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Resurrection (Transaction Large Print Books)

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In 'Resurrection', Tolstoy states that "people live and act partly according to their own ideas, and partly because they are influenced by the ideas of others. The extent to which they do the one or the other is one of the chief things that differentiate men."

Nekhlyudov, the protagonist of the novel, acted according to the influence of others, ten years prior to the setting of the novel. Scheduled to join the Russian army shortly, he believes himself entitled to a life of squander and debauchery, of loose morals, and even looser sense of responsibility, according to his pledge of his life to the cause of the army. If he is willing, and very likely, to die for his country, then the country owes him. Such was the sense of entitlement common in the mind of Russian men at the time. Following this belief, Nekhlyudov finds himself seducing young Katusha, and bedding her, on the eve of his departure. He abadons Katusha after succumbing to the lust he feels for her, and leaves her to whatever life brings, without a second thought.

Ten years later, Nekhlyudov has that second thought, when he and Katusha are reunited, on opposite sides of the law. Katusha stands accused of robbing and poisoning a 'client,' as her life has led her to prostitution. Nekhlyudov sits on the jury that will decide her fate. When a guilty verdict is returned, and Katusha is sentenced to hard labor in Siberia, Nekhlyudov experiences a life-changing sense of guilt in the situation, believing that if he had not given into his animal desires with this girl, she never would have experienced such a downward spiral in life, and now he must make this up to her, by whatever means necessary, even if it means abandoning his life of priviledge and following the girl to Siberia, and marrying her, to right the wrong he did to her all those years ago.

What follows is a journey of self-discovery for Nekhlyudov, as he learns some of life's most valuable lessons. (1) You can't ever go home again (2) Money cannot buy happiness, and (3) You cannot save someone unless they wish to be saved.

Nekhlyudov fails to see anything but the girl he knew so long ago, still the same Katusha, but in unfortunate circumstances. With romantically idealistic eyes, he watches her in the courtroom, not realizing that perhaps she has grown in the past ten years, and perhaps she has reason for entering into a life of prostitution. Katusha herself explains to him that men, above all else, want the pleasure of the flesh and look upon her favorably enough that she can provide them with this simple pleasure. She sees it as fortunate for her that she is possessed of the good looks and slim figure to invite their lustful looks, and if she can provide this service and make a living at it, why not? Not exactly what you would expect 'the girl next door' to think.

Sickened at the thought of Katusha having been led by him into such an existence, Nekhlyudov rejects the lifestyle of excess and grandeur that he leads, and becomes disgusted with his circle of contemporaries, and the lack of substance their lives entail. He embarks on a quest to be the savior of the unfortunate, taking details of convicts to the courts and begging them to reconsider the circumstances. He feels that, had all of these people had a better, more priviledged existance, perhaps they would have turned out very differently, and not have commited the crimes that put them in their present surroundings. Eventually, he realizes that everyone makes their own choices in life, rich or poor, and must accept the consequences of their actions.

Throughout his desire to avail himself of Katusha's forgiveness and redeem himself for his past transgressions, Nekhlyudov turns a deaf ear time and again, as she tells him that what has befallen her is her own doing, and not his responsibility, and to leave her to it, and get on with his own life. Desperate to turn her life around, and save Katusha, Nekhlyudov overlooks the fact that Katusha herself has accepted her plight, and feels that the sentence she has been given is deserved.

This is a wonderful read, never slow or plodding, occasionally becoming a grand commentary on the state of prisons in Russia in the late 1800's, as well as a vivid portrait of the lives of the lower classes, and a wonderful commentary on Communist beliefs in Russia at the end of the 19th century.

The book ends.....very justly. There is no grand-scale Hollywood ending for Tolstoy, at least not here. The feeling one might walk away with is that though things did not end the way you might hope for...they ended exactly as they should....This was my first foray into Tolstoy, and will not be my last. I highly recommend this novel to anyone interested in a glimpse into the mind and convictions of a brilliant author.

When the prostitute Maslova stands accused of murder, Prince Nekhlyudov must serve on the jury at her trial. He recognizes Maslova as the innocent young girl he, himself, once loved, seduced and then, cruelly abandoned. What follows is a mature panorama of Russian life, shot through with spiritual intensity.

The chief themes of Resurrection are the basic themes inherent in all art: love, passion and death, but Tolstoy treats them with such a burning sincerity and unique vitality that they seem almost as fresh and pure as newly fallen snow.

Resurrection is the great imaginative synthesis of Tolstoyism, ripe with the fruits of a lifetime of agony and questioning. In Resurrection, Tolstoy takes aim at the underworld of nineteenth-century Russian life: the legal and penal systems and, above all, the Church.

In the central figure of Nekhlyudov, Tolstoy has created the last of his great self-portraits. In Nekhlyudov he expresses his own deepest aspirations, his own views on every aspect of human existence.

The theme of this book is not new to Tolstoy. The fallen man and his decidedly non-Christian process of regeneration has been explored by this author before, but this time he presents it in an entirely different perspective.

In Resurrection, Tolstoy sets out to produce the artistic rendition of the resurrection of a fallen man. Since he, himself, does not recognize the Christian concept of resurrection, it is Nekhlyudov's regeneration that he describes instead.

Nekhlyudov's life, however, had been one long regeneration after another. Inherited wealth has enabled him to change one lifestyle for another the minute one set of ideals was supplanted by another. A diletannte extraordinaire, Nekhlyudov's life is akin to an unfinished painting, so that when he recognizes Maslova in the witness box he is ripe for another "purging of the soul," as he terms his periodic reappraisals.

And, each time, Nekhlyudov, charts his new course in life with "tears of tender emotion at his own goodness," and vows that this course and this course only, is the one and only true direction in life.

Superficially, the Nekhlyudov's of this world are the ones who are perceived to care for their fellow men, grieve with them and right their wrongs. However, when their mood changes and one inspiration is replaced with something new, all that they had sympathized with is easily forgotten and no longer affects them. This is pointed out beautifully in Resurrection when Maslova, recognizing Nekhlyudov's superficiality, refuses to take advantage of the pardon obtained for her; she would rather marry Simonson and follow him to the mines.

Nekhlyudov is so thoroughly preoccupied with the search for a new "cause" that the sight of several hundred prisoners suffering in their cells, the dead body of a consumptive to whom he had grown "particularly fond," and other horrors straight out of Dante's Inferno, fail to even make an impression on him. He doesn't even wonder how Maslova will survive the punishment she does not deserve and of which he, himself, is the cause.

The technique employed in Resurrection equals Tolstoy's great epics (including Anna Karenina and War and Peace) but actually covers more ground since the essence of a lifetime of suffering and thought and spiritual change is packed into its pages.

Tolstoy's concern in Resurrection is with the "grave, noble face of truth," and he compels us to look at what is bad in society and attempts to inflict upon us the desire to make the necessary improvements.

The same exuberant writing style employed in War and Peace thirty years earlier can be seen in Resurrection, however, there is one great difference. Where Tolstoy's earlier novels shifted their focus from one hero to the other, Resurrection follows Nekhlyudov step by step, barely letting him out of its sight. Other characters have validity only in so far as they affect the protagonist.

From a psychological standpoint, Resurrection is perfect. In order to know a character, Tolstoy studies him in all his aspects. We see, not a moment in time, but the accumulated expression of an entire lifetime. The most clear-seeing of all writers, Tolstoy's genius allows us to see not only an overview but the minute manifestations that make up everyday life: the ill-fitting clothes of a peasant, the crooked limp, the squinting eyes. His vision, as always, goes beyond the ordinary to encompass the transcendent.

Resurrection is the perfect title for any book dealing with Russian life. The Russian Christian, more than any other, has been preoccupied with the search for, and the idea of, immortality. For the Russian mystic (and most Russians contain something of the mystic) morals are thoroughly grounded in the faith in eternal life.

In Resurrection, Tolstoy voices his own conflicts with the Church, conflicts that he numbered as being among the most bitter in his life as he searched for the source of absolute truth. He confined his quest to the ethical plane, however, and when confronted with resurrection or death, he, of course, chose death, having been formally excommunicated from the Church by a decree dated 22 February 1901.

Resurrection is the expression of a mature Tolstoy, one whose search allowed him no indifference, no sparing of himself. As such, it is a book that transcends mere literary masterpiece and aspires to something higher. Something most people would term art is its purest form.

Tolstoy's last major novel differs from his earlier work. While in War and Peace or Anna Karenina the characters came face to face with the imponderable issues of life--the "big questions"--those novels did not dwell exclusively on the problems of evil, salvation and the challenges of redemption in the way that Resurrection does. Resurrection presents us with an intensely introspective, guilt-ridden protagonist hunting that most elusive prize: spiritual salvation, or even its lesser consolation: a little peace of mind. The reader is treated to finely drawn characters and an intense sense of place, of social milieu, and of the dilemma of finding personal justice in a deeply unjust world. Although the work is anything but comic, it has an intensely comic passage about the problem in making reparations to people who cannot imagine that one would give up one's property to do so. If you love the complexity of Tolstoy, and you do not mind a book that looks deeply within a character, you'll love Resurrection. It is interesting to contrast the theme of personal guilt in this work with its treatment in Crime and Punishment, and this book holds particular interest if you wish to compare the worldviews of the novels of Tolstoy with those of Dostoevsky.

Tolstoy's last major novel summarizes his personal philosophy. Nekhludov finds himself approaching middle age burdened by guilt. Ten years ago, he seduced the serving girl, Maslova. Maslova's shame degenerated to prostitution. After Maslova is unjustly condemned for murder, Nekhludov decides to intervene on her behalf. He seeks to make amends for his sin and his privileged life by an idealistic binge that manages to miss the point. Through Nekhludov's quest for personal redemption, the reader learns the hypocrisy of Old Russia. Russian society, of course, symbolizes all societies in all eras that wage the eternal struggle. According to Tolstoy, the solution is not idealistic extremes, but the practice of true spiritual love. One on one with the world around us. True religion, as articulated by Christ, that transcends the limited scope of the blatant self-interest of the organized church, political parties, social engineering, and legal maneuvering.

The novel is a grim portrait of the suffering of the poor, in spirit and in fact. Readers who recall the grand historical scope of "War and Peace" and the poignant personal drama of "Anna Karenina" will be struck by the modest presentation of this book. The plot development is minimal, and mainly consists of Nekhludov's interventions on Maslova's behalf with a variety of legal, military, and political persons. This privileged structure, contrasted with the suffering of the prison inmates, leaves a deep impression. Tolstoy's goal is spiritual maturity, and not revolutionary incitement. He writes graphically and realistically of the world. This novel was banned for a time in Edwardian England. It is an eloquent albeit modest summary to Tolstoy's career as a thinker.

This is the best translation, and the only to capture the exquisite beauty of the first paragraph, one of the greatest ever put down.
"No matter that men in their hundreds of thousands disfigured the land on which they swarmed, paved the ground with stones so that no green thing could grow, filled the air with fumes of coal and gas, lopped back all the trees, and drove away every animal and every bird: spring was still spring, even in the town. The sun shone warmly, the grass came to life again and showed itself wherever it was not scraped away, between the paving stones as well as on the lawns in the boulevards; the birches, the wild cherries, and the poplars unfolded their sticky and fragrant leaves, the swelling buds were bursting on the lime trees; the jackdaws, the sparrows, and the pigeons were happy and busy over their nests, and the flies, warmed by the sunshine, hummed gaily along the walls. Plants, birds, insects, and children rejoiced. But men, adult men, never ceased to cheat and harass their fellows and themselves. What men considered sacred and important was not the spring morning, not the beauty of God's world given for the enjoyment of all creatures, not the beauty which inclines the heart to peace and love and concord. What men considered sacred and important were their own devices for wielding power over their fellow men."
Tolstoy is a moralist of the highest order and this novel comes after his spiritual conversion, when his morality has reached the highest pitch of maturity. The ever-present irony in this book, where the behavior of men is continuously contrasted with what is good and right, is delightful and sobering at the same time. Compared to Resurrection, Tolstoy's more famous novels are vain and empty exercises in futility. A must read.
Also recommended: The Death of Ivan Illych and other stories, also by Tolstoy.

The purpose of this book was avowedly polemical: at this stage in his life, Tolstoy had come to believe that pursuit of artistic greatness was mere vanity, and was trivial. But it seems that Tolstoy simply could not suppress the artist in himself. The didactic elements in the book may be counted as flaws - certainly in comparison to "War and Peace" and "Anna Karenina", which are, for me, the greatest novels I've ever come across - but it hardly seems to matter. Chekhov described this book well: Tolstoy, he said, was like an old eagle that had lost its feathers, but still soared higher than anyone else.

Maybe the first modern novel. In `Resurrection' Tolstoy delves down deep into the disturbed psyche of his protagonist as he struggles with his decisions, his culture, and his beliefs. Like all of Tolstoy's works the book is as deep and the prose is heavy. There are times that the book reads more like a tract than a novel and there is a moral to every story. The book is interesting, too, in that I've wondered how much personal history Tolstoy wrote into it. Readers of Troyat's biography will see many familiar scenes played out here from Tolstoy's early days as a rich dandy to his later `resurrection' as a spiritual nomad.

Not quite up to par with `Anna' or `War and Peace' but a good book and a must for fans of the Great One.

Tolstoy did not believe in art for arts sake. Had he of, this could have been truly amazing. However it still does not dissappoint. This is a good introduction to Tolstoy even though it doesn't compare to the wide variety of characters in Anna Karenina or War and Peace, It still showcases Tolstoy's habit of touching on the current social and political issues of the time when it was written (and strangly many of them still hold true today). If you can stand to be lectured a little- pick this up...and keep me updated!

This is unequivocally one of the best books I have ever read. People harp on his immense War and Peace so much, I was scared of Tolstoy. But this book is extremely approachable--almost eerily. Tolstoy can paint a person better than most can paint a room. Beyond mere technical mastery, this book reaches your soul through its powerful story of rebirth.

One of the great novels written by Leo Tolstoy in 1899, who, by then was already past his prime when he wrote "Anna Karilina" as well as "War and Peace". This novel differed from the previous novels he wrote in that Tolstoy focused on the sufferings of the people and description of the underground movements that existed side by side with the aristocratic class. This was unlike the novels that he wrote before, when he wrote mainly about the aristocratics.

The novel takes us to the Prince Nekhlyudov, who seduced a servant girl called Katusha(sometimes referred as Maslova) many years ago and is now shocked to see her being tried for murder on a trial which he himself is part of the jury. Katusha is no longer the innocent, loving maid that she was many years ago but is now a detestable prostitute. At once Nekhlyudov feels guilty, since his seduction was the cause of all that Katusha went through later, a baby conceded by Katusha but was soon lost. Soon Katusha's life began to fall apart. She drifted on the streets and became a prostitute. While at the same time Nekhlyudov, who once was a virtous young man and denounced private property, is now leading a degraded life.

And this is where the novel starts. As the unlikely encounter in the trial soon crossed the two people's lives once again. Later Katusha was send to Siberia for poisoning on a blatant error on the part of the juries. So decided Nekhlyudov that he needed to follow her for a chance at redemption. Thus began the resurrection for not only Nekhlyudov but also Katusha, a resurrection that would lead both of them into a new, better lives.

Tolstoy attacked the existing social order poignantly in this novel. Especially the Orthodox Church and the wealthy upper class. Tolstoy rebuked the two sides for treating the lower class people unhumanely, locking them up instead of changing the existing society to accomodate more equality. Tolstoy also placed a lot of emphasis on the moral issues concerning mankind and the society in general. Stating in the end of the book the "Heaven on Earth" that he would like to see.

Another aspect is that this book touches all kinds of people from all classes. From the palace of a countess to the jails in Siberia, and from government officials to desperado revolutionaries. Tolstoy's depiction of the suffering with peasants and revolutionaries are really deep. And almost everything that Tolstoy writes in this book seems to relate to some sort of moral ties, not only did Nekhlyudov and Katusha change in this book, but also many other characters involved with Nekhlyudov, they are changed mostly to the worse side, we see how a society can truly alter, and even destroy, some people who started out guileless but turned corrupt.

In conclusion, this was truly a classic book exploring deep into the psychialogy of each individuals with its emphasis on the power of human redemption and its blunt attacks on the existing social order. A brilliantly woven tale indeed.