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Aleksey Konstantinovich Tolstoy

Count Aleksey Konstantinovich Tolstoy, often referred to as A. K. Tolstoy, was a Russian poet, novelist, and playwright. He is considered to be the most important nineteenth-century Russian historical dramatist, primarily on account of the strength of his dramatic trilogy The Death of Ivan the Terrible (1866), Tsar Fyodor Ioannovich (1868), and Tsar Boris (1870). He also gained fame for his satirical works, published under his own name and under the collaborational pen name of Kozma Prutkov. His fictional works include the novella The Family of the Vourdalak, The Vampire (1841), and the historical novel Prince Serebrenni (1862).

Biography
Early life Alexey Konstantinovich Tolstoy was born in Saint Petersburg to the famed family of Tolstoy. His father, Count Konstantin Petrovich Tolstoy (1780–1870), a son of the army general, was a Russian Assignation Bank councilor. His mother, Anna Alekseyevna Perovskaya (1796–1857), was an illegitimate daughter of Count Aleksey Kirillovich Razumovsky (1748–1822), an heir of the legendary Ukrainian hetman Alexey Razumovsky. A. K. Tolstoy's uncle (on his father's side) was Fyodor Tolstoy (1783–1873). His uncle on his mother's side was Aleksey Perovsky (1787–1836), an author known under the pen name of Antony Pogorelsky. Aleksey Konstantinovich was a second cousin of Leo Tolstoy; Count Pyotr Andreyevich Tolstoy was their common great-grandfather. Remembering those happy years, Aleksey later wrote: In early 1826 Anna Perovskaya returned to Saint Petersburg with her brother and son. Here, due to his mother's closeness with the court of the Tsar, Aleksey was admitted to the future Tsar Alexander II's childhood entourage and in August became what was officially termed "a comrade in games" for the young Crown Prince. Aleksey's duties were not many: he had to visit the Crown Prince in Saint Petersburg and Tsarskoye Selo, take walks with him on Yelagin Island and participate in games, many of which were, in effect, small scale military exercises. In autumn of 1826 Aleksey met Aleksander Pushkin for the first time. In summer 1827 the family visited Germany where in Weimar young Aleksey met Goethe. The great man greeted the boy very warmly and left him a fragment of a mammoth tusk with his own drawing (depicting a frigate) on it, for a present. Aleksey, having been awe-stricken, remembered little: "Only his magnificent features and the way he took me upon his lap," according to his autobiography. The family spent the next ten years in continuous travel, both in Russia and abroad. An 1831 trip to Italy especially impressed the 13-year-old. "Back in Russia I fell into a deep nostalgic depression, longing for Italy which felt like a real motherland; desperately mourning the loss, I cried at night when my dreams carried me off to this Paradise lost," he wrote in his autobiography decades later. Career In 1834 Tolstoy enrolled in the Moscow Foreign Ministry State Archive as a "student", where he got his first taste of working with real historical documents. Tolstoy showed great interest in all things macabre, influenced, again, by his late uncle who "was obsessed with mysticism in every possible form" Tolstoy himself saw the story as insignificant and made no attempt to include it in any of the subsequent compilations; it was only in 1900 that The Vampire was re-issued. In the autumn of 1843 Tolstoy debuted as a poet: his poem "Serebryanka" was published in the No.40 edition of Listok Dlya Svetskikh Lyudey (The Paper for Fashionable People). published in the 1st volume of Count Vladimir Sollogub's Yesterday and Today almanac. The 2nd volume featured Amena, a novella, described as an extract from a novel called Stebelovsky which remained unfinished. Throughout the 1840s Tolstoy led a busy high society life, full of pleasure trips, salon parties and balls, hunting sprees and fleeting romances. He was described as "a handsome young man with blonde hair and a freshly coloured face" and was renowned for his physical strength, "bending spoons, forks and horse-shoes and driving nails into walls with one finger." In the early 1850s, in collaboration with the Zhemchuzhnikov brothers, Tolstoy created the fictional writer Kozma Prutkov, a petty bureaucrat with great self-esteem who parodied the poetry of the day and soon became famous for his utterly banal aphorisms. The Minister of Education Evgraf Kovalevsky personally permitted the publication, his rather daring decision causing a serious rift between the two departments. Tolstoy's poems were appearing in virtually all the major Russian magazines of the time, regardless of their ideological inclinations. Yet, in 1857 his relationship with the leftist Sovremennik group became strained. Tolstoy drifted towards the Slavophiles and their Russkaya Beseda magazine, becoming a close friend of Ivan Aksakov and Aleksey Khomyakov, but this liaison was short-lived too. A fierce opponent of xenophobia, he saw Russia as a European country, and Russians as Europeans. This clashed with the Slavophile doctrine of maintaining Russia's "special place" in the world. "[Speaking] of slavophiles, Khomyakov sickens me when he places [Russia] above the West just on the strength of our being Orthodox," Tolstoy wrote in a letter. This aborted conversation, as it happened, brought to an end a friendship that had lasted for forty years. 1867 saw the release of Poems, the vast collection of Tolstoy's verse (all in all, 131 pieces), the only such compilation published in his lifetime. The Death of Ivan the Terrible, published in 1866 in Otechestvennye Zapiski magazine, was staged the following year in Saint Petersburg, Moscow, and some provincial theaters and enjoyed massive success, but after 1870 was virtually banned and got revived on stage only in the late 1890s. Tsar Fyodor Ioannovich (1868, Vestnik Evropy) was banned from being produced on stage personally by Interior minister Timashev; as late as 1907 censors deemed the play "inappropriate." Tsar Boris (1870, Vestnik Evropy) received no official ban, but the Directorial council of the Imperial Theatres refused to sanction its production. Later life , 1896. Tolstoy was a lenient land-owner, admired by his Krasny Rog peasants who were permitted to use his fields as common pastures and given free timber and primary education for their children in a school he built for them in 1859. In 1861 he personally gathered all of his peasants together, read them the Emancipation reform of 1861 decree, gave money to everybody present and participated in the grandiose drinking spree that followed. Aleksey Konstantinovich Tolstoy died on 28 September 1875, in Krasny Rog, Chernigov Governorate, after having given himself a lethal injection of morphine. He was buried in the family vault in the Uspenskaya Church in Krasny Rog. == Legacy ==
Legacy
Tolstoy represented the later period of Romanticism in Russian literature; art for him was a mystic link between the human world and the higher spheres where "eternal ideas dwell." Along with Afanasy Fet, his artistic and spiritual ally, he saw Art as a higher science, man's only instrument for a true and comprehensive understanding of the world. Romantic tendencies were best realised in Tolstoy's poetry and in some of his dramas, notably Don Juan where the hero is on quest for a romantic ideal, looking everywhere for love "that helps one penetrate into the wonderful universal laws, our world's hidden beginnings," as he put it. "Art can only be a 'means' – all of the 'ends'... it contains in itself," Tolstoy wrote in 1870, in the course of long dispute with those whom he labeled "utilitarianists in literature". Such views automatically made him a "conservative" in the eyes of the revolutionary democrats who formed a large majority in the Russian literary circles of the 1850s and 1860s. Unlike Fet, though, Tolstoy insisted on the artist's total independence from ideology and politics, and felt himself totally free to criticize and mock authorities, a trait that snubbed many people in high places. Another unusual feature of Tolstoy's poems was the fact that, while rather salon-like and graceful both in nature and form, they were full of 'simplistic' bits borrowed freely from common talk and traditional Russian folklore. Kept in perfect balance, these tinged his verse with a peculiar, musical quality. More than half of Tolstoy's poems have been put to music by leading Russian composers like Tchaykovsky, Rimsky-Korsakov, Musorgsky, Mily Balakirev, Cesar Cui, Anton Rubinstein, Sergey Rakhmaninov and others. Assessing Tolstoy's poetry as a whole, D. S. Mirsky wrote: "Even if they suffer from sentimentality and are occasionally banal, his lyrics retain their freshness and even now taste like a delightful morning dew," the critic wrote. Mentioning Nekrasov, who in his latter works created a strong image of the Russian mother, Annensky argued that what Tolstoy managed to create was an equally sublime portrait of the noble woman whose "serene placidity belies unspeakable sadness… of the one who's ashamed of her own happiness fearing that she, making the most of this world's beauty, somehow takes it away from those who have no opportunity to enjoy such riches in abundance." Tolstoy's ballads and songs were close to traditional bylinas both in essence and form; in fact, the author himself made no distinction between the two genres. Critics argued that (unlike, say, Nekrasov) Tolstoy used folklorisms as a mere stylistic instrument, using stories from the history of the Russian Middle Ages as a means to convey his own ideas and theories (Zmei Tugarin), and to link historical utopias with relevant social comment (Boryvoi, Vasily Shibanov). while Iskra magazine parodied it in 1872 with a verse entitled "A Ballad with a Pro-Police Tendency". Shchedrin, describing the current state of Russian literature as a "kingdom of scoundrels", in a letter to Aleksey Zhemchuzhnikov wrote: "Add to all this the fun-and-games-seeking 'free artists' like Count A. K. Tolstoy who makes... our obscurantists' hearts beat faster with delight. I don't know about you, but I find it painful to see how people whom I though honest, even if not very far-seeing, fight on the side of obscurantism, employing pseudo-folklorism as a weapon." Tolstoy was a master of prose; both his novella The Vampire (praised by Vissarion Belinsky) and his novel Prince Serebrenni received a lot of good press. The latter, though, was criticised for being tendentious; many argued that both the main character and Yelena Morozova looked very much like people of the 19th, rather than 16th century. On the other hand, Ivan Grozny and the oprichnina horrors were depicted with great vividness and passion; the novel's masterfully built structure, its rich musical language made it a perfect Walter Scott-type of book for adolescents, according to Vengerov. Still, as a prosaic Tolstoy made much less of an impact than as a poet. He's been lauded as a classic of the 19th century Russian historical drama. So on the one hand, Tolstoy's dramatic trilogy- The Death of Ivan the Terrible, Tsar Fyodor Ioannovich and Tsar Boris- was not historical in the strict sense of the word; on the other hand, it was far from being the brand of "patriotic drama" produced by Nestor Kukolnik or the imitation of the French tragedie des allusions which Aleksander Pushkin ridiculed. In fact, Pushkin's attitude was the closest approximation to that of Tolstoy. The latter's plays had their "second levels", directly corresponding to contemporary political situations, but were driven mostly by the author's historical views and theories which involved the glorifying of Russian "noble men" (he associated them with the boyarstvo) and the vilification Ivan Grozny whom the boyarstvo had fallen victim to. the critic wrote. It was the generic closeness of Tolstoy's plays to the Russia of old, Annenkov argued, that made them historic in the truest sense of the word, for "their significance as living testimony to the spirit those people and their times is beyond doubt". Common to the trilogy was a somewhat morbid look at the history of the Russian monarchy of the previous three centuries, where, as the author saw it, all the efficient rulers happened to be evil, and all the 'good' ones proved to be inefficient. The three stories of three different historical figures had similarly didactic finales: "God help you, Tsar Ivan, and God forgive us all! That's the fate autocracy deserved! Here's the result of our disintegration!" (Zakharyin's words over Ivan the Terrible's dead body), "I am to blame for all of this... Oh God, why did you make me Tsar?!" (Tsar Fyodor), "What Evil spawns is only more evil and nothing else." (Boris Godunov). All three parts of the trilogy, which, according to Nestor Kotlyarevsky, were "united by the idea of tragedy being intrinsic to Tsarist power in Russia," had serious problems with the censorship. The trilogy continued to divide opinion in Russia up until 1917. Not long before the Revolution, in Alexandrinsky Theatre the public reacted to Tsar Boris in an overtly political fashion. Monarchists applauded Boris Godunov's words, the left "supported" boyarin Sitsky, seeing in him a fighter of despotism. In the mid-19th century Tolstoy was not taken very seriously, but his reputation started to grow after his death in 1875. Vladimir Korolenko called Tsar Fyodor Ioannovich "a gem of Russian drama," that's been shining especially bright next to "the totally dismal theater repertoire of the late 19th century". Tolstoy was highly valued by Aleksander Blok and Valery Bryusov; Ivan Bunin, otherwise harsh in his comments on fellow writers, rated him very high; Velemir Khlebnikov mentioned him among his all-time favourites and, most surprisingly (according to Korney Chukovsky), Vladimir Mayakovsky knew his poetry by heart and often recited it in public. Both Tolstoy's poetry (the larger part of which has been transformed into classic romance) and his historical drama trilogy are regarded as an intrinsic part of the classic Russian literature of the 19th century. ==Selected works==
Selected works
DramaDon Juan (Дон Жуан, 1862) • Tsar Boris (Царь Борис, 1870) • Posadnik (Посадник, 1871, published in 1874–1976) • The Alchemist (unfinished, 1867) • History of the Russian State from Gostomysl to Timashev (1868) • Portrait (Портрет, 1872) • Dragon (1875) • The Dream of Councillor Popov (written 1873, first published in 1978, Berlin) ==References==
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