Identifier: dramaitshistoryl18lond (find matches)
Title: The Drama; its history, literature and influence on civilization
Year: 1903 (1900s)
Authors:
Subjects: Drama -- History and criticism Plots (Drama, novel, etc.) English drama -- Translations from foreign literature Greek drama Latin drama Oriental literature Italian drama Spanish drama
Publisher: London : The Athenian Society
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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it is not necessary to disturb onesself. His views are akin to those shown in the oldGreek plays, in which the faults and afflictions of theheroes are recognized as only the results of the im-mutable will of the gods. After his own fashion Tol-stoi is a fatalist. An older member of the Tolstoi family. Count AlexisConstantinovich, born at St. Petersburg in 1817, wasof literary note. He entered the diplomatic service,and took part in the Crimean war as a volunteer. After-ward he held a high position at court until his death in1875. He had no sympathy with his cousins religiousand social views, but was a typical Russian nobleman.His chief literary work was the dramatic trilogy TheDeath of Ivan the Terrihle, Tsar Fedor Ivanovich andTsar Boris. They relate to that striking period of Rus-sian history which has already been described in con-nection with Pushkins dramas. To the same periodbelongs his single novel. Prince Serhrianyi. Anotherof his dramas is on the familiar subject of Don Juan.
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The appearance of Tn/sfnis Anna Kai■^Jli f<^^ greeted icith applause from one end ojRussia to the other. From the culpable but lofty heartsof the trvo lovers, Karenina and Vronsky, the authordraivs the most p:nverful lesson from their moral tor-ment. ■LV.W! ./AA.7/?)7:7;\; / kARENINA•ir^uialpainting by I). EtcJieiarv ANNA KARENfNA. 145 Ills ballads and lyric poems arc highly esteemed inKussia. 3nna lEtarenma. The appearance of Anna Karenina, in 187Y, wasgreeted with applause from one end of Russia to theother. It proved to be the most popular of Tolstoisworks. The romance is the history of an adulterousamour, and the climax of the amour is suicide. Butthis suicide is not to be considered as a moral penalty,nor a species of divine judgment; for the author seemsto have wished to forestall sucb interpretation of hisnarrative. There are in the romance other criminalymours, and it is without any sign of punishment thatthe wholly immoral relationship between the princessBetsy and h

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