russian scribblers

Aleksandr Sergeyevich Pushkin (Russian: Алекса́ндр Сергеевич Пушкин, pronounced [lksandr srejevt pkn] ( listen)) (June 6 [O.S. May 26] 1799–February 10 [O.S. January 29] 1837) was a Russian author of the Romantic era[1] who is considered by many to be the greatest Russian poet and the founder of modern Russian literature.[6][7] Pushkin pioneered the use of vernacular speech in his poems and plays, creating a style of storytelling—mixing drama, romance, and satire—associated with Russian literature ever since and greatly influencing later Russian writers. He also wrote historical fiction. His Marie: A Story of Russian Love provides insight into Russia during the reign of Catherine the Great.

Born in Moscow, Russia, Pushkin published his first poem at the age of fifteen, and was widely recognized by the literary establishment by the time of his graduation from the Imperial Lyceum in Tsarskoye Selo. Pushkin gradually became committed to social reform and emerged as a spokesman for literary radicals; in the early 1820s he clashed with the government, which sent him into exile in southern Russia. While under the strict surveillance of government censors and unable to travel or publish at will, he wrote his most famous play, the drama Boris Godunov, but could not publish it until years later. His novel in verse, Eugene Onegin, was published serially from 1825 to 1832.

Pushkin and his wife Natalya Goncharova, whom he married in 1831, later became regulars of court society. In 1837, while falling into greater and greater debt amidst rumors that his wife had started conducting a scandalous affair, Pushkin challenged her alleged lover, Georges d'Anthès, to a duel. Pushkin was mortally wounded and died two days later.

Because of his political views and influence on generations of Russian rebels, Pushkin was portrayed by Bolsheviks as an opponent to bourgeois literature and culture and a predecessor of Soviet literature and poetry. In 1937, the town of Tsarskoe Selo was renamed Pushkin in his honor.

Great-Grandson] of Abram Petrovich Gannibal, Aleksandr Pushkin is considered by some to be the best-known and high-profiled African-Russian.

Pushkin's father Sergei Lvovich Pushkin (1767–1848) descended from a distinguished family of the Russian nobility which traced its ancestry back to the 12th century. Pushkin's mother Nadezhda (Nadja) Ossipovna Hannibal (1775–1836) descended through her paternal grandmother from German and Scandinavian nobility. She was the daughter of Ossip Abramovich Gannibal (1744–1807) and his wife Maria Aleksejevna Pushkina (1745 - 1818). Ossip Abramovich Gannibal's father, i.e., Pushkin's great-grandfather, was Abram Petrovich Gannibal (1696 - 1781), an African page raised by Peter the Great who was born in Lagon, Ethiopia. After education in France as a military engineer, Abram Gannibal became governor of Reval and eventually General-en-Chef for the building of sea forts and canals in Russia.

Born in Moscow, Pushkin published his first poem at the age of fifteen. By the time he finished as part of the first graduating class of the prestigious Imperial Lyceum in Tsarskoe Selo near Saint Petersburg, the Russian literary scene recognized his talent widely. After finishing school, Pushkin installed himself in the vibrant and raucous intellectual youth culture of the capital, Saint Petersburg. In 1820 he published his first long poem, Ruslan and Lyudmila, amidst much controversy about its subject and style.

Pushkin gradually became committed to social reform and emerged as a spokesman for literary radicals. This angered the government, and led to his transfer from the capital (1820). He went to the Caucasus and to the Crimea, then to Kamenka and Chisinau, where he became a Freemason. Here he joined the Filiki Eteria, a secret organization whose purpose was to overthrow the Ottoman rule over Greece and establish an independent Greek state. He was inspired by the Greek Revolution and when the war against the Ottoman Turks broke out he kept a diary with the events of the great national uprising. He stayed in Chisinau until 1823 and wrote there two Romantic poems which brought him wide acclaim, The Captive of the Caucasus and The Fountain of Bakhchisaray. In 1823 Pushkin moved to Odessa, where he again clashed with the government, which sent him into exile at his mother's rural estate in Mikhailovskoe (near Pskov) from 1824 to 1826. However, some of the authorities allowed him to visit Tsar Nicholas I to petition for his release, which he obtained. But some of the insurgents in the Decembrist Uprising (1825) in Saint Petersburg had kept some of his early political poems amongst their papers, and soon Pushkin found himself under the strict control of government censors and unable to travel or publish at will. He had written what became his most famous play, the drama Boris Godunov, while at his mother's estate but could not gain permission to publish it until five years later. The drama's original, uncensored version would not receive a premiere until 2007.

In 1831, highlighting the growth of Pushkin's talent and influence and the merging of two of Russia's greatest early writers, he met Nikolai Gogol. After reading Gogol's 1831–2 volume of short stories Evenings on a Farm near Dikanka, Pushkin would support him critically and later in 1836 after starting his magazine, The Contemporary, would feature some of Gogol's most famous short stories. Later, Pushkin and his wife Natalya Goncharova, whom he married in 1831, became regulars of court society. When the Tsar gave Pushkin the lowest court title, the poet became enraged: he felt this occurred not only so that his wife, who had many admirers—including the Tsar himself—could properly attend court balls, but also to humiliate him. In 1837, falling into greater and greater debt amidst rumors that his wife had started conducting a scandalous affair, Pushkin challenged her alleged lover, his brother in-law Georges d'Anthès, to a duel which left both men injured, Pushkin mortally. He died two days later. His last home is a museum now.

The government feared a political demonstration at his funeral, which it moved to a smaller location and made open only to close relatives and friends. His body was spirited away secretly at midnight and buried on his mother's estate.

Pushkin had four children from his marriage to Natalya: Maria (b. 1832, touted as a prototype of Anna Karenina), Alexander (b. 1833), Grigory (b. 1835), and Natalya (b. 1836) the last of whom married, morganatically, into the royal house of Nassau to Nikolaus Wilhelm of Nassau and became the Countess of Merenberg.

Critics consider many of his works masterpieces, such as the poem The Bronze Horseman and the drama The Stone Guest, a tale of the fall of Don Juan. His poetic short drama "Mozart and Salieri" was the inspiration for Peter Shaffer's Amadeus. Pushkin himself preferred his verse novel Eugene Onegin, which he wrote over the course of his life and which, starting a tradition of great Russian novels, follows a few central characters but varies widely in tone and focus. "Onegin" is a work of such complexity that, while only about a hundred pages long, translator Vladimir Nabokov needed two full volumes of material to fully render its meaning in English. Because of this difficulty in translation, Pushkin's verse remains largely unknown to English readers. Even so, Pushkin has profoundly influenced western writers like Henry James.

Pushkin's works also provided fertile ground for Russian composers. Glinka's Ruslan and Lyudmila is the earliest important Pushkin-inspired opera, and a landmark in the tradition of Russian music. Tchaikovsky's operas Eugene Onegin (1879) and The Queen of Spades (1890) became perhaps better known outside of Russia than Pushkin's own works of the same name, while Mussorgsky's monumental Boris Godunov (two versions, 1868-9 and 1871-2) ranks as one of the very finest and most original of Russian operas. Other Russian operas based on Pushkin include Dargomyzhsky's Rusalka and The Stone Guest; Rimsky-Korsakov's Mozart and Salieri, Tale of Tsar Saltan, and The Golden Cockerel; Cui's Prisoner of the Caucasus, Feast in Time of Plague, and The Captain's Daughter; Tchaikovsky's Mazeppa; Rachmaninov's one-act operas Aleko (based on The Gypsies) and The Miserly Knight; Stravinsky's Mavra, and Nápravník's Dubrovsky. This is not to mention ballets and cantatas, as well as innumerable songs set to Pushkin's verse. Suppé, Leoncavallo and Malipiero, among non-Russian composers, have based operas on his works.

Increased attention has also been given to Pushkin's apparent anti-Semitism, as well as that of other nineteenth-century Russian writers, Fyodor Dostoevsky and Nikolai Gogol.

Although Pushkin is considered the central representative of The Age of Romanticism in Russian literature, he can't be labelled unequivocally as a Romantic: Russian critics have traditionally argued that his works represent a path from neo-Classicism through Romanticism to Realism, while an alternative assessment suggests that "he had an ability to entertain contrarities which may seem Romantic in origin, but is ultimately subversive of all fixed points of view, all single outlooks, including the Romantic" and that "he is simultaneously Romantic and not Romantic

Alexander Pushkin is usually credited with developing Russian literature. Not only is he seen as having originated the highly nuanced level of language which characterizes Russian literature after him, but he is also credited with substantially augmenting the Russian lexicon. Where he found gaps in the Russian vocabulary, he devised calques. His rich vocabulary and highly sensitive style are the foundation for modern Russian literature. Russian literature virtually begins with Alexander Pushkin. His talent set up new records for development of the Russian language and culture. He became the father of Russian literature in 19th century, marking the highest achievements of 18th century and the beginning of literary process of 19th century. Alexander Pushkin introduced Russia to all the European literary genres as well as a great number of West European writers. He brought natural speech and foreign influences to create modern poetic Russian. Though his life was brief, he left examples of nearly every literary genre of his day: lyric poetry, narrative poetry, the novel, the short story, the drama, the critical essay, and even the personal letter. Pushkin's work as a journalist marked the birth of the Russian magazine culture, including him devising and contributing heavily to one of the most influential literary magazines of 19th century, the Sovremennik (The Contemporary, or Современник). From him derive the folk tales and genre pieces of other authors: Esenin, Leskov and Gorky. His use of Russian language formed the basis of the style of novelists Ivan Turgenev, Ivan Goncharov, and Leo Tolstoy. Pushkin was recognized by Nikolai Vasilyevich Gogol, his successor and pupil, the great Russian critic Vissarion Grigoryevich Belinsky, who produced the fullest and deepest critical study of Pushkin's work, which still retains much of its relevance. Alexander Pushkin became an inseparable part of the literary world of the Russian people. He also exerted a profound influence on other aspects of Russian culture, most notably in opera. Translated into all the major languages, his works are regarded both as expressing most completely Russian national consciousness and as transcending national barriers. Pushkin’s intelligence, sharpness of his opinion, his devotion to poetry, realistic thinking and incredible historical and political intuition make him one of the greatest Russian national geniuses.

Russian Scribblers

Irène Némirovsky (February 11, 1903, Kiev – August 17, 1942) was a novelist who died at the age of 39 in Auschwitz, Nazi Germany occupied Poland. She was killed by the Nazis for being classified as a Jew under the racial laws, which did not take into account her conversion to Roman Catholicism.

Irène Némirovsky was the daughter of a banker from Kiev, Léon Némirovsky. Her volatile and unhappy relationship with her mother became the heart of many of her novels.

The Némirovsky family fled Russian Empire at the start of the Russian Revolution in 1917, spending a year in Finland in 1918 and then settling in Paris, France, where Irène attended the Sorbonne and started writing when she was 18 years old.

In 1926, Irène Némirovsky married Michel Epstein, a banker, and had two daughters: Denise, born in 1929; and Élisabeth, in 1937.

In 1929 she published David Golder, the story of a Jewish banker unable to please his troubled daughter, which was an immediate success, and was adapted to the big screen by Julien Duvivier in 1930, with Harry Baur as David Golder. In 1930 her novel Le Bal, the story of a mistreated daughter and the revenge of a teenager, became a play and a movie.

The David Golder manuscript was sent by post to the Grasset publisher with a Poste restante address and signed Epstein. H. Muller, a reader for Grasset immediately tried to find the author but couldn't get hold of him/her. Grasset put an ad in the newspapers hoping to find the author, but the author was "busy": she was having her first child, Denise. When Irène finally showed up as the author of David Golder, the unverified story is that the publisher was surprised that such a young woman was able to write such a powerful book.

Although she was widely recognized as a major author -- even by some anti-semitic writers like Robert Brasillach -- French citizenship was denied to the Némirovskys in 1938.

Irène Némirovsky was of Russian-Jewish origin, but converted to Catholicism in 1939 and wrote in Candide and Gringoire, two magazines with anti-semitic tendencies, perhaps partly to hide the family's Jewish origins and thereby protect their children from growing anti-Semitic persecution.

By 1940, Némirovsky's husband was unable to continue working at the bank—and Irène's books could no longer be published—because of their Jewish ancestry. Upon the Nazis' approach to Paris, they fled with their two daughters to the village of Issy-l'Evêque (the Némirovskys initially sent them to live with their nanny's family in Burgundy while staying on in Paris themselves; they had already lost their Russian home and refused to lose their home in France), where Némirovsky was required to wear the Yellow badge.

On July 13, 1942, Irène Némirovsky (then 39) was arrested as a "stateless person of Jewish descent" by French police under the regulations of the German occupation. As she was being taken away, she told her daughters, "I am going on a journey now." She was brought to a convoy assembly camp at Pithiviers and on July 17 together with 928 other Jewish deportees transported to German concentration camp Auschwitz. Upon her arrival there two days later, her forearm was marked with an identification number. According to official papers at the time, she died a month later of typhus. Subsequent records revealed that Irène was actually gassed there by the Nazis.

Her husband was sent to Auschwitz shortly thereafter and immediately put to death in a gas chamber.

Némirovsky is now best known as the author of the unfinished Suite Française (Denoël, France, 2004, ISBN 2207256456; translation by Sandra Smith, Knopf, 2006, ISBN 1400044731), two novellas portraying life in France between June 4, 1940 and July 1, 1941, the period during which the Nazis occupied Paris. These works are considered remarkable because they were written during the actual period itself, and yet are the product of considered reflection, rather than just a journal of events, as might be expected considering the personal turmoil experienced by the author at the time.

Némirovsky's older daughter, Denise, kept the notebook containing the manuscript for Suite Française for fifty years without reading it, thinking it was a journal or diary of her mother's, which would be too painful to read. In the late 1990s, however, she made arrangements to donate her mother's papers to a French archive and decided to examine the notebook first. Upon discovering what it contained, she instead had it published in France, where it became a bestseller in 2004. It has since been translated into 38 languages and as of 2008, sold 2.5 million copies.

The original manuscript has been given to the Institut mémoires de l'édition contemporaine (IMEC), and the novel has won the Prix Renaudot—the first time the prize has been awarded posthumously.

Némirovsky's surviving notes sketch a general outline of a story arc that was intended to include the two existing novellas, as well as three more to take place later during the war and at its end. She wrote that the rest of the work was "in limbo, and what limbo! It's really in the lap of the gods since it depends on what happens."

In a January 2006 interview with the BBC, her daughter, Denise, said, "For me, the greatest joy is knowing that the book is being read. It is an extraordinary feeling to have brought my mother back to life. It shows that the Nazis did not truly succeed in killing her. It is not vengeance, but it is a victory."

Several reviewers and commentators have raised questions regarding Némirovsky's attitude toward Jews, her generally negative depiction of Jews in her writing and her use of anti-semitic publications in advancing her career. A review of her work published in The New Republic states:

Némirovsky was the very definition of a self-hating Jew. Does that sound too strong? Well, here is a Jewish writer who owed her success in France entre deux guerres in no small measure to her ability to pander to the forces of reaction, to the fascist right. Némirovsky's stories of corrupt Jews – some of them even have hooked noses, no less! – appeared in right-wing periodicals and won her the friendship of her editors, many of whom held positions of power in extreme-right political circles. When the racial laws in 1940 and 1941 cut off her ability to publish, she turned to those connections to seek special favors for herself, and even went so far as to write a personal plea to Marshal Pétain.

Myriam Anissimov's introduction to the French edition of Suite Française describes Némirovsky as a "self-hating Jew", due to the fact that Némirovsky's own situation as a Jew in France is not at all seen in the work. The paragraph was omitted from the English edition.

In 2007 another novel by Némirovsky was published from surviving manuscripts. Irène gave some of the manuscript to her husband, Michel Epstein; the rest was in the suitcase entrusted to her daughter Denise. The two matched up to form her last work, Fire in the Blood, a tale of country folk in the Burgundy village of Issy L'Eveque, based upon a village where Némirovsky and her family found temporary refuge whilst hiding from the Nazis.

Works published during the author's life

L'Enfant génial (Éditions Fayard, 1927), was renamed by the publisher L'enfant prodige in 1992 with the approval of Némirovsky's daughters, because the French term génial had become a teenager word like awesome and sounded funny.

David Golder (Éditions Grasset, 1929)

Le Bal (Éditions Grasset, 1930)

Le malentendu (Éditions Fayard, 1930)

Les Mouches d'automne (Éditions Grasset, 1931)

L'Affaire Courilof (Éditions Grasset, 1933)

Le Pion sur l'échiquier (Éditions Albin Michel, 1934)

Films parlés (Éditions Nouvelle Revue Française, 1934)

Le Vin de solitude (Éditions Albin Michel, 1935)

Jézabel (Éditions Albin Michel, 1936) [published in the U.S. as A Modern Jezebel by Henry Holt & Co., 1937]

La Proie (Éditions Albin Michel, 1938)

Deux (Éditions Albin Michel, 1939)

Le maître des âmes (Revue Gringoire, 1939, published as weekly episodes)

Les Chiens et les loups (Éditions Albin Michel, 1940)

Works published posthumously

Works published posthumously

La Vie de Tchekhov (Éditions Albin Michel, 1946)

Les Biens de ce monde (Éditions Albin Michel, 1947)

Les Feux de l'automne (Éditions Albin Michel, 1957)

Dimanche (short stories) (Éditions Stock, 2000)

Destinées et autres nouvelles (Éditions Sables, 2004)

Suite Française (Éditions Denoël, 2004) Winner of the Renaudot prize 2004. English translation by Sandra Smith published in Great Britain by Chatto & Windus, 2004, and in the U.S. by Alfred A. Knopf, 2006.

Le maître des âmes (Éditions Denoël, 2005)

Chaleur du sang (Warmth of Blood) (Editions Denoël, 2007)

Leo Tolstoy, or Count Lev Nikolayevich Tolstoy (Russian: Лев Никола́евич Толстой , Russian pronunciation: September 9 [O.S. August 28] 1828 – November 20 [O.S. November 7] 1910), was a Russian writer widely regarded as among the greatest of novelists. His masterpieces War and Peace and Anna Karenina represent in their scope, breadth and vivid depiction of 19th-century Russian life and attitudes, the peak of realist fiction.

Tolstoy's further talents as essayist, dramatist, and educational reformer made him the most influential member of the aristocratic Tolstoy family. His literal interpretation of the ethical teachings of Jesus, centering on the Sermon on the Mount, caused him in later life to become a fervent Christian anarchist and pacifist. His ideas on nonviolent resistance, expressed in such works as The Kingdom of God Is Within You, were to have a profound impact on such pivotal twentieth-century figures as Gandhi and Martin Luther King, Jr.

Tolstoy was born in Yasnaya Polyana, the family estate in the Tula region of Russia. The Tolstoys were a well-known family of old Russian nobility; he was connected to the grandest of Russian aristocracy.

He was the fourth of five children of Countess Mariya Tolstaya (Volkonskaya). Tolstoy's parents died when he was young, so he and his siblings were brought up by relatives. In 1844, he began studying law and oriental languages at Kazan University. His teachers described him as "both unable and unwilling to learn." Tolstoy left university in the middle of his studies, returned to Yasnaya Polyana and then spent much of his time in Moscow and Saint Petersburg. In 1851, after running up heavy gambling debts, he went with his elder brother to the Caucasus and joined the army. Around this time, he started writing.

His conversion from a dissolute and privileged society author to the non-violent and spiritual anarchist of his latter days was brought about by two trips around Europe in 1857 and 1860–61, a period when many liberal-leaning Russian aristocrats escaped the stifling political repression in Russia; others who followed the same path were Alexander Herzen, Mikhail Bakunin, and Peter Kropotkin. During his 1857 visit, Tolstoy witnessed a public execution in Paris, a traumatic experience that would mark the rest of his life. Writing in a letter to his friend V. P. Botkin:

The truth is that the State is a conspiracy designed not only to exploit, but above all to corrupt its citizens ... Henceforth, I shall never serve any government anywhere.

His European trip in 1860–61 shaped both his political and literary transformation when he met Victor Hugo, whose literary talents Tolstoy praised after reading Hugo's newly finished Les Miserables. A comparison of Hugo's novel and Tolstoy's War and Peace shows the influence of the evocation of its battle scenes. Tolstoy's political philosophy was also influenced by a March 1861 visit to French anarchist Pierre-Joseph Proudhon, then living in exile under an assumed name in Brussels. Apart from reviewing Proudhon's forthcoming publication, La Guerre et la

Paix, whose title Tolstoy would borrow for his masterpiece, the two men discussed education, as Tolstoy wrote in his educational notebooks:

If I recount this conversation with Proudhon, it is to show that, in my personal experience, he was the only man who understood the significance of education and of the printing press in our time.

Fired by enthusiasm, Tolstoy returned to Yasnaya Polyana and founded thirteen schools for his serfs' children, based on ground-breaking libertarian principles Tolstoy described in his 1862 essay "The School at Yasnaya Polyana". Tolstoy's educational experiments were short-lived due to harassment by the Tsarist secret police, but as a direct forerunner to A. S. Neill's Summerhill School, the school at Yasnaya Polyana can justifiably be claimed to be the first example of a coherent theory of libertarian education.

On 23 September 1862, Tolstoy married Sophia Andreevna Bers, the daughter of a court physician, who was 16 years his junior. (Sonya, the Russian dimunitive of Sofya, is the name that was used by her family and friends)[2] They had thirteen children, five of whom died during childhood. The marriage was marked from the outset by sexual passion and emotional insensitivity when Tolstoy, on the eve of their marriage, gave her his diaries detailing his extensive sexual past and the fact that one of the serfs on his estate had borne him a son. Even so, their early married life was ostensibly happy and allowed Tolstoy much freedom to compose the literary masterpieces War and Peace and Anna Karenina with Sonya acting as his secretary, proof-reader and financial manager. [2] However, their later life together has been described by A. N. Wilson as one of the unhappiest in literary history. His relationship with his wife deteriorated as his beliefs became increasingly radical and he sought to reject his inherited and earned wealth, including the renunciation of the copyrights on his earlier works.

Tolstoy is one of the giants of Russian literature. His most famous works include the novels War and Peace and Anna Karenina and novellas such as Hadji Murad and The Death of Ivan Ilyich.

His contemporaries paid him lofty tributes. Dostoevsky thought him the greatest of all living novelists, while Flaubert exclaimed, "What an artist and what a psychologist!". Chekhov, who often visited Tolstoy at his country estate, wrote, "When literature possesses a Tolstoy, it is easy and pleasant to be a writer; even when you know you have achieved nothing yourself and are still achieving nothing, this is not as terrible as it might otherwise be, because Tolstoy achieves for everyone. What he does serves to justify all the hopes and aspirations invested in literature."

Later critics and novelists continue to bear testament to Tolstoy's art. Virginia Woolf declared him the greatest of all novelists. James Joyce noted that, "He is never dull, never stupid, never tired, never pedantic, never theatrical!". Thomas Mann wrote of Tolstoy's seemingly guileless artistry: "Seldom did art work so much like nature". Such sentiments were shared by the likes of Proust, Faulkner and Nabokov. The latter heaped superlatives upon The Death of Ivan Ilyich and Anna Karenina; he questioned, however, the reputation of War and Peace, and sharply criticized Resurrection and The Kreutzer Sonata.

Tolstoy's earliest works, the autobiographical novels Childhood, Boyhood, and Youth (1852–1856), tell of a rich landowner's son and his slow realization of the chasm between himself and his peasants. Though he later rejected them as sentimental, a great deal of Tolstoy's own life is revealed. They retain their relevance as accounts of the universal story of growing up.

Tolstoy served as a second lieutenant in an artillery regiment during the Crimean War, recounted in his Sevastapol Sketches. His experiences in battle helped stir his subsequent pacifism and gave him material for realistic depiction of war's horrors in his later work.[citation needed].

His fiction consistently attempts to convey realistically the Russian society in which he lived.[citation needed]. The Cossacks (1863) describes the Cossack life and people through a story of a Russian aristocrat in love with a Cossack girl. Anna Karenina (1877) tells parallel stories of an adulterous woman trapped by the conventions and falsities of society and of a philosophical landowner (much like Tolstoy), who works alongside the peasants in the fields and seeks to reform their lives.

Tolstoy not only drew from his experience of life but created characters in his own image, such as Pierre Bezukhov and Prince Andrei in War and Peace, Levin in Anna Karenina and to some extent, Prince Nekhlyudov in Resurrection.

War and Peace is generally thought to be one of the greatest novels ever written, remarkable for its breadth and unity. Its vast canvas includes 580 characters, many historical, others fictional. The story moves from family life to the headquarters of Napoleon, from the court of Alexander I of Russia to the battlefields of Austerlitz and Borodino. Tolstoy's original idea for the novel was to investigate the causes of the Decembrist revolt, to which it refers only in the last chapters, from which can be deduced that Andrei Bolkonski's son will become one of the Decembrists. The novel explores Tolstoy's theory of history, and in particular the insignificance of individuals such as Napoleon and Alexander. Somewhat surprisingly, Tolstoy did not consider War and Peace to be a novel (nor did he consider many of the great Russian fictions written at that time to be novels). This view becomes less surprising if one considers that Tolstoy was a novelist of the realist school who considered the novel to be a framework for the examination of social and political issues in nineteenth-century life.[citation needed]. War and Peace (which is to Tolstoy really an epic in prose) therefore did not qualify. Tolstoy thought that Anna Karenina was his first true novel.

After Anna Karenina, Tolstoy concentrated on Christian themes, and his later novels such as The Death of Ivan Ilyich (1886) and What Is to Be Done? develop a radical anarcho-pacifist Christian philosophy which led to his excommunication from the Russian Orthodox Church in 1901.[citation needed]

For all the praise showered on Anna Karenina and War and Peace, Tolstoy rejected the two works later in his life as something not as true of reality.. Such an argument is supported in The Death of Ivan Ilyich, whose main character continually battles with his family and servants, demanding honesty above the water and food needed to sustain him.

Tolstoy's Christian beliefs centered on the Sermon on the Mount, particularly the injunction to turn the other cheek, which he saw as a justification for pacifism, nonviolence and nonresistance. Various versions of "Tolstoy's Bible" have been published, indicating the passages Tolstoy most relied on, specifically, the reported words of Jesus himself.olstoy believed being a Christian required him to be a pacifist; the consequences of being a pacifist, and the apparently inevitable waging of war by government, made him a philosophical anarchist.

Tolstoy believed that a true Christian could find lasting happiness by striving for inner self-perfection through following the Great Commandment of loving one's neighbor and God rather than looking outward to the Church or state for guidance and meaning. His belief in nonresistance (nonviolence) when faced by conflict is another distinct attribute of his philosophy based on Christ's teachings. By directly influencing Mahatma Gandhi with this idea through his work The Kingdom of God is Within You (full text of English translation available on Wikisource), Tolstoy has had a huge influence on the nonviolent resistance movement to this day. He believed that the aristocracy were a burden on the poor, and that the only solution to how we live together is through anarchism. He also opposed private property and the institution of marriage and valued the ideals of chastity and sexual abstinence (discussed in Father Sergius and his preface to The Kreutzer Sonata), ideals also held by the young Gandhi. Tolstoy's later work is often criticised as being overly didactic and patchily written, but derives a passion and verve from the depth of his austere moral views.The sequence of the temptation of Sergius in Father Sergius, for example, is among his later triumphs. Gorky relates how Tolstoy once read this passage before himself and Chekhov and that Tolstoy was moved to tears by the end of the reading. Other later passages of rare power include the crises of self faced by the protagonists of The Death of Ivan Ilyich and Master and Man, where the main character in the former or the reader in the latter is made aware of the foolishness of the protagonists' lives.

Tolstoy had a profound influence on the development of anarchist thought. The Tolstoyans were a small Christian anarchist group formed by Tolstoy's companion, Vladimir Chertkov (1854–1936), in order to spread Tolstoy's religious teachings. Prince Peter Kropotkin wrote of Tolstoy in the article on anarchism in the 1911 Encyclopædia Britannica:

Without naming himself an anarchist, Leo Tolstoy, like his predecessors in the popular religious movements of the fifteenth and sixteenth centuries, Chojecki, Denk and many others, took the anarchist position as regards the state and property rights, deducing his conclusions from the general spirit of the teachings of Jesus and from the necessary dictates of reason. With all the might of his talent he made (especially in The Kingdom of God is Within You) a powerful criticism of the church, the state and law altogether, and especially of the present property laws. He describes the state as the domination of the wicked ones, supported by brutal force. Robbers, he says, are far less dangerous than a well-organized government. He makes a searching criticism of the prejudices which are current now concerning the benefits conferred upon men by the church, the state and the existing distribution of property, and from the teachings of Jesus he deduces the rule of non-resistance and the absolute condemnation of all wars. His religious arguments are, however, so well combined with arguments borrowed from a dispassionate observation of the present evils, that the anarchist portions of his works appeal to the religious and the non-religious reader alike.

In hundreds of essays over the last twenty years of his life, Tolstoy reiterated the anarchist critique of the State and recommended books by Kropotkin and Proudhon to his readers, whilst rejecting anarchism's espousal of violent revolutionary means, writing in the 1900 essay, "On Anarchy":

The Anarchists are right in everything; in the negation of the existing order, and in the assertion that, without Authority, there could not be worse violence than that of Authority under existing conditions. They are mistaken only in thinking that Anarchy can be instituted by a revolution. But it will be instituted only by there being more and more people who do not require the protection of governmental power ... There can be only one permanent revolution – a moral one: the regeneration of the inner man.

Despite his misgivings about anarchist violence, Tolstoy took risks to circulate the prohibited publications of anarchist thinkers in Russia, and corrected the proofs of Kropotkin's "Words of a Rebel", illegally published in St Petersburg in 1906.

A letter Tolstoy wrote in 1908 to an Indian newspaper entitled "A Letter to a Hindu" resulted in intense correspondence with Mohandas Gandhi, who was in South Africa at the time and was beginning to become an activist. Reading The Kingdom of God is Within You had convinced Gandhi to abandon violence and espouse nonviolent resistance, a debt Gandhi acknowledged in his autobiography, calling Tolstoy "the greatest apostle of non-violence that the present age has produced". The correspondence between Tolstoy and Gandhi would only last a year, from October 1909 until Tolstoy's death in November 1910, but led Gandhi to give the name the Tolstoy Colony to his second ashram in South Africa. Besides non-violent resistance, the two men shared a common belief in the merits of vegetarianism, the subject of several of Tolstoy's essays. Along with his growing idealism, Tolstoy also became a major supporter of the Esperanto movement. Tolstoy was impressed by the pacifist beliefs of the Doukhobors and brought their persecution to the attention of the international community, after they burned their weapons in peaceful protest in 1895. He aided the Doukhobors in migrating to Canada

In 1904, during the Russo-Japanese War, Tolstoy condemned the war and wrote to the Japanese Buddhist priest Soyen Shaku in a failed attempt to make a joint pacifist statement.

Tolstoy was a wealthy member of the Russian nobility. He came to believe that he was undeserving of his inherited wealth, and was renowned among the peasantry for his generosity. He would frequently return to his country estate with vagrants whom he felt needed a helping hand, and would often dispense large sums of money to street beggars while on trips to the city, much to his wife's chagrin

Tolstoy died of pneumonia[citation needed] at Astapovo station in 1910 after leaving home in the middle of winter at the age of 82. His death came only days after gathering the nerve to abandon his family and wealth[citation needed] and take up the path of a wandering ascetic;a path that he had agonized over pursuing for decades. He had not been at the peak of health before leaving home, his wife and daughters were all actively engaged in caring for him daily. He had been speaking and writing of his own death in the days preceding his departure from home, but fell ill at the train station not far from home. The station master took Tolstoy to his apartment, where his personal doctors were called to the scene. He was given injections of morphine and camphor. The police tried to limit access to his funeral procession, but thousands of peasants lined the streets at his funeral. Still, some peasants were heard to say that, other than knowing that "some nobleman had died," they knew little else about Tolstoy.

On September 11, 2009, the Rostov District Court pronounced the expression of Leo Tolstoy, : “I convinced myself that the doctrine of the [Russian Orthodox] church was in theory a cunning and harmful deceit, and in practice a collection of the grossest superstitions and sorcery, which completely conceals the whole meaning of the Christian teaching.” as an expression forming negative relation to the Russian Orthodox Church and, based on this, the article in Awake! magazine (February 22, 2000), including this expression, was pronounced as an “extremist material”.

The experts pronounced Tolstoy “an opponent of the Russian Orthodoxy”.

On December 8, 2009, the Supreme Court of the Russian Federation considered the appeal of a local congregation of Jehovah’s Witnesses and upheld the Rostov District Court ruling to pronounce this piece of educational religious literature “extremist.” The Supreme Court dismissed the congregation’s appeal

During his life, Tolstoy came to the conclusion that William Shakespeare was a bad dramatist and not a true artist at all. Tolstoy explained his views in a critical essay on Shakespeare written in 1903.

I remember the astonishment I felt when I first read Shakespeare. I expected to receive a powerful esthetic pleasure, but having read, one after the other, works regarded as his best: "King Lear", "Romeo and Juliet", "Hamlet" and "Macbeth," not only did I feel no delight, but I felt an irresistible repulsion and tedium...

Several times I read the dramas and the comedies and historical plays, and I invariably underwent the same feelings: repulsion, weariness, and bewilderment. At the present time, before writing this preface, being desirous once more to test myself, I have, as an old man of seventy-five, again read the whole of Shakespeare, including the historical plays, the "Henrys," "Troilus and Cressida," the "Tempest," "Cymbeline," and I have felt, with even greater force, the same feelings,—this time, however, not of bewilderment, but of firm, indubitable conviction that the unquestionable glory of a great genius which Shakespeare enjoys, and which compels writers of our time to imitate him and readers and spectators to discover in him non-existent merits,—thereby distorting their esthetic and ethical understanding,—is a great evil, as is every untruth.

Tolstoy on Shakespeare. 1906.

Understanding that his conclusions contradict popular opinion, Tolstoy supported his opinion by detailed analysis of King Lear.

George Orwell wrote a well-known response to this: Lear, Tolstoy and the Fool.

2010 movie based on Tolstoy's final year, The Last Station, was made by director Michael Hoffman with Christopher Plummer as Tolstoy and Helen Mirren as Sofya Tolstoya. They have been nominated for Oscars for their roles respectfully. There have been other films about the writer, including Departure of a Grand Old Man, made in 1912 just two years after his death, How Fine, How Fresh the Roses Were (1913), and Leo Tolstoy, directed by and starring Sergei Gerasimov in 1984.