of "horror" and
political satire, it instantly caught the attention of Vissarion Belinsky who praised its "obviously still very young, but undoubtedly gifted author", totally ignorant of the latter's real identity.
Tolstoy himself saw the story as insignificant and made no attempt to
include it in any of the subsequent compilations; it was only in 1900
that The Vampire was re-issued. In the autumn of 1843 Tolstoy debuted as a poet: his poem "Serebryanka" was published in the #40 edition of Listok dlya svetskikh lyudey (The
Fashionable Paper). It took another two years for him to see his second
short story, "Artyomy Semyonovich Bervenkovsky" published in the 1st
volume of Count Vladimir Sollogub's Yesterday and Today almanac. The 2nd volume featured Amena, a novella, described as an extract from a novel called Stebelovsky which remained unfinished. Throughout
the 1840s Aleksey K. Tolstoy led a busy high society life, full of
pleasure trips, saloon parties and balls, hunting sprees and fleeting
romances. He was described as "a handsome young man with blonde hair and
a freshly coloured face" and was renowned for his physical strength,
"bending spoons, forks and horse - shoes and driving nails into walls with
one finger". One notable business trip to Kaluga in 1850 led to a close friendship with Nikolay Gogol (whom he first met in Frankfurt and then in Rome). Tolstoy recited to Gogol many of his yet unpublished poems and fragments from what later became the novel Prince Serebryanny. Gogol read him the second part of his novel Dead Souls. Among other friendships he struck in the fourties were those with Aksakov, Annenkov, Nekrasov, Panayev and Turgenev. In the early 1850s, in collaboration with the Zhemchuzhnikov brothers, Tolstoy created the fictional writer Kozma Prutkov, a petty bureaucrat with great self - esteem who parodied the poetry of the day and wrote banal aphorisms. In 1851 Prutkov debuted with The Fantasy a comedy which was signed "Y" and "Z" and written by Aleksey K. Tolstoy and Aleksey Zhemchuzhnikov. The play, mocking the then popular 'nonsense' vaudeville premiered on January 8 in the Alexandrinsky Theatre. This spectacular farce (featuring at one point a dozen small dogs
running about on stage) caused a huge scandal, was promptly banned by Nikolay I (who was among the audience) and remained unpublished up until 1884. It
was also in 1851 that Aleksey K. Tolstoy first met Sophia A. Miller
(1827? - 1892), the wife of a cavalry colonel (whom she later divorced
with great difficulty) and an impressively well educated woman who knew
14 languages, at a Bolshoy Theater masquerade.
Tolstoy fell in love with her but had to wait for another twelve years
before they were able to marry. Miller had, apparently, a perfect
artistic taste and Tolstoy later referred to her as his harshest and
most objective critic, as well as the best friend he'd ever had. All of
his love lyrics from 1851 onwards were written for and about Sophia. Many
of his poems ("My dear bluebells", "Amidst the ball uproar", "Brighter
than the skylark's singing", "The wind from high up, it is not...") have
been set to music by renowned composers and have become famous Russian
romances. In 1854 Sovremennik magazine
published several of Tolstoy's verses ("My bluebells", "Oh you
haystacks..." and others), which instantly got critics talking, and also
the first of Kozma Prutkov's humorously pompous poetic exercises. The
latter was not so much a collective pseudonym, as a character who was
making quite a point of coming across as a 'real' creature, performing,
among other things, obnoxious pranks, one of which involved a messenger
visiting all the leading Saint Petersburg architects late at night with
the urgent news of the Isaakiyevsky Cathedral having
fallen down and urging them to appear early next morning at the court
of Tzar Nikolay I, which they hastily did, to the Tsar's utter
annoyance. As the Crimean War broke
out, Aleksey K. Tolstoy's first intention was to gather a partisan
fighting unit and lead it to the Baltic sea, should the English decide
to land there. The project failed and what he did instead was join the
Imperial infantry regiment as an army major in March 1855. The regiment
went only as far as Odessa where he lost a thousand men to typhoid. In February 1856 Tolstoy became one of the casualties. In Odessa he was nursed back to health by Sofia Andreyevna Miller. Aleksander
II was telegraphed daily on the subject of his old friend's condition,
at his personal request. In May 1855 Tolstoy was back on his feet, but
the war was over for him; he instead embarked upon a Crimean journey
with Sophia Miller. After
the War, in 1856, on the day of his Coronation, Aleksander II appointed
Aleksey K. Tolstoy one of his personal aide - de - adjutants. It was only
three years later that Tolstoy managed to get rid of this tiresome
privilege which implied regular duties in the Palace, interfering with
his now burgeoning literary career. "You cannot imagine what a storm of
rhymes rages in me, what waves of poetry are sweeping through me,
longing to break free", he wrote in a letter to Sophia Miller. Two
thirds of Aleksey K. Tolstoy's poetic legacy was created in the late
1850s. 1857 saw the puplication of a large poem called The Sinner. It was followed by the more significant Ioann Damaskin first published in Russkoye Bogatstvo in
the January 1859 issue. The poem, dealing with the nature of poetry and
the poet's position in society (and being in some ways
autobiographical) caused scandal in higher places. The head of the 3rd
Department Prince Vasily Dolgorukov ordered the printing of the magazine
to be stopped and for the poem to be removed. Evgraf
Kovalevsky, the Minister of Education, personally permitted the
publication, his rather daring decision marking a serious rift between
the two departments. Tolstoy's
poems were appearing in virtually all the major Russian magazines of
the time, regardless of their ideological inclinations. Yet, in 1857 his
relationship with the leftist Sovremennik group became strained. Tolstoy drifted towards the Slavophiles and their Russkaya beseda magazine, becoming a close friend of Ivan Aksakov and Aleksey Khomyakov, but this liaison was short - lived too. In
the 1860s he found himself in the very strange position of being a
highly popular author, criticised fiercely both from the left and from
the right. As to the reasons for this, A.K. Tolstoy was never in doubt. In an autobiographical letter to A. Gubernatis he wrote: He
caused much controversy with his scathing remarks aimed at contemporary
government officials (Timashev, Butkov, Panin, Velio) whom he – a
supporter of the monarch – considered real enemies of the State. Tolstoy
criticized the activities of the 3rd Department, and in the wake of the Polish uprising was one of the very few people in the Court to openly denounce Muravyov the Hangman's draconian methods of political repression. A fierce opponent of xenophobia, he saw Russia as a European country, and Russians as Europeans. This clashed with the slavophile doctrine
of maintaining Russia's "special place" in the world. "<Speaking>
of slavophiles, Khomyakov sickens me when he places <Russia>
above the West just on the strength of our being Orthodox", Tolstoy wrote in a letter. All the while, his dispute with Turgenev,
who saw the French state as Russia's potential guiding light, was
well publicised. "What France is moving towards is the dictatorship of
mediocrity", Tolstoy argued. Being neither a westernizer or
a slavophile, A.K.Tolstoy annoyed both parties by his infatuation with
pre-Tatar Russian society (which he idealized whole - heartedly, seeing
it as an Eastern strain of European knighthood, based on the cult of
the nobleman), his critique of the West's amoral pragmatism and
socialist ideas, his dismissal of imperial ideals which he saw as
tragically flawed, with the original doctrine of a centralized Russia,
the vile Moscovia State being, in his view, at the root of all Russian political evil. His eclectic outlook, described by some as "political romanticism", appeared to be in conflict with every political and social trend of the time. In
1861 Tolstoy quit the Court altogether. "For quite some time I was
under the illusion that I'd be able to suppress in myself my artistic
nature but life taught me different, this feud was futile. Service and
the arts are incompatible", he wrote in a letter to a very disappointed
Aleksander II. "Tolstoy represented a rare type of man who not only
evaded by every possible means the favours and laurels that came his
way, but had to go through painfully tedious battles with people who,
driven by the best of intentions, were imposing every opportunity of
making a brilliant career on him", wrote Semyon Vengerov, a literary historian and BEED biographer in 1903. From
then on the writer's visits to the Palace became rare, but he used each
one as an opportunity to "speak the truth regardless", as he put it. In
1862 Tolstoy solicited for Ivan Aksakov who'd been banned from editing
his Denh newspaper.
A year later he helped Ivan Turgenev out of an exile he found himsef in
as a result of having contacted the "London propagandists", as Herzen and Ogaryov were
then known. In 1864 Tolstoy tried to exert his influence upon
Aleksander II to make him alleviate the plight of the imprisoned Chernyshevsky.
Asked by the Tsar for the latest news in the world of literature,
Tolstoy said: "The whole of Russia has gone into mourning for
Chernyshevsky to whom injustice has been done..." - "No, Tolstoy, I beg
you never to remind me of Chernyshevsky, please", the monarch hastily
retorted. This aborted conversation, as it happened, brought to an end the friendship that had lasted for forty years. Aleksey K. Tolstoy's historical novel Prince Serebrenny (1862, Russky Vestnik), set during the time of Ivan the Terrible, was widely popular and was translated into many languages, including an English translation. The novel premiered at a recital evening in the Palace, and brought its author a book - trinket from Empress consort Maria Aleksandrovna, who greatly admired Tolstoy, both as writer and a person. His poetic drama Don Juan,
published the same year, was less successful: even if not officially
banned, it wasn't staged in its author's lifetime and made its
theatrical debut only in 1905, severely cut by censors. Kozma Prutkov aside, Tolstoy wrote satirical verses under his own name, the best known of which was the Karamzin - inspired History of the Russian State from Gostomysl to Timashev (1868), a parody on Russian history that focused on the vicious characteristics of Russian monarchs. Another satirical poem, The Dream of Councillor Popov,
written in the summer of 1873, spread across Russia in hand written
form and became hugely popular. Both Leo Tolstoy and Ivan Turgenev
expressed their delight at this - on the one hand a personal swipe at the
Interior Minister Pyotr Valuyev,
on the second, a mockery in general of a conservative bureaucrat trying
to come across as a liberal. The poem came out in 1878, in Berlin, as a
brochure, then six years later was reprinted by Russkaya Starina (#12, 1884). 1867 saw Poems,
the vast collection of Tolstoy's verse (all in all, 131 pieces),
published, the only such compilation published in his lifetime. A.K.Tolstoy's lasting contribution to Russian literature was a trilogy of historical dramas (modelled after Pushkin's Boris Godunov): The Death of Ivan the Terrible, Tsar Fyodor Ioannovich, and Tsar Boris. The Death of Ivan the Terrible, published in 1866 in Otechestvennye Zapiski magazine, was staged the following year in Saint Petersburg, Moscow, and some provincial theaters and enjoyed massive success, but after 1870 was virtually banned and only returned to the stage in the late 1890s. Tsar Fyodor Ioannovich (1868, Vestnik Evropy)
was promptly banned from theaters by the personal decree of Interior
minister Timashev; as late as 1907 censors deemed the play
"inappropriate for stage production". Tsar Boris (1870, Vestnik Evropy) received no official ban, but the Directorial council of Imperial theaters refused to sanction its production. In 1871 Tolstoy started his fifth and final Posadnik play (set in the times when the Novgorod Republic prospered), which remained unfinished. Parts of it were published in Skladchina (an 1874 charity almanac), the rest appeared in Vestnik Evropy magazine in 1876, after the author's death. Ever
since the mid 1860s Tolstoy had fallen more and more out of sync with
Russian cultural life, feeling acutely his ideological and spiritual
isolation. Referring to himself as an 'anchorite',
he spent most of his time in Pustynka (near Saint Petersburg) and his
Krasny Rog estate. His worsening financial situation and deteriorating
health added to his troubles. Tired of fighting his many opponents, totally disillusioned with what he saw
around him, A.K. Tolstoy wrote to his friend Boleslav Markovich in 1869: Tolstoy entered the 1870s as a very ill man, suffering from asthma, angina pectoris, neuralgias and
severe headaches. Regular visits to European medics alleviated his
conditions only temporarily. In spring of 1875 A.K.Tolstoy started
taking morphine. "Now I'm feeling much better, at least the neuralgia's gone. But never
before have I been so short of breath. Asthma fits are continuous", he
complained in a letter to Karolina Pavlova (a poet and the translator of his dramas) on July 8, 1875. Aleksey Konstantinovich Tolstoy died on September 28, 1875, in Krasny Rog, Chernigov Governorate,
after having given himself a lethal injection of Morphine. He was
buried in the family vault in the Uspenskaya Church in nearby Krasny
Rog. Aleksey K. Tolstoy represented the later period of Romanticism in
Russian literature; art for him was a mystic link between the human
world and the higher spheres where "eternal ideas dwell". Along with Fet,
his artistic and spiritual ally, he saw Art as a kind of higher
science, man's only instrument for the true and comprehensive learning
of the world. Romantic tendencies were best realised in Tolstoy's poetry
and in some of his dramas, notably Don Juan where
the hero is on a quest for a romantic ideal, looking everywhere for
love "that helps one penetrate into the wonderful universal laws, our
world's hidden beginnings", as he put it. "Art
can only be a 'means'- all 'ends'... it contains in itself", Tolstoy
wrote in 1870, in the course of long dispute with those whom he labeled
"utilitarianists in literature". Such
views automatically made him a "conservative" in the eyes of the
revolutionary democrats who formed a large majority in the Russian
literary circles of the 1850s and 1860s. Unlike Fet, though, Tolstoy
insisted on the artist's total independence from ideology and politics,
and felt himself totally free to criticize and mock authorities, a trait
that snubbed many people in high places. Tolstoy's
poetry had certain qualities that made it unusual and even unique, one
being its "half - spokenness". "Its good for poetry when a thought is only
half - fulfilled, so that readers could complete it - each in their own
way", he explained in a letter to Sophia Miller in 1854. This view
translated into a technique of writing. One of the things Tolstoy was
criticised and even jeered for were "bad rhymes". He used them
consciously, as part of his "poetic system". "Imperfect rhyming, if kept
in bounds of course, can be seen as corresponding to the Venetian school in painting which with little imperfections, or should I say, carelessnesses, could achieve such effects which Raphael wouldn't dream of for all of his precision", Tolstoy wrote in 1859. In
fact, A.K. Tolstoy, as I. Yampolsky pointed out, was a master of
versification. Consciously imposed "careless" rhyming gave his poems an
improvisational tone (with "an impression of thoughts being put to paper
exactly in the form they were born") but behind it there was hard work
and much editing. "Tolstoy’s verse is so simple it hardly rises above
prose, yet the poetic impression it carries is perfectly full", critic Nikolay Strakhov wrote in 1867. Another
unusual feature of Tolstoy's poems was the fact that, while rather
saloon - like and graceful both in nature and form, they were full of
'simplisticisms' borrowed freely from common talk and traditional
Russian folklore. Kept in perfect balance, these tinged his verse with a
peculiar, musical quality. More than half of Tolstoy's poems have been
put to music by leading Russian composers like Tchaykovsky, Rimsky - Korsakov,Musorgsky, Mily Balakirev, César Cui, Anton Rubinstein, Sergey Rakhmaninov and others. "Tolstoy is the unfathomable well of poems crying for music. For me he is one of the most attractive poets", wrote Tchaykovsky. Assessing Tolstoy's poetry as a whole, D.S.Mirsky wrote: "Even
if suffering from sentimentality and occasionally banal, his lyrics
retain its freshness and even now taste like a delightful morning dew",
the critic wrote. Innokenty Annensky saw
Tolstoy's poetry as being the perfect expression of "pure love", the
"human soul's inner beauty" being the poet's ideal. "Tolstoy never wrote
for children but "his crystal clear idealism, tinged with mysticism",
made his poetry resonate well with this period in adolescence when
"human soul reaches out to something high and indescribable", Annensky wrote. Mentioning
Nekrasov, who in his latter works created a strong image of Russian
mother, Annensky argued that what Tolstoy managed to create was equally
sublime portrait of Noble woman whose "serene placidity belies
unspeakable sadness… of the one who's ashamed of one's own happiness
fearing that she, making most of this world's beauty, takes it away
somehow from those who have no opportunity to enjoy such riches in such
abundance". Tolstoy's ballads and songs were close to traditional bylinas both
in essence and form; in fact, the author himself made no distinction between the two genres. Critics argued that (unlike, say, Nekrasov)
Tolstoy used folklorisms as a mere stylistic instrument, using Middle
Ages Russian history stories as a means to convey his own ideas and
theories (The Tugarin Dragon), and to link historical utopias with relevant social comment (Boryvoi, Vasily Shibanov). A.K. Tolstoy tended to greatly idealise Russia’s pre-Mongol past which
made the traditional bylina characters almost superheroes. "It's hard to
recognize Alyosha Popovich, eyes - a - jealous, hands - a - grabbin' - as a romantic youth, speaking of love and devotion to his beloved", Semyon Vengerov remarked. Likewise, the fearsome Ilya Muromets who
came across as a rather violent, dangerous and often sacrilegious type
in folk bylinas, was portrayed by Tolstoy as a "benign grandfather
figure", rather gracious and well - spoken. Critic Yuly Aykhenvald derided Tolstoy’s insistence on going on with his "nationalistic masquerade" and quoted Chekhov as commenting: "<Tolstoy> has put the opera costume on and forgot to take it off before leaving the theater". According
to Aykhenvald, Tolstoy "missed a point, in that national
<values>, when taken to the extreme, become alien - looking". For
Aykhenvald, though, it was Tolstoy's humour that prevented him from
turning into an "archeology worshipper". The critic saw Tolstoy's
romanticism as universal and in a certain way religious (resulting in
the fact that his most memorable character, Tsar Fyodor was "an epitome
of Christian meekness and grace"). Yet, "<Tolstoy> worshipped that
kind of God which was devoid of stiffness… he was full of free spirit
and valued freedom most. His idea that 'violence over and suppression of
free thought were contrary to God's will' was not just a pretty phrase
but an innermost conviction. For he indeed was a noble man", Aykhenvald
concluded. Tolstoy's sense of humour was best realised in Kozma Prutkov's
extraordinary aphorisms, as well as in his own satirical poems.
"Tolstoy... without any doubt, is Russia's greatest absurdist poets",
wrote Mirsky. The Dream of Councillor Popov and History of the Russian State from Gostomysl to Timashev,
his best known satires, were being spread across Russia in manuscript,
gaining huge popularity amongst all social strata. According to Mirsky, The Dream is "the acme of Russian humorous poetry, mixing sharp, poignant satire… and pure delight in cheerful absurdity". It's The Dream that can be seen as Aleksey Tolstoy's most solid claim for Immortality", the critic argued, mentioning The Upraise in Vatican as another of his humorous masterpieces. Tolstoy's
anti - leftist, pro-conservative sarcasm, on the other hand, received
much stick from the 'democratic' press. His "Ballad with Tendency" was
bitterly criticised by Saltykov - Schedrin while Iskra magazine parodied it in 1872 with a verse entitled "A Ballad with a Pro-Police Tendency". Schedrin, describing the current state of Russian literature as a "kingdom of scoundrels", in a letter to Aleksey Zhemchuzhnikov wrote:
"Add to all this the fun - and - games - seeking 'free artists' like
Count A.K. Tolstoy who makes... our obscurantists's hearts beat faster
with delight. I don't know about you, but I find it painful to see how
people whom I though honest, even if not very far - seeing, fight on
the side of obscurantism, employing pseudo - folklorism as a weapon". Tolstoy was a master of prose; both his novella The Vampire (praised by Belinsky) and his novel Prince Serebrenny received a lot of good press. The latter, though, was criticised, mainly for
being tendentious; many argued that both the main character and Yelena
Morozova looked very much like people of the XIX, rather than XVI
century. On the other hand, Ivan Grozny and the oprichnina horrors
were depicted with great vividness and passion; the novel's masterfully
built structure, its rich musical languge made it a perfect Walter Scott - type of book for adolescents, according to S. Vengerov. "The novel is highly involving, is being read with great interest, is well - built and well - written", Turgenev wrote, recommending it to a French publisher. For
all of that, as a prose writer A.K. Tolstoy made much less of an
impact than as a poet. He's been credited with being the true classic of
XIX century Russian historical drama. D.S. Mirsky regarded Tolstoy as a dramatist superior to Aleksander Ostrovsky,
describing his plays as "full of intriguing ideas and brilliantly
crafter characters. They impress with intelligence and insight rather
than with flights of imagination, but in Tsar Fyodor Tolstoy managed to create one of the most interesting characters in Russian
literature: that of a kind and weak ruler who's got keen sense for
justice but is unable to make his evil aid implement his good will". Critics
noted, though, that history as such was secondary to Tolstoy; he was
driven mostly by his own personal views and feelings, tending to judge
his XVI century characters with mid XIX century moral values. "The life
of today is seeping through from everywhere", Tolstoy admitted himself,
speaking of his ballads. According to the author, historical drama had
to be "true" only in a "humanist way". "A poet... has just one
responsibility: that before his own poetic self... human truth is his
one law. Historical truth is something he is not bound to. If it fits
into the concept, very good, if not, he can easily do without it", he
wrote. So on the one hand, Tolstoy's dramatic trilogy - The Death of Ivan the Terrible, Tsar Fyodor Ioannovich and Tsar Boris -
was not historical in the strict sense of the word; on the other hand,
it was far from being the brand of "patriotic drama" produced by Nestor Kukolnik or the kind of take on the French tragedie des allusions which Pushkin ridiculed.
In fact, Pushkin's attitude was the closest approximation to that of
A.K. Tolstoy. The latter's plays had their "second planes", directly
corresponding to contemporary political situations, but were driven
mostly by the author's historical views and theories which involved the
glorifying of Russian 'noble men' (he associated with the boyarstvo) and vilified Ivan Grozny whom the boyarstvo had fallen victim to. Pavel Annenkov considered
the Ioann and Fyodor's characters as historically "loose", being
perfectly fine but only in representing their era, not their own
historical selves. "They are as loose as King Lear of Hamlet were
and, if they do belong more to the Russian history than those two
belong to the English one, that is because no other reality other than
that of our Old Russia could have inspired <Tolstoy> in such a
way, bringing him such colours, such essence to freely draw from", the
critic wrote. It was Tolstoy's plays generic closeness to Russia of
old, Annenkov argued, that made them historic in the truest sense of the
word, for "their significance as living testimony to those times and
people's spirit of those times is beyond doubt". Common
for the trilogy was a somewhat morbid look at the history of the
Russian monarchy of the previous three centuries, where, as the author
saw it, all efficient rulers happened to be evil, and all the 'good'
ones proved to be inefficient. Three stories of three different
historical figures, had similarly didactic finales: "God help you, Tsar
Ivan, and God forgive us all. That's the fate autocracy deserved.
Here's the result of our disintegration" (Zakharyin's words over The
Terrible's dead body), "I am to blame for all of this... Oh God, why
did you make me Tzar!" (Tsar Fyodor), "What Evil spawns is only more
evil and nothing more" (Boris Godunov). All three parts of the trilogy,
which, according to Nestor Kotlyarevsky, were "united by the idea of tragedy being intrinsic to Tzarist power in Russia", had
serious problems with the censorship. In fact, the trilogy continued to
divide opinion in Russia up until 1917. Not long before the Revolution, in Aleksandrinka the public reacted to Tsar Boris in
an overtly political fashion. Monarchists applauded Boris Godunov's
words, the left "supported" the boyarin Sitsky, seeing in him a fighter
of despotism. All three plays became part of the repertoire of the leading Russian and Soviet theaters, notably the Maly Theatre, with stars like Ivan Moskvin,
P.Orlenev, C.Kuznetsov and N.Khmelyov in the leading roles. According
to I. Yampolsky, Tolstoy the dramatist, even if not on par with Pushkin,
was high above his contemporaries; he created complex,
multi - dimensional historical figures. "In the arts to be wary of showing
weaknesses in your favourite characters is to pay them bad service...
Thus one can only succeed in creating faceless dummies whom nobody would
believe in", Tolstoy wrote. In the mid XIX century A.K. Tolstoy was not taken very seriously, but his reputation started to grow after his death in 1875. Vladimir Korolenko,
twenty years after the publication of the final part of the drama
trilogy, wrote in a diary that he "re-read it and... despite the obvious
note of romanticisation of the boyarshina" it made upon him a "very
strong and vivid impression". It was Korolenko who called Tsar Fyodor Ioannovich "a
gem of Russian drama", that's been shining especially bright next to
"the totally dismal theater repertoire of the late XIX century". A.K. Tolstoy was highly valued by Aleksander Blok and Valery Bryusov; Ivan Bunin, otherwise harsh in his comments on fellow writers, rated him very high; Velemir Khlebnikov mentioned him among his all time favourites and, most surprisingly (according to Korney Chukovsky), Vladimir Mayakovsky knew
his poetry by heart and often recited it in public. Both A.K.
Tolstoy’s poetry (the larger part of which has been transformed into
classic romance) and his historical drama trilogy are regarded as an
intrinsic part of the classic Russian literature of the XIX century. |