 | Twenty Three Tales — PrefaceBy Leo Tolstoy (1906) |
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| Twenty Three Tales — PrefaceBy Leo Tolstoy (1906) |
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Father of Christian Anarchism
: In 1861, during the second of his European tours, Tolstoy met with Proudhon, with whom he exchanged ideas. Inspired by the encounter, Tolstoy returned to Yasnaya Polyana to found thirteen schools that were the first attempt to implement a practical model of libertarian education. (From: Anarchy Archives.)
• "It is necessary that men should understand things as they are, should call them by their right names, and should know that an army is an instrument for killing, and that the enrollment and management of an army -- the very things which Kings, Emperors, and Presidents occupy themselves with so self-confidently -- is a preparation for murder." (From: "'Thou Shalt Not Kill'," by Leo Tolstoy, August 8,....)
• "Only by recognizing the land as just such an article of common possession as the sun and air will you be able, without bias and justly, to establish the ownership of land among all men, according to any of the existing projects or according to some new project composed or chosen by you in common." (From: "To the Working People," by Leo Tolstoy, Yasnaya P....)
• "You are surprised that soldiers are taught that it is right to kill people in certain cases and in war, while in the books admitted to be holy by those who so teach, there is nothing like such a permission..." (From: "Letter to a Non-Commissioned Officer," by Leo Tol....)
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Preface
This volume is divided into seven parts.
First we have Tales for Children, published about the year 1872, and reminding us of the time when Tolstoy was absorbed in efforts to educate the peasant children. This section of the book contains the two stories which of all that he has written Tolstoy likes best. In What is Art? he claims no place among examples of good art for any of his own productions 'except for the story God sees the Truth, but Waits, which seeks a place in the first class (religious art), and A Prisoner in the Caucasus, which belongs to the second (universal art).' In the first of these the subject (a favorite one with Tolstoy) is the forgiveness of injuries. The second deals with the simplest feelings common to all men: fear and courage, pity, endurance, &c., expressed with that individuality, clearness, and sincerity, which Tolstoy says are the signs of true art.
Part II contains a series of stories written for the people; and among them What Men Live By, probably the most widely circulated of all Tolstoy's tales. It is founded on the oft-repeated legend of an angel sent by God to live for a while among men.
Part III consists of a Fairy Tale, Iván the Fool, which contains in popular form Tolstoy's indictment of militarism and commercialism.
Part IV contains three short stories written to help the sale of cheap reproductions of some good drawings; Tolstoy having for many years been anxious by all means in his power to further the circulation, at a cheap price, of good works of pictorial as well as literary art.
In Part V we have a series of Russian Folk-Tales. The gems of this collection are the temperance story, The Imp and the Crust, the anti-war story, The Empty Drum, and another story, How Much Land does a Man Need? which deals with a peasant's greed for land. A Grain as big as a Hen's Egg and The Godson are highly characteristic of the spirit of the Russian peasantry, and supply a glimpse of the sources from whence Tolstoy imbibed many of his own spiritual sympathies and antipathies.
Part VI gives two adaptations from the French which have appeared in no previous English edition of Tolstoy's works. They are not merely translations, for to some extent Tolstoy when translating them, modified them and made them his own.
Part VII consists of stories Tolstoy contributed in aid of the Jews left destitute after the massacres and outrages in Kishinéf and elsewhere in Russia in 1903,—outrages which were forerunners of the yet more terrible Jewish massacres of 1905.
The importance Tolstoy attributes to literature of the kind contained in this volume, is shown by the following passage in What is Art?—
'The artist of the future will understand that to compose a fairy tale, a little song which will touch, a lullaby or a riddle which will entertain, a jest which will amuse, or to draw a sketch such as will delight dozens of generations or millions of children and adults, is incomparably more important and more fruitful than to compose a novel, or a symphony, or paint a picture, of the kind which diverts some members of the wealthy classes for a short time and is then for ever forgotten. The region of this art of the simplest feelings accessible to all is enormous, and it is as yet almost untouched.'
The sections of the book have been arranged in chronological order. The date when each story was published is given. The translations are new ones; and for the footnotes I am responsible.
AYLMER MAUDE.
From : Wikisource.org
Father of Christian Anarchism
: In 1861, during the second of his European tours, Tolstoy met with Proudhon, with whom he exchanged ideas. Inspired by the encounter, Tolstoy returned to Yasnaya Polyana to found thirteen schools that were the first attempt to implement a practical model of libertarian education. (From: Anarchy Archives.)
• "Only by recognizing the land as just such an article of common possession as the sun and air will you be able, without bias and justly, to establish the ownership of land among all men, according to any of the existing projects or according to some new project composed or chosen by you in common." (From: "To the Working People," by Leo Tolstoy, Yasnaya P....)
• "...the dissemination of the truth in a society based on coercion was always hindered in one and the same manner, namely, those in power, feeling that the recognition of this truth would undermine their position, consciously or sometimes unconsciously perverted it by explanations and additions quite foreign to it, and also opposed it by open violence." (From: "A Letter to a Hindu: The Subjection of India- Its....)
• "People who take part in Government, or work under its direction, may deceive themselves or their sympathizers by making a show of struggling; but those against whom they struggle (the Government) know quite well, by the strength of the resistance experienced, that these people are not really pulling, but are only pretending to." (From: "A Letter to Russian Liberals," by Leo Tolstoy, Au....)
The English Translator of Leo Tolstoy, Louise Maude was born Louise Shanks in Moscow, one of the eight children of James Steuart Shanks, was the founder and director of Shanks & Bolin, Magasin Anglais (English store). Two of Louise's sisters were artists: Mary knew Tolstoy and prepared illustrations for Where Love is, God is, and Emily was a painter and the first woman to become a full member of the Peredvizhniki. Louise married Aylmer Maude in 1884 in an Anglican ceremony at the British vice-consulate in Moscow, and they had five sons, one of them still-born. (From: Wikipedia.org.)
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Aylmer Maude and Louise Maude were English translators of Leo Tolstoy's works, and Aylmer Maude also wrote his friend Tolstoy's biography, The Life of Tolstoy. After living many years in Russia the Maudes spent the rest of their life in England translating Tolstoy's writing and promoting public interest in his work. Aylmer Maude was also involved in a number of early 20th century progressive and idealistic causes. Aylmer Maude was born in Ipswich, the son of a Church of England clergyman, Reverend F.H. Maude, and his wife Lucy, who came from a Quaker background. The family lived near the newly built Holy Trinity Church where Rev. Maude's preaching helped draw a large congregation. A few of the vicar's earlier sermons were published with stirring titles like Nineveh: A Warning to England!, but later he moved from Evangelical Anglicanism towards the Anglo-Catholic Church Union. After boarding at Christ's Hospital from 1868 to 1874, Aylmer went to study at the Moscow... (From: Wikipedia.org.)
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Preface
