Lev Tolstoy - Revision history

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	* Entry for 14/26 July 1886, [[Maydanovo]]:		* Entry for 14/26 July 1886, [[Maydanovo]]:
	{{quote\|At ~~breakfast~~ I didn't have any appetite at all. One reason for this was my ill health, but another was that I finally received details about the death of Verinovsky, and this made me weep so much, almost to the point of hysterics, that I just didn't feel like eating. After ~~breakfast~~ I decided to read through Tolstoy's ''The Woodfelling'' and cried again <ref name="note45"/>.}}		{{quote\|At lunch I didn't have any appetite at all. One reason for this was my ill health, but another was that I finally received details about the death of Verinovsky, and this made me weep so much, almost to the point of hysterics, that I just didn't feel like eating. After lunch I decided to read through Tolstoy's ''The Woodfelling'' and cried again <ref name="note45"/>.}}

	* Entry for 20 September/2 October 1886, [[Maydanovo]]:		* Entry for 20 September/2 October 1886, [[Maydanovo]]:

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	==External Links==		==External Links==
	* [[wikipedia:Leo_Tolstoy\|Wikipedia]]		* [[wikipedia:Leo_Tolstoy\|Wikipedia]]
			* {{viaf\|20473541}}

	==Notes and References==		==Notes and References==

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	* '''[[Letter 527]]''' – 24 December 1876/5 January 1877, from [[Moscow]]		* '''[[Letter 527]]''' – 24 December 1876/5 January 1877, from [[Moscow]]

	One letter from Tolstoy to Tchaikovsky, also dating from 1876, is preserved in the [[Klin]] ~~House-Museum Archive~~.		One letter from Tolstoy to Tchaikovsky, also dating from 1876, is preserved in the {{RUS-KLč}} at [[Klin]].

	==General Reflections on Tolstoy==		==General Reflections on Tolstoy==

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Biography

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	In 1862 he married Sonia Andreyevna Behrs (1844–1919), by whom he had thirteen children. Family life, educational and agricultural work, however, could never satisfy him fully, and over the next fifteen years Tolstoy laboured on his greatest novels: ''War and Peace'' (1865–69) and ''Anna Karenina'' (1873–77). A spiritual crisis around 1879 led him to abandon creative writing for a while as he devoted himself to religious and philosophical studies and introspection, culminating in ''A Confession'' (1882), ''What I Believe'' (1884), and later ''The Kingdom of God is Within You'' (1894). In 1881, Tolstoy had moved with his family to [[Moscow]], for the sake of his children's education, but awareness of the hardships suffered by the city's poor and the factory workers pricked his conscience increasingly, leading to a number of pamphlets on social issues. From 1884 onwards he also started writing stories for the people, with a clear Christian message, but also such profound novellas as ''The Death of Ivan Ilyich'' (1884) and ''The Kreutzer Sonata'' (1889), as well as a sombre tragedy of village life, ''The Power of Darkness'' (1886), and his final major novel ''Resurrection'' (1899).		In 1862 he married Sonia Andreyevna Behrs (1844–1919), by whom he had thirteen children. Family life, educational and agricultural work, however, could never satisfy him fully, and over the next fifteen years Tolstoy laboured on his greatest novels: ''War and Peace'' (1865–69) and ''Anna Karenina'' (1873–77). A spiritual crisis around 1879 led him to abandon creative writing for a while as he devoted himself to religious and philosophical studies and introspection, culminating in ''A Confession'' (1882), ''What I Believe'' (1884), and later ''The Kingdom of God is Within You'' (1894). In 1881, Tolstoy had moved with his family to [[Moscow]], for the sake of his children's education, but awareness of the hardships suffered by the city's poor and the factory workers pricked his conscience increasingly, leading to a number of pamphlets on social issues. From 1884 onwards he also started writing stories for the people, with a clear Christian message, but also such profound novellas as ''The Death of Ivan Ilyich'' (1884) and ''The Kreutzer Sonata'' (1889), as well as a sombre tragedy of village life, ''The Power of Darkness'' (1886), and his final major novel ''Resurrection'' (1899).

	Many years of pondering on questions of aesthetics and the place of art in life resulted in the pamphlet ''What is Art?'' (1898), in which Tolstoy attacked most of the recognized authorities of the past, including [[Shakespeare]], [[Goethe]], and [[Beethoven]], for having produced works that were unintelligible to ordinary people, ultimately leading to the decadent 'artists' of the second half of the nineteenth century, particularly [[Wagner]], all of whom, as Tolstoy argued, merely catered to the depraved tastes of an idle social élite. As counter-examples of true Christian art he singled out for praise works by [[Schiller]], Victor Hugo, Dickens, [[George Eliot]], and [[Dostoyevsky]]. The ~~folk songs~~ of all countries were also "true art" in his view since they were inspired by real emotions and could communicate these to others, in contrast to the "artificial" music of [[Beethoven]]'s late period. As for his own literary works, Tolstoy condemned these, too, as the products of youthful vanity and ambition, but in the years that followed he still continued writing fiction, notably the short novel ''Hadji Murat'', which was not published until after his death.		Many years of pondering on questions of aesthetics and the place of art in life resulted in the pamphlet ''What is Art?'' (1898), in which Tolstoy attacked most of the recognized authorities of the past, including [[Shakespeare]], [[Goethe]], and [[Beethoven]], for having produced works that were unintelligible to ordinary people, ultimately leading to the decadent 'artists' of the second half of the nineteenth century, particularly [[Wagner]], all of whom, as Tolstoy argued, merely catered to the depraved tastes of an idle social élite. As counter-examples of true Christian art he singled out for praise works by [[Schiller]], Victor Hugo, Dickens, [[George Eliot]], and [[Dostoyevsky]]. The folksongs of all countries were also "true art" in his view since they were inspired by real emotions and could communicate these to others, in contrast to the "artificial" music of [[Beethoven]]'s late period. As for his own literary works, Tolstoy condemned these, too, as the products of youthful vanity and ambition, but in the years that followed he still continued writing fiction, notably the short novel ''Hadji Murat'', which was not published until after his death.

	During the 1890s Tolstoy's ideas about religion and morality, as well as his rejection of private property and such State institutions as the army, found an increasing number of followers, who became known as the 'Tolstoyans'. Some of them tried to set up their own communities both in Russia and abroad. In 1901, the Holy Synod, headed by [[Konstantin Pobedonostsev]], announced Tolstoy's excommunication from the Orthodox Church, leading to a public outcry in his support. However, Tolstoy's new beliefs were not shared by his long-suffering wife, upon whom there now devolved all responsibility for negotiating with publishers about sales of her husband's works to ensure that their children would be well provided for. Tolstoy suffered some bouts of ill health, which caused him to spend long periods during 1901–02 convalescing in Gaspra, in the Crimea, where he was visited by Maxim Gorky and [[Anton Chekhov]], one of the younger writers of whom Tolstoy was most fond, even though he considered him to be lacking in ethical commitment. Yasnaya Polyana in these years became a centre of pilgrimage for visitors from all over the world who hoped to meet Tolstoy and obtain spiritual guidance. He was generous with his time and received many of them, as well as corresponding with those who were not able to come to Russia.		During the 1890s Tolstoy's ideas about religion and morality, as well as his rejection of private property and such State institutions as the army, found an increasing number of followers, who became known as the 'Tolstoyans'. Some of them tried to set up their own communities both in Russia and abroad. In 1901, the Holy Synod, headed by [[Konstantin Pobedonostsev]], announced Tolstoy's excommunication from the Orthodox Church, leading to a public outcry in his support. However, Tolstoy's new beliefs were not shared by his long-suffering wife, upon whom there now devolved all responsibility for negotiating with publishers about sales of her husband's works to ensure that their children would be well provided for. Tolstoy suffered some bouts of ill health, which caused him to spend long periods during 1901–02 convalescing in Gaspra, in the Crimea, where he was visited by Maxim Gorky and [[Anton Chekhov]], one of the younger writers of whom Tolstoy was most fond, even though he considered him to be lacking in ethical commitment. Yasnaya Polyana in these years became a centre of pilgrimage for visitors from all over the world who hoped to meet Tolstoy and obtain spiritual guidance. He was generous with his time and received many of them, as well as corresponding with those who were not able to come to Russia.

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Tchaikovsky and Tolstoy

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Notes and References

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	<ref name="note31">Quoted partly from {{bib\|1973/112\|Tchaikovsky}} (1973), p. 120. Tchaikovsky is referring to Chapters I–VI in Part 5 of ''Anna Karenina'', in which Tolstoy famously describes Levin's alternation between joy and anguish before his marriage to Kitty, as well as the rites of the Orthodox wedding ceremony.</ref>		<ref name="note31">Quoted partly from {{bib\|1973/112\|Tchaikovsky}} (1973), p. 120. Tchaikovsky is referring to Chapters I–VI in Part 5 of ''Anna Karenina'', in which Tolstoy famously describes Levin's alternation between joy and anguish before his marriage to Kitty, as well as the rites of the Orthodox wedding ceremony.</ref>
	<ref name="note32">Tchaikovsky is referring to Chapter 9 in Book Two, Part 5 of ''War and Peace'', in which Natasha Rostova's impressions while sitting in a box at the opera-house are described. It is one of the most famous examples of Tolstoy's device of presenting things that everyone, according to established conventions, takes for granted as seen through the eyes of someone with the freshness and spontaneity of a child, thereby exposing the falseness of these conventions.</ref>		<ref name="note32">Tchaikovsky is referring to Chapter 9 in Book Two, Part 5 of ''War and Peace'', in which Natasha Rostova's impressions while sitting in a box at the opera-house are described. It is one of the most famous examples of Tolstoy's device of presenting things that everyone, according to established conventions, takes for granted as seen through the eyes of someone with the freshness and spontaneity of a child, thereby exposing the falseness of these conventions.</ref>
	<ref name="note33">On 5/17 May 1886 Tchaikovsky had set sail from [[Constantinople]] and spent six days at sea before reaching [[Marseilles]] on 11/23 May. While onboard the ship he read Paul Bourget's novel ''Un crime d'amour'' (1886) and wrote about it in his diary on 8/20 May 1886: "The ending of '' Bourget's'' novel made me cry." See also {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 57. Paul Bourget (1852–1935), French writer and critic.</ref>		<ref name="note33">On 5/17 May 1886, Tchaikovsky had set sail from [[Constantinople]] and spent six days at sea before reaching [[Marseilles]] on 11/23 May. While onboard the ship he read Paul Bourget's novel ''Un crime d'amour'' (1886) and wrote about it in his diary on 8/20 May 1886: "The ending of '' Bourget's'' novel made me cry." See also {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 57. Paul Bourget (1852–1935), French writer and critic.</ref>
	<ref name="note34">When Tchaikovsky says that Tolstoy's compassion was reserved "not just for the ''insulted and injured''", but extended to all mankind, he is alluding critically to [[Dostoyevsky]], whose 1861 novel ''The Insulted and Injured'' (Униженные и оскорблённые) is full of noble characters who suffer unjustly at the hands of one particularly nasty villain (Tchaikovsky recognized [[Dostoyevsky]]'s genius, but did not like him as a writer). As for that chapter of Tolstoy's in which a card game is described, Tchaikovsky is referring to Chapters 13 and 14 in Book 2, Part 1 of ''War and Peace'', where Nikolay Rostov loses all his money to the reckless Dolokhov and is thrown into despair at the thought of the pain it will cause his parents. (Tchaikovsky also refers to this scene in letter 3966 to [[Grand Duke Konstantin Konstantinovich]], 29 October/10 November 1889, quoted further down). In ''The Power of Darkness'', the 'hero' is a weak-willed young peasant labourer whose mother, Matrena, does not stop at murder to further the prospects of her son.</ref>		<ref name="note34">When Tchaikovsky says that Tolstoy's compassion was reserved "not just for the ''insulted and injured''", but extended to all mankind, he is alluding critically to [[Dostoyevsky]], whose 1861 novel ''The Insulted and Injured'' (Униженные и оскорблённые) is full of noble characters who suffer unjustly at the hands of one particularly nasty villain (Tchaikovsky recognized [[Dostoyevsky]]'s genius, but did not like him as a writer). As for that chapter of Tolstoy's in which a card game is described, Tchaikovsky is referring to Chapters 13 and 14 in Book 2, Part 1 of ''War and Peace'', where Nikolay Rostov loses all his money to the reckless Dolokhov and is thrown into despair at the thought of the pain it will cause his parents. (Tchaikovsky also refers to this scene in letter 3966 to [[Grand Duke Konstantin Konstantinovich]], 29 October/10 November 1889, quoted further down.) In ''The Power of Darkness'', the 'hero' is a weak-willed young peasant labourer whose mother, Matrena, does not stop at murder to further the prospects of her son.</ref>
	<ref name="note35">Again, Tchaikovsky is referring to Chapters 13 and 14 in Book 2, Part 1 of ''War and Peace'' (see letter 3210 to [[Yuliya Shpazhinskaya]], 26 March/7 April 1887 above).</ref>		<ref name="note35">Again, Tchaikovsky is referring to Chapters 13 and 14 in Book 2, Part 1 of ''War and Peace'' (see letter 3210 to [[Yuliya Shpazhinskaya]], 26 March/7 April 1887 above).</ref>
	<ref name="note36">Tchaikovsky is referring to the difficult relationship between old Prince Nikolay Bolkonsky, who has an eccentric and tyrannical character, and his submissive daughter Marie, who at one point, after suffering yet another humiliation from her father, is distressed to find herself secretly wishing for his death. See e.g. Book One, Part 1, Chapter 22; Book One, Part 3, Chapters 3–5; Book Two, Part 3, Chapters 25–26; and Book Two, Part 5, Chapter 2 of ''War and Peace''.</ref>		<ref name="note36">Tchaikovsky is referring to the difficult relationship between old Prince Nikolay Bolkonsky, who has an eccentric and tyrannical character, and his submissive daughter Marie, who at one point, after suffering yet another humiliation from her father, is distressed to find herself secretly wishing for his death. See e.g. Book One, Part 1, Chapter 22; Book One, Part 3, Chapters 3–5; Book Two, Part 3, Chapters 25–26; and Book Two, Part 5, Chapter 2 of ''War and Peace''.</ref>

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Notes and References

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	<ref name="note15">Letter from [[Ivan Turgenev]] to [[Yakov Polonsky]], 30 December 1876/11 January 1877, sent from [[Paris]], in {{und\|И. С. Тургненв. Полное собрание сочинений и писем}} (Leningrad, 1961–68), {{und\|Письма ; том 12/1}}, p. 52. To confirm that it is precisely this which [[Turgenev]] is referring to, it would be necessary to consult [[Polonsky]]'s original letter to him, but it is possible that this may have been lost.</ref>		<ref name="note15">Letter from [[Ivan Turgenev]] to [[Yakov Polonsky]], 30 December 1876/11 January 1877, sent from [[Paris]], in {{und\|И. С. Тургненв. Полное собрание сочинений и писем}} (Leningrad, 1961–68), {{und\|Письма ; том 12/1}}, p. 52. To confirm that it is precisely this which [[Turgenev]] is referring to, it would be necessary to consult [[Polonsky]]'s original letter to him, but it is possible that this may have been lost.</ref>
	<ref name="note16">This point has been made by Eduard Babayev in the introduction to {{bib\|1977/56}} (1977), p. 32. The chapter in question from ''Anna Karenina'' is Chapter 5 in Part Seven (published in the April 1877 issue of the ''Russian Herald'' (Русский вестник)). It is also possible that Tolstoy was thinking of [[Balakirev]]'s incidental music for ''King Lear'' (1860). Whatever the case may be, this chapter contains a brilliant parody of programme music, which suggests that the many fine works which Tchaikovsky wrote in this genre would not have found favour with Tolstoy.</ref>		<ref name="note16">This point has been made by Eduard Babayev in the introduction to {{bib\|1977/56}} (1977), p. 32. The chapter in question from ''Anna Karenina'' is Chapter 5 in Part Seven (published in the April 1877 issue of the ''Russian Herald'' (Русский вестник)). It is also possible that Tolstoy was thinking of [[Balakirev]]'s incidental music for ''King Lear'' (1860). Whatever the case may be, this chapter contains a brilliant parody of programme music, which suggests that the many fine works which Tchaikovsky wrote in this genre would not have found favour with Tolstoy.</ref>
	<ref name="note17">L. N. Tolstoy, ''War and Peace'', transl. by Rosemary Edmonds (London: Penguin, 1957), p.~~5 48~~ (Book 2, Part 3, Chapter 19). These examples are cited by Eduard Babayev in the introduction to {{bib\|1977/56}} (1977), p. 18.</ref>		<ref name="note17">L. N. Tolstoy, ''War and Peace'', transl. by Rosemary Edmonds (London: Penguin, 1957), p. 548 (Book 2, Part 3, Chapter 19). These examples are cited by Eduard Babayev in the introduction to {{bib\|1977/56}} (1977), p. 18.</ref>
	<ref name="note18">Letter 679 to [[Nadezhda von Meck]], 5/17 December 1877.</ref>		<ref name="note18">Letter 679 to [[Nadezhda von Meck]], 5/17 December 1877.</ref>
	<ref name="note19">Quoted in {{bib\|1977/56}} (1977), p. 37.</ref>		<ref name="note19">Quoted in {{bib\|1977/56}} (1977), p. 37.</ref>
	<ref name="note20">See also [[Letter 1258]] to [[Nadezhda von Meck]], 16/28–19/31 August 1879.</ref>		<ref name="note20">See also [[Letter 1258]] to [[Nadezhda von Meck]], 16/28–19/31 August 1879.</ref>
	<ref name="note21">An article by M. S. Blok, {{bib\|1955/4}} ~~analyzes~~ the notes and markings which Tchaikovsky made in the margins of his copy of the book: ''Ma Religion par le comte Léon Tolstoy'' (Paris, 1885), but unfortunately tries to downplay the composer's religious beliefs.</ref>		<ref name="note21">An article by M. S. Blok, {{bib\|1955/4}} analyses the notes and markings which Tchaikovsky made in the margins of his copy of the book: ''Ma Religion par le comte Léon Tolstoy'' (Paris, 1885), but unfortunately tries to downplay the composer's religious beliefs.</ref>
	<ref name="note22">See also {{bib\|1977/56}} (1977).</ref>		<ref name="note22">See also {{bib\|1977/56}} (1977).</ref>
	<ref name="note23">Letter from Lev Tolstoy to his wife, 26 or 27 October/7 or 8 November 1893. Quoted in {{bib\|1977/56}} (1977), p. 149.</ref>		<ref name="note23">Letter from Lev Tolstoy to his wife, 26 or 27 October/7 or 8 November 1893. Quoted in {{bib\|1977/56}} (1977), p. 149.</ref>

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Tchaikovsky and Tolstoy

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	True, on 27 October/8 November 1878 he did write to [[Turgenev]] in [[ Paris]], asking if he could tell him anything about '' [[Yevgeny Onegin]]'', which, as he said, he was "very interested in", but despite [[Turgenev]]'s enthusiastic endorsement of the opera (whose piano score [[Pauline Viardot]] had been playing through) and of Tchaikovsky's talent in general, Tolstoy did not actually trouble himself to attend the premiere of '' [[Onegin]]'' in [[Moscow]] the following year. In fact, Tolstoy only got to know a few fragments of the opera in piano transcription, although at his birthday party in Yasnaya Polyana on 28 August/9 September 1892 he was treated to a performance of Lensky's aria by the tenor [[Nikolay Figner]], who was one of the guests <ref name="note22"/>.		True, on 27 October/8 November 1878 he did write to [[Turgenev]] in [[ Paris]], asking if he could tell him anything about '' [[Yevgeny Onegin]]'', which, as he said, he was "very interested in", but despite [[Turgenev]]'s enthusiastic endorsement of the opera (whose piano score [[Pauline Viardot]] had been playing through) and of Tchaikovsky's talent in general, Tolstoy did not actually trouble himself to attend the premiere of '' [[Onegin]]'' in [[Moscow]] the following year. In fact, Tolstoy only got to know a few fragments of the opera in piano transcription, although at his birthday party in Yasnaya Polyana on 28 August/9 September 1892 he was treated to a performance of Lensky's aria by the tenor [[Nikolay Figner]], who was one of the guests <ref name="note22"/>.

	When he found out about Tchaikovsky's death Tolstoy wrote a letter to his wife which shows that this sad news had affected him considerably: "I feel very sorry for Tchaikovsky — it really is a pity, since there seems to have been some [misunderstanding] between us. I visited him once and invited him here [to Yasnaya Polyana], but he seems to have been offended because I did not attend '' [[Yevgeny Onegin]]''. I feel even sorrier for him as a person with whom everything somehow wasn't quite clear, rather than just as a composer. How quickly it all happened, how simply and naturally, yet unnaturally at the same time, and how it does grieve me" <ref name="note23"/>. Tolstoy also recalled his meetings with Tchaikovsky in conversations with [[Taneyev]] when the latter came to stay in Yasnaya Polyana in the summer of 1895. The gist of one of these conversations is recorded in [[Taneyev]]'s diary: "[Tolstoy] told me how [[Nikolay Rubinstein\|Nikolay Grigoryevich]] had invited him round to hear Pyotr Ilyich's works: the [[First Quartet]] ([[Fitzenhagen]], [[Hřímalý]]). [[Nikolay Rubinstein\|N. G.]] played the D minor prelude by [[Chopin]], which strongly impressed L[ev] N[ikolayevich]. L. N. also paid frequent visits to Pyotr Ilyich, who played him his works: the ''Humoresque'' [No. 2 of the [[Two Pieces, Op. 10]]] etc." <ref name="note24"/>. [[Taneyev]] also showed Tolstoy some of Tchaikovsky's manuscripts which he was in the process of reviewing and preparing for publication. All this confirms that Tolstoy had by no means forgotten the favourable impression which the composer had made on him back in December 1876.		When he found out about Tchaikovsky's death, Tolstoy wrote a letter to his wife which shows that this sad news had affected him considerably: "I feel very sorry for Tchaikovsky — it really is a pity, since there seems to have been some [misunderstanding] between us. I visited him once and invited him here [to Yasnaya Polyana], but he seems to have been offended because I did not attend '' [[Yevgeny Onegin]]''. I feel even sorrier for him as a person with whom everything somehow wasn't quite clear, rather than just as a composer. How quickly it all happened, how simply and naturally, yet unnaturally at the same time, and how it does grieve me" <ref name="note23"/>. Tolstoy also recalled his meetings with Tchaikovsky in conversations with [[Taneyev]] when the latter came to stay in Yasnaya Polyana in the summer of 1895. The gist of one of these conversations is recorded in [[Taneyev]]'s diary: "[Tolstoy] told me how [[Nikolay Rubinstein\|Nikolay Grigoryevich]] had invited him round to hear Pyotr Ilyich's works: the [[First Quartet]] ([[Fitzenhagen]], [[Hřímalý]]). [[Nikolay Rubinstein\|N. G.]] played the D minor prelude by [[Chopin]], which strongly impressed L[ev] N[ikolayevich]. L. N. also paid frequent visits to Pyotr Ilyich, who played him his works: the ''Humoresque'' [No. 2 of the [[Two Pieces, Op. 10]]] etc." <ref name="note24"/>. [[Taneyev]] also showed Tolstoy some of Tchaikovsky's manuscripts which he was in the process of reviewing and preparing for publication. All this confirms that Tolstoy had by no means forgotten the favourable impression which the composer had made on him back in December 1876.

	Nevertheless, this did not prevent Tolstoy from pronouncing some rather harsh criticisms of Tchaikovsky's music over the following years. For example, in a letter to two of his children in March 1894, he reported on how he had heard a performance of a string quartet by Tchaikovsky and commented: "What an obvious artistic falsehood Tchaikovsky is!" <ref name="note25"/>. According to an entry in the diary of the literary historian Vladimir Lazursky, who was staying at Yasnaya Polyana in the summer of 1894, when someone asked Tolstoy what his opinion of Tchaikovsky was, the writer had replied: "Nothing special — he's just one of the average lot" and then added the following: "Look, you take a novel by Walter Scott, or even Dickens, and read it to a peasant — he'll understand it. But take him to listen to a symphony by Tchaikovsky or by [[Brahms]] and company, and all he'll be able to hear is noise" <ref name="note26"/>. These disparaging remarks clearly show the extent to which Tolstoy in these years was judging all works of art according to the criterion that they had to be readily understandable to the toiling peasantry. His misgivings about the Conservatory system and professional orchestras were such that he very rarely attended concerts while in [[Moscow]] and preferred instead to listen to balalaika players and folk singers in the countryside. When he did for once attend a musical soirée in [[Moscow]] in February 1899, it so happened that the vocal section included ''Was I Not a Little Blade of Grass in the Meadow? ''(No. 7 of the [[Seven Romances, Op. 47]]). Tolstoy, however, said that he didn't like the piece and spoke dismissively of "these counterfeit ~~folksongs~~" <ref name="note27"/>.		Nevertheless, this did not prevent Tolstoy from pronouncing some rather harsh criticisms of Tchaikovsky's music over the following years. For example, in a letter to two of his children in March 1894, he reported on how he had heard a performance of a string quartet by Tchaikovsky and commented: "What an obvious artistic falsehood Tchaikovsky is!" <ref name="note25"/>. According to an entry in the diary of the literary historian Vladimir Lazursky, who was staying at Yasnaya Polyana in the summer of 1894, when someone asked Tolstoy what his opinion of Tchaikovsky was, the writer had replied: "Nothing special — he's just one of the average lot" and then added the following: "Look, you take a novel by Walter Scott, or even Dickens, and read it to a peasant — he'll understand it. But take him to listen to a symphony by Tchaikovsky or by [[Brahms]] and company, and all he'll be able to hear is noise" <ref name="note26"/>. These disparaging remarks clearly show the extent to which Tolstoy in these years was judging all works of art according to the criterion that they had to be readily understandable to the toiling peasantry. His misgivings about the Conservatory system and professional orchestras were such that he very rarely attended concerts while in [[Moscow]] and preferred instead to listen to balalaika players and folk singers in the countryside. When he did for once attend a musical soirée in [[Moscow]] in February 1899, it so happened that the vocal section included ''Was I Not a Little Blade of Grass in the Meadow? ''(No. 7 of the [[Seven Romances, Op. 47]]). Tolstoy, however, said that he didn't like the piece and spoke dismissively of "these counterfeit folk songs" <ref name="note27"/>.

	This hostile attitude to Tchaikovsky's music can to some extent be explained by the reservations which Tolstoy had with regard to all professional artists, composers included, since the latter, as he saw it, catered merely for the over-refined palates of a small minority. However, just as [[Beethoven]]'s music continued to move him deeply, in spite of everything he had written against the German composer in ''The Kreutzer Sonata'' and ''What is Art?'', so certain works by Tchaikovsky were exempted from Tolstoy's veto. Thus, in 1910 he heard a violinist play arrangements of various piano pieces, and, as a memoirist noted, "although L[ev] N[ikolayevich] did not like Tchaikovsky, the ''Berceuse'' [No. 2 of the [[Eighteen Pieces, Op. 72]]] and the ''Autumn Song'' [No. 10 of ''[[The Seasons]]''] appealed to him greatly" <ref name="note28"/>. We also know that in September of this last year of his life Tolstoy read with great interest [[Ivan Klimenko]]'s book ''Pyotr Ilyich Tchaikovsky. A Short Biographical Essay'' (''Пётр Ильич Чайковский. Краткий биографический очерк]]'') (Moscow]], 1908). The pianist Aleksandr Goldenveyzer observed the effect which this book had on Tolstoy: "Tchaikovsky's personality elicited Tolstoy's 'full sympathy', but this man's life, so devoid of spiritual content, whose only preoccupations turned on concerts, composing, and the performance of his works, was simply dreadful" <ref name="note29"/>.		This hostile attitude to Tchaikovsky's music can to some extent be explained by the reservations which Tolstoy had with regard to all professional artists, composers included, since the latter, as he saw it, catered merely for the over-refined palates of a small minority. However, just as [[Beethoven]]'s music continued to move him deeply, in spite of everything he had written against the German composer in ''The Kreutzer Sonata'' and ''What is Art?'', so certain works by Tchaikovsky were exempted from Tolstoy's veto. Thus, in 1910 he heard a violinist play arrangements of various piano pieces, and, as a memoirist noted, "although L[ev] N[ikolayevich] did not like Tchaikovsky, the ''Berceuse'' [No. 2 of the [[Eighteen Pieces, Op. 72]]] and the ''Autumn Song'' [No. 10 of ''[[The Seasons]]''] appealed to him greatly" <ref name="note28"/>. We also know that in September of this last year of his life, Tolstoy read with great interest [[Ivan Klimenko]]'s book ''Pyotr Ilyich Tchaikovsky. A Short Biographical Essay'' (''Пётр Ильич Чайковский. Краткий биографический очерк]]'') (Moscow]], 1908). The pianist Aleksandr Goldenveyzer observed the effect which this book had on Tolstoy: "Tchaikovsky's personality elicited Tolstoy's 'full sympathy', but this man's life, so devoid of spiritual content, whose only preoccupations turned on concerts, composing, and the performance of his works, was simply dreadful" <ref name="note29"/>.

	In this so manifestly unfair pigeon-holing of Tchaikovsky as a blinkered professional musician one can sense the same principle at work which led Tolstoy to reproach [[Chekhov]] on many occasions for not seeming to care about the ethical questions which were then troubling him so intensely. A closer acquaintance with the circumstances of Tchaikovsky's life and, in particular, his generous efforts on behalf of others would have shown Tolstoy how wrong he was to arrive at such a conclusion.		In this so manifestly unfair pigeon-holing of Tchaikovsky as a blinkered professional musician one can sense the same principle at work which led Tolstoy to reproach [[Chekhov]] on many occasions for not seeming to care about the ethical questions which were then troubling him so intensely. A closer acquaintance with the circumstances of Tchaikovsky's life and, in particular, his generous efforts on behalf of others would have shown Tolstoy how wrong he was to arrive at such a conclusion.

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Tchaikovsky and Tolstoy

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	Tchaikovsky professed a similar Platonic view of music in a letter of 1877 to [[Nadezhda von Meck]] in which he rejected his benefactress's likening of the effect of music to the intoxication brought on by wine, and stressed that: "Music is not a delusion but a revelation. And its triumphant force lies precisely in the fact that it opens up to us elements of beauty which would be inaccessible to us in any other sphere, and the contemplation of which reconciles us with life not temporarily but forever" <ref name="note18"/>.		Tchaikovsky professed a similar Platonic view of music in a letter of 1877 to [[Nadezhda von Meck]] in which he rejected his benefactress's likening of the effect of music to the intoxication brought on by wine, and stressed that: "Music is not a delusion but a revelation. And its triumphant force lies precisely in the fact that it opens up to us elements of beauty which would be inaccessible to us in any other sphere, and the contemplation of which reconciles us with life not temporarily but forever" <ref name="note18"/>.

	Now Tolstoy also thought a lot about music in the course of his life and attributed its uncannily powerful effect to the fact that music was a "stenography of feelings", as he put it in a letter to his wife in 1905. However, his opinion as to whether this effect was salutary or not could be quite contradictory. More often than not he tended to the view that "music is good because it unites people in one feeling" <ref name="note19"/>, but in his most well-known story about music — ''The Kreutzer Sonata'' (1889) — the central figure's murderous passions and jealousy find themselves amplified in [[Beethoven]]'s famous violin sonata! This story caused a sensation when it was first published and was soon banned by the censors, although this did not prevent it from being circulated widely in manuscript copies: [[Anton Chekhov]] was one of many readers troubled by the questions it raised. Tchaikovsky, however, does not seem to have read this story at all, which is a pity because it would have been interesting to see what he would have made of this new indictment of [[Beethoven]]'s music by Tolstoy. (Significantly, when a violinist asked Tolstoy in 1895 how he could possibly have read such evil passions into the tempestuous, but always noble music of [[Beethoven]]'s sonata, the writer admitted that it was because he had heard it in a poor performance by his son Sergey and another music student!).		Now Tolstoy also thought a lot about music in the course of his life and attributed its uncannily powerful effect to the fact that music was a "stenography of feelings", as he put it in a letter to his wife in 1905. However, his opinion as to whether this effect was salutary or not could be quite contradictory. More often than not he tended to the view that "music is good because it unites people in one feeling" <ref name="note19"/>, but in his most well-known story about music — ''The Kreutzer Sonata'' (1889) — the central figure's murderous passions and jealousy find themselves amplified in [[Beethoven]]'s famous violin sonata! This story caused a sensation when it was first published and was soon banned by the censors, although this did not prevent it from being circulated widely in manuscript copies: [[Anton Chekhov]] was one of many readers troubled by the questions it raised. Tchaikovsky, however, does not seem to have read this story at all, which is a pity because it would have been interesting to see what he would have made of this new indictment of [[Beethoven]]'s music by Tolstoy. (Significantly, when a violinist asked Tolstoy in 1895 how he could possibly have read such evil passions into the tempestuous, but always noble music of [[Beethoven]]'s sonata, the writer admitted that it was because he had heard it in a poor performance by his son Sergey and another music student!)

	In fact, it was not the frequent evocation of music in Tolstoy's works which so endeared them to Tchaikovsky, but rather this writer's unique ability to read the human heart without ever condemning his characters for their weaknesses and faults. In this almost Christ-like view of human nature lay the greatness of Tolstoy, whom Tchaikovsky did not hesitate to call the profoundest genius of all times (see, in particular, letters 3210 and 3966 to [[Yuliya Shpazhinskaya]] and [[Grand Duke Konstantin Konstantinovich]] respectively). This does not mean that he accepted uncritically everything that Tolstoy wrote: when he started reading the first chapters of ''Anna Karenina'' in [[Kamenka]] at the end of the summer of 1877 Tchaikovsky, like many readers (including [[ Turgenev]] and [[Dostoyevsky]]), was dismayed at how Tolstoy could spend so many pages describing the world of high society with its petty interests (see letter 599 to his brother [[Modest]] below). But when he eventually read through the whole novel he was overpowered by the greatness of its conception, just as these other early critics were, too. Similarly, after reading the rather unpleasant play ''The Power of Darkness'' in March 1887 Tchaikovsky attacked Tolstoy's portrayal of what he saw as exaggeratedly negative characters and squalid conditions. It is perhaps significant that at around the same time he was completing his opera ''[[The Enchantress]]'', which also has a rural setting but where the tragedy is of a much more conventional kind!		In fact, it was not the frequent evocation of music in Tolstoy's works which so endeared them to Tchaikovsky, but rather this writer's unique ability to read the human heart without ever condemning his characters for their weaknesses and faults. In this almost Christ-like view of human nature lay the greatness of Tolstoy, whom Tchaikovsky did not hesitate to call the profoundest genius of all times (see, in particular, letters 3210 and 3966 to [[Yuliya Shpazhinskaya]] and [[Grand Duke Konstantin Konstantinovich]] respectively). This does not mean that he accepted uncritically everything that Tolstoy wrote: when he started reading the first chapters of ''Anna Karenina'' in [[Kamenka]] at the end of the summer of 1877, Tchaikovsky, like many readers (including [[ Turgenev]] and [[Dostoyevsky]]), was dismayed at how Tolstoy could spend so many pages describing the world of high society with its petty interests (see letter 599 to his brother [[Modest]] below). But when he eventually read through the whole novel he was overpowered by the greatness of its conception, just as these other early critics were, too. Similarly, after reading the rather unpleasant play ''The Power of Darkness'' in March 1887, Tchaikovsky attacked Tolstoy's portrayal of what he saw as exaggeratedly negative characters and squalid conditions. It is perhaps significant that at around the same time he was completing his opera ''[[The Enchantress]]'', which also has a rural setting but where the tragedy is of a much more conventional kind!

	In spite of these occasional criticisms, however, Tolstoy was one of the few writers whom Tchaikovsky would enjoy re-reading in later years. For example, while staying in [[Simaki]] for the first time in the summer of 1879 he asked [[Nadezhda von Meck]] if she could send him the complete works of Tolstoy (as well as [[Dostoyevsky]]'s and any novel by Dickens which she might have to hand) <ref name="note20"/>. And in the summer of 1886, which the composer spent at [[Maydanovo]], he was able to borrow several volumes of Tolstoy's works from his neighbour [[Nikolay Kondratyev]]: many diary entries from those months reflect his intense reading of Tolstoy, and it seems that of the new works he read then the one which made the strongest impression on him was ''The Death of Ivan Ilyich''. This is not surprising, since this story is illuminated by that profound, but unsentimental compassion with man in his helplessness which Tchaikovsky so admired in Tolstoy. Moreover, unlike those who preferred to steer clear of Tolstoy's writings on religion and morality, Tchaikovsky, whilst lamenting the great writer's sudden "mania for preaching and enlightening" others in a diary entry for 29 June/11 July 1886, nevertheless still studied these works carefully and with great sympathy: in March 1884, for instance, his reading of ''A Confession'' resulted in a letter to [[Nadezhda von Meck]] in which he again reflected on his faith (letter 2454), and during one of his trips abroad he acquired a copy of the French edition of ''What I Believe'' (which had been banned in Russia) and began studying it at [[Frolovskoye]] in January 1889 <ref name="note21"/>.		In spite of these occasional criticisms, however, Tolstoy was one of the few writers whom Tchaikovsky would enjoy re-reading in later years. For example, while staying in [[Simaki]] for the first time in the summer of 1879 he asked [[Nadezhda von Meck]] if she could send him the complete works of Tolstoy (as well as [[Dostoyevsky]]'s and any novel by Dickens which she might have to hand) <ref name="note20"/>. And in the summer of 1886, which the composer spent at [[Maydanovo]], he was able to borrow several volumes of Tolstoy's works from his neighbour [[Nikolay Kondratyev]]: many diary entries from those months reflect his intense reading of Tolstoy, and it seems that of the new works he read then the one which made the strongest impression on him was ''The Death of Ivan Ilyich''. This is not surprising, since this story is illuminated by that profound, but unsentimental compassion with man in his helplessness which Tchaikovsky so admired in Tolstoy. Moreover, unlike those who preferred to steer clear of Tolstoy's writings on religion and morality, Tchaikovsky, whilst lamenting the great writer's sudden "mania for preaching and enlightening" others in a diary entry for 29 June/11 July 1886, nevertheless still studied these works carefully and with great sympathy: in March 1884, for instance, his reading of ''A Confession'' resulted in a letter to [[Nadezhda von Meck]] in which he again reflected on his faith (letter 2454), and during one of his trips abroad he acquired a copy of the French edition of ''What I Believe'' (which had been banned in Russia) and began studying it at [[Frolovskoye]] in January 1889 <ref name="note21"/>.

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Tchaikovsky and Tolstoy

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	{{quote\|If you intend to send [[Nikolay Rubinstein\|Rubinstein]] your portrait [photograph], please do not forget to send one to me, too <ref name="note14"/>.}}		{{quote\|If you intend to send [[Nikolay Rubinstein\|Rubinstein]] your portrait [photograph], please do not forget to send one to me, too <ref name="note14"/>.}}

	Tchaikovsky seems to have told [[Yakov Polonsky]], his librettist for the opera ''[[Vakula the Smith]]'', about the songs which he had received from Tolstoy because in a letter which [[Turgenev]] wrote from [[Paris]] to his good friend [[Polonsky]] just a few days later he seems to be referring to this incident: "I think that Tchaikovsky is exaggerating with regard to L. Tolstoy; but how can one not lament that this man, who is so extraordinarily gifted, is doing precisely what he isn't supposed to do, just as if he had entered into a wager!" <ref name="note15"/>. This was by no means the first occasion that [[Turgenev]] was worried by Tolstoy's reluctance to devote himself fully to creative writing — having seen the younger man take up so many other occupations (agriculture, pedagogical work, theological studies after the spiritual crisis of 1879, and in this case the collection of Russian ~~folksongs~~) [[Turgenev]] would write him a famous letter from his death-bed in 1883, exhorting him to return to his true vocation: literature!		Tchaikovsky seems to have told [[Yakov Polonsky]], his librettist for the opera ''[[Vakula the Smith]]'', about the songs which he had received from Tolstoy because in a letter which [[Turgenev]] wrote from [[Paris]] to his good friend [[Polonsky]] just a few days later he seems to be referring to this incident: "I think that Tchaikovsky is exaggerating with regard to L. Tolstoy; but how can one not lament that this man, who is so extraordinarily gifted, is doing precisely what he isn't supposed to do, just as if he had entered into a wager!" <ref name="note15"/>. This was by no means the first occasion that [[Turgenev]] was worried by Tolstoy's reluctance to devote himself fully to creative writing — having seen the younger man take up so many other occupations (agriculture, pedagogical work, theological studies after the spiritual crisis of 1879, and in this case the collection of Russian folk songs), [[Turgenev]] would write him a famous letter from his death-bed in 1883, exhorting him to return to his true vocation: literature!

	Tchaikovsky does not seem to have made use of the songs which Tolstoy sent him, and, in spite of what he professed in his letter to him, he did not subsequently make any effort to renew his acquaintance with the great writer. We do know, however, that Tolstoy liked the [[First Symphony]], and it has been suggested that the copy of '' [[The Tempest]]'' which Tchaikovsky also presented him with may have given him the idea for the Shakespearean orchestral fantasia ''King Lear on the Heath'' which Levin in ''Anna Karenina'' goes to hear at a concert in [[Moscow]], and which leaves Tolstoy's hero so perplexed! <ref name="note16"/>.		Tchaikovsky does not seem to have made use of the songs which Tolstoy sent him, and, in spite of what he professed in his letter to him, he did not subsequently make any effort to renew his acquaintance with the great writer. We do know, however, that Tolstoy liked the [[First Symphony]], and it has been suggested that the copy of '' [[The Tempest]]'' which Tchaikovsky also presented him with may have given him the idea for the Shakespearean orchestral fantasia ''King Lear on the Heath'' which Levin in ''Anna Karenina'' goes to hear at a concert in [[Moscow]], and which leaves Tolstoy's hero so perplexed! <ref name="note16"/>.

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	<ref name="note15">Letter from [[Ivan Turgenev]] to [[Yakov Polonsky]], 30 December 1876/11 January 1877, sent from [[Paris]], in {{und\|И. С. Тургненв. Полное собрание сочинений и писем}} (Leningrad, 1961–68), {{und\|Письма ; том 12/1}}, p. 52. To confirm that it is precisely this which [[Turgenev]] is referring to, it would be necessary to consult [[Polonsky]]'s original letter to him, but it is possible that this may have been lost.</ref>		<ref name="note15">Letter from [[Ivan Turgenev]] to [[Yakov Polonsky]], 30 December 1876/11 January 1877, sent from [[Paris]], in {{und\|И. С. Тургненв. Полное собрание сочинений и писем}} (Leningrad, 1961–68), {{und\|Письма ; том 12/1}}, p. 52. To confirm that it is precisely this which [[Turgenev]] is referring to, it would be necessary to consult [[Polonsky]]'s original letter to him, but it is possible that this may have been lost.</ref>
	<ref name="note16">This point has been made by Eduard Babayev in the introduction to {{bib\|1977/56}} (1977), p. 32. The chapter in question from ''Anna Karenina'' is Chapter 5 in Part Seven (published in the April 1877 issue of the ''Russian Herald'' (Русский вестник)). It is also possible that Tolstoy was thinking of [[Balakirev]]'s incidental music for ''King Lear'' (1860). Whatever the case may be, this chapter contains a brilliant parody of programme music, which suggests that the many fine works which Tchaikovsky wrote in this genre would not have found favour with Tolstoy.</ref>		<ref name="note16">This point has been made by Eduard Babayev in the introduction to {{bib\|1977/56}} (1977), p. 32. The chapter in question from ''Anna Karenina'' is Chapter 5 in Part Seven (published in the April 1877 issue of the ''Russian Herald'' (Русский вестник)). It is also possible that Tolstoy was thinking of [[Balakirev]]'s incidental music for ''King Lear'' (1860). Whatever the case may be, this chapter contains a brilliant parody of programme music, which suggests that the many fine works which Tchaikovsky wrote in this genre would not have found favour with Tolstoy.</ref>
	<ref name="note17">L. N. Tolstoy, ''War and Peace'', transl. by Rosemary Edmonds (London: Penguin, 1957), p.~~5 48~~ (Book 2, Part 3, Chapter 19). These examples are cited by Eduard Babayev in the introduction to {{bib\|1977/56}} (1977), p. 18.</ref>		<ref name="note17">L. N. Tolstoy, ''War and Peace'', transl. by Rosemary Edmonds (London: Penguin, 1957), p. 548 (Book 2, Part 3, Chapter 19). These examples are cited by Eduard Babayev in the introduction to {{bib\|1977/56}} (1977), p. 18.</ref>
	<ref name="note18">Letter 679 to [[Nadezhda von Meck]], 5/17 December 1877.</ref>		<ref name="note18">Letter 679 to [[Nadezhda von Meck]], 5/17 December 1877.</ref>
	<ref name="note19">Quoted in {{bib\|1977/56}} (1977), p. 37.</ref>		<ref name="note19">Quoted in {{bib\|1977/56}} (1977), p. 37.</ref>
	<ref name="note20">See also [[Letter 1258]] to [[Nadezhda von Meck]], 16/28–19/31 August 1879.</ref>		<ref name="note20">See also [[Letter 1258]] to [[Nadezhda von Meck]], 16/28–19/31 August 1879.</ref>
	<ref name="note21">An article by M. S. Blok, {{bib\|1955/4}} ~~analyzes~~ the notes and markings which Tchaikovsky made in the margins of his copy of the book: ''Ma Religion par le comte Léon Tolstoy'' (Paris, 1885), but unfortunately tries to downplay the composer's religious beliefs.</ref>		<ref name="note21">An article by M. S. Blok, {{bib\|1955/4}} analyses the notes and markings which Tchaikovsky made in the margins of his copy of the book: ''Ma Religion par le comte Léon Tolstoy'' (Paris, 1885), but unfortunately tries to downplay the composer's religious beliefs.</ref>
	<ref name="note22">See also {{bib\|1977/56}} (1977).</ref>		<ref name="note22">See also {{bib\|1977/56}} (1977).</ref>
	<ref name="note23">Letter from Lev Tolstoy to his wife, 26 or 27 October/7 or 8 November 1893. Quoted in {{bib\|1977/56}} (1977), p. 149.</ref>		<ref name="note23">Letter from Lev Tolstoy to his wife, 26 or 27 October/7 or 8 November 1893. Quoted in {{bib\|1977/56}} (1977), p. 149.</ref>