Un cheval est chahuté par ses pairs car il est vieux. Il l'a été par les hommes car il est pie. Car il est différent. Pourtant, il cache un surprenant passé... En donnant la parole à ce cheval, Tolstoï évoque la décrépitude de la vieillesse, et prouve qu'il ne faut pas se fier aux apparences. Deux récits, deux prodiges déchus.

Le Cheval

"Resurrection - III" de Leon Tolstoi. 1873-1877.

Résurrection - III

Excerpt from Physiologie de la Guerre: Napoleon Et la Campagne de RussieD'un autre cote, Napoleon, bien loin de redouter l'extension de sa ligne, ac cueillait avec joie, comme un triomphe, chaque pas en avant, et, contrairement a sa tactique habituelle, nous le voyons dans cette campagne rechercher molle ment la bataille.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Physiologie de la Guerre: Napoléon Et La Campagne de Russie (Classic Reprint)

La Sonate à Kreutzer; Le Bonheur conjugal; Le Diable

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La puissance des ténèbres; drame en cinq actes [par] comte Léon Tolstoï. Traduit par E. Halpérine

"En 1905, alors que le régime tsariste se désagrège et que les soulèvements se multiplient en Russie, la voix de Léon Tolstoï s'élève au-dessus de la mêlée. Ce chrétien excommunié, constamment en butte à la censure, ne s'en prend pas seulement à l'autocratie ; il critique aussi les desseins des révolutionnaires, libéraux ou socialistes. Il accuse les meneurs urbains de tromper le peuple, de conduire les masses paysannes dans une impasse : celle de la modernisation du pays, de son industrialisation et de son occidentalisation rampante. Peu importe la forme du gouvernement, qu'il s'agisse d'une monarchie absolue ou d'une république sociale-démocrate : puisque celui-ci est fondé sur la violence et l'oppression, il doit être combattu en tant que tel. Dans la lignée de Thoreau et de La Boétie, Tolstoï appelle à l'insoumission. Le pouvoir d'une minorité reposant sur la servitude volontaire de chacun, il s'agit de refuser d'obéir, de ne plus participer à un régime tyrannique quel qu'il soit. L'affranchissement des travailleurs ne pourra venir que d'eux-mêmes, quand ils décideront de ne plus servir les puissants, quand ils opteront pour le perfectionnement moral, l'entraide et la vie des champs, enracinés sur un sol soustrait à la propriété foncière. La terre et la liberté, l'autodétermination des paysans dans les communes rurales : tel est l'horizon que défend l'anarchiste russe"

Le Refus d'obéissance. Ecrits sur la révolution

Le réveillon du jeune tsar

This carefully crafted ebook: "Anna Karenina - 2 Classic Unabridged Translations in one eBook (Garnett and Maude translations)" is formatted for your eReader with a functional and detailed table of contents. Widely considered a pinnacle in realist fiction, Tolstoy considered Anna Karenina his first real novel and Dostoevsky declared it to be "flawless as a work of art". His opinion was shared by Vladimir Nabokov, who especially admired "the flawless magic of Tolstoy's style", and by William Faulkner, who described the novel as "the best ever written". The novel is currently enjoying enormous popularity, as demonstrated by a recent poll of 125 contemporary authors by J. Peder Zane, published in 2007 in The Top Ten, which declared that Anna Karenina is the "greatest novel ever written".
Plot: A bachelor, Vronsky is willing to marry her if she would agree to leave her husband Karenin, a government official, but she is vulnerable to the pressures of Russian social norms, her own insecurities and Karenin's indecision. Although Vronsky eventually takes Anna to Europe where they can be together, they have trouble making friends. Back in Russia, she is shunned, becoming further isolated and anxious, while Vronsky pursues his social life. Despite Vronsky's reassurances she grows increasingly possessive and paranoid about his imagined infidelity.
About the Garnett translation: Constance Garnett's translation of Anna  Karenina is still among the best. Some scholars feel that her language  is closer to the 19th-century sense of the original. Garnett translated  seventy volumes of Russian prose for publication, including all of  Dostoyevsky's novels. A friend of Garnett's, D. H. Lawrence, was in awe  of her matter-of-fact endurance, recalling her "sitting out in the  garden turning out reams of her marvelous translations from the Russian.  She would finish a page, and throw it off on a pile on the floor  without looking up, and start a new page. That pile would be this  high--really, almost up to her knees, and all magical."
About the Maude translation: the translation by Aylmer Maude (1858-1938) and Louise Shanks Maude (1855-1939) is highly considered by scholars. This unabridged and annotated translation from the original russian by Louise and Aylmer Maude was originally published in 1918. The Maudes are classical translators of Leo Tolstoy who worked directly with the author and gained his personal endorsement.

Anna Karenina - 2 Classic Unabridged Translations in one eBook (Garnett and Maude translations)

Dernières paroles: La guerre Russo-Japonaise; Les évenements actuels en Russie ; Aux hommes politiques; Du Journal Intime

Histoire d'un pauvre homme; Le père Serge; Lucerne; L'Évasion

Though hundreds of thousands had done their very best to disfigure the small piece of land on which they were crowded together, by paving the ground with stones, scraping away every vestige of vegetation, cutting down the trees, turning away birds and beasts, and filling the air with the smoke of naphtha and coal, still spring was spring, even in the town.

The sun shone warm, the air was balmy; everywhere, where it did not get scraped away, the grass revived and sprang up between the paving-stones as well as on the narrow strips of lawn on the boulevards. The birches, the poplars, and the wild cherry unfolded their gummy and fragrant leaves, the limes were expanding their opening buds; crows, sparrows, and pigeons, filled with the joy of spring, were getting their nests ready; the flies were buzzing along the walls, warmed by the sunshine. All were glad, the plants, the birds, the insects, and the children. But men, grown-up men and women, did not leave off cheating and tormenting themselves and each other. It was not this spring morning men thought sacred and worthy of consideration not the beauty of God's world, given for a joy to all creatures, this beauty which inclines the heart to peace, to harmony, and to love, but only their own devices for enslaving one another.

Resurrection

What is the explanation of the fact that people use things that stupefy them: vódka, wine, beer, hashish, opium, tobacco, and other things. Why did the practice begin? Why has it spread so rapidly, and why is it still spreading among all sorts of people, savage and civilized? How is it that where there is no vódka, wine or beer, we find opium, hashish, and the like, and that tobacco is used everywhere?

Why do people wish to stupefy themselves?

Ask anyone why he began drinking wine and why he now drinks it. He will reply, "Oh, I like it, and everybody drinks, " and he may add, "it cheers me up." Some - those who have never once taken the trouble to consider whether they do well or ill to drink wine - may add that wine is good for the health and adds to one's strength; that is to say, will make a statement long since proved baseless.

Ask a smoker why he began to use tobacco and why he now smokes, and he also will reply: "To while away the time; everybody smokes."

Why Do Men Stupefy Themselves?

Le plan en est simple. Tolstoï commence par résumer les principales thèses esthétiques en vigueur. Puis, il pointe la nouveauté de l’art moderne : avoir dissocié l’art de la beauté. Il s’attaque ensuite aux artistes « pervers » : Baudelaire, Mallarmé et Verlaine, et tempête devant leur hermétisme, leur décadence. Il s’attaque aussi à Wagner, de manière hilarante. Puis, il s’en prend aux critiques et dénonce leur stupidité. Mais sa virulence ne vise pas seulement la modernité. Il maudit aussi les Grecs, pour qui l’art est une « grossièreté » faite pour chanter – horreur ! – la joie de vivre, la force et la beauté. Il s’en prend également aux élites, faisant du Bourdieu avant la lettre, critiquant leur définition étroite de la beauté, cantonnée aux goûts inconscients de leur classe. Il montre l’épuisement au travail des ouvriers pour satisfaire les goûts ridicules de la classe dominante : sa description outrée d’un dialogue d’opéra, irréaliste au possible, est d’une drôlerie forcenée. Enfin, Tolstoï donne sa définition positive de l’art, celle d’une activité placée sous le sceau de l’union, du haut et du bas et des hommes entre eux. Contre la corruption de l’art qu’il exècre, Tolstoï met ses dons de romancier au service d’une esthétique d’inspiration chrétienne et appelle à une rénovation de l’art. Puis, Tolstoï analyse la part spirituelle de l’art, sur laquelle il a décidé de fonder sa doctrine : l’art, pour lui, réside dans la communication d’un sentiment par l’imagination. Il a pour conséquence la transmission et le partage, et sa condition naturelle est la sincérité de l’artiste. Ethique et esthétique marchent ainsi main dans la main. A rebours des esthétiques en forme de systèmes, il est intéressant de lire les thèses d’un grand romancier à propos de l’art. Cela donne une esthétique pour ainsi dire « de l’intérieur » qui aide a mieux comprendre son œuvre. Mais cela donne aussi un court traité extrêmement vivant. Le ton passionné de l’auteur fait rire aux larmes quand il ridiculise ses ennemis, les pédants, les philosophes abscons, et rêver quand il nomme « expériences esthétiques » la peau veloutée d’une femme ou un verre de lait dans la montagne...

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