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+The Project Gutenberg EBook of Plays, by Leo Tolstoy
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Plays
+ Complete Edition, Including the Posthumous Plays
+
+Author: Leo Tolstoy
+
+Translator: Louise Maude
+ Aylmer Maude
+
+Release Date: September 20, 2008 [EBook #26660]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PLAYS ***
+
+
+
+
+Produced by Bryan Ness, Jana Srna and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+ [ Transcriber's Note:
+ This e-book only contains the front matter of Tolstoy's Plays
+ (Complete Edition). The individual plays have been posted as
+ separate Project Gutenberg e-books; they are linked to from this
+ book's HTML version. For reference, here is a list of their
+ e-book numbers:
+
+ 26661: The Power of Darkness
+ 26662: The First Distiller
+ 26663: Fruits of Culture
+ 26664: The Live Corpse
+ 26665: The Cause of it All
+ 26666: The Light Shines in Darkness
+ ]
+
+
+
+
+ From LEO TOLSTOY concerning the translation of
+ his works by LOUISE and AYLMER MAUDE:--
+
+ "Better translators, both for knowledge of the
+ two languages and for penetration into the very
+ meaning of the matter translated, could not be
+ invented."
+
+
+
+
+ [Illustration: Leo Tolstoy.]
+
+
+
+
+ LEO TOLSTOY
+
+ PLAYS
+
+ Translated by
+
+ LOUISE AND AYLMER MAUDE
+
+ COMPLETE EDITION
+ INCLUDING THE POSTHUMOUS
+ PLAYS
+
+ FOURTH IMPRESSION
+
+ NEW YORK
+ FUNK & WAGNALLS COMPANY
+ 1919
+
+
+
+
+ LIST OF ILLUSTRATIONS
+
+
+ LEO TOLSTOY (Photogravure Portrait) Frontispiece
+
+ MATRYÓNA GIVES ANÍSYA THE POWDERS Facing page 12
+
+ I'M NOT ASHAMED OF MY PARENT " " 51
+
+ HER BOX IS FULL AS IT IS " " 53
+
+ YOU TELL ME NOT TO FEAR MEN? " " 91
+
+ WELL, DEAR, AND WHAT PROGRESSION IS OUR BUSINESS MAKING? " " 174
+
+ THERE, YOU SEE! YOU ARE BEING MADE A FOOL OF " " 223
+
+
+
+
+ CONTENTS
+
+
+ PAGE
+
+ PREFACE ix
+
+
+ Plays published during Tolstoy's life
+
+ THE POWER OF DARKNESS (1886) 3
+
+ THE FIRST DISTILLER (1886) 97
+
+ FRUITS OF CULTURE (1889) 125
+
+
+ Posthumous Plays
+
+ THE LIVE CORPSE 229
+
+ THE CAUSE OF IT ALL 303
+
+ THE LIGHT SHINES IN DARKNESS 321
+
+
+
+
+PREFACE
+
+
+_The Power of Darkness_, Tolstoy's first and greatest play, was not
+written until he was fifty-eight years of age, and it was not allowed to
+be performed in Russia till some years later. Both there and elsewhere
+abroad it was highly successful on the stage, as was also the comedy,
+_Fruits of Culture_, which he wrote three years later, to be performed
+by his own family and their friends.
+
+The only other play published during his lifetime, _The First Distiller_,
+is a very slight piece of no particular dramatic importance. It was
+written in the cause of temperance.
+
+Besides these, he left three other plays finished, or nearly finished,
+when he died.
+
+_The Live Corpse_ (which in English has also been called _The Man who
+was Dead_) is the one best adapted for the stage. _The Cause of it All_
+is, like _The First Distiller_, a short and unimportant piece dealing
+with the effects of drink. The most interesting, not dramatically but
+psychologically, of the three is _The Light Shines in Darkness_, which
+was left in an unfinished state. In it Tolstoy presents his own case,
+and deals with the contradiction that existed and has so often been
+commented on, between practice and theory in his own life and teaching.
+
+For the purpose of the play he greatly simplified his own highly complex
+personality, and, though many of the details and characters are drawn
+from life with extraordinary exactitude, the picture presented is not
+one which all the people concerned are disposed to regard as quite fair
+to themselves.
+
+The play presents the terrible clash which resulted from the calls
+Tolstoy made on himself and on others to abandon all customary ways of
+life and to start afresh in a new direction. In his own case he was
+never allowed to test the effects of a life of extreme poverty and
+manual labour, such as he advocated; nor did those of his followers who
+adopted such a life achieve much success therein. Tolstoy's artistic
+sincerity is indeed shown by the fact that, despite his spiritual
+fervour and his profound conviction that he had really found the road to
+salvation for mankind, he has not, in this play, minimised the failure
+of his efforts to carry convictions to those about him, or to achieve
+any other success than that of obtaining an inward assurance that he was
+fulfilling the will of God. This assurance would, no doubt, have been
+more fully indicated in the last act, had he lived to complete it.
+
+Tolstoy was well aware of the advantages a play possesses over a novel
+as a means of propaganda, and but for the existence of the Censorship he
+would have written more for the stage. When asked, in 1892, whether he
+would write any more plays, he replied: "I would do so with great
+pleasure, and I even feel a special need to express myself in that way;
+but I feel certain the Censor would not pass my plays. You would not
+believe how, from the very commencement of my activity, that horrible
+Censor question has tormented me! I wanted to write what I felt; but at
+the same time I felt that what I wrote would not be permitted; and
+involuntarily I abandoned the work. I abandoned, and went on abandoning,
+and meanwhile the years passed away."
+
+ * * * * *
+
+There is one other matter of some importance on which I must here say a
+word.
+
+No accepted standard of transliteration for Russian names into English
+has hitherto existed. Each writer has been a law unto himself. Now, at
+last, the Liverpool School of Russian Studies has prepared and privately
+circulated a scheme, which deserves to be, and is likely to be, generally
+adopted. It differs in some particulars from the plan I have followed
+heretofore; but the advantage to Anglo-Russian literature of the general
+adoption of a uniform and authoritative rule will be so great that I
+hasten to put myself in accord with the Liverpool scheme, without even
+waiting for it to be publicly promulgated.
+
+The result of so doing however is that in the three earlier plays now
+reprinted from stereotype plates the transliteration does not quite
+coincide with the plan adopted in the three freshly translated plays.
+For this discrepancy I must ask the readers' kind indulgence.
+
+ AYLMER MAUDE.
+
+
+
+
+ Printed in Great Britain by
+ T. and A. CONSTABLE, Printers to His Majesty
+ at the University Press, Edinburgh
+
+
+
+
+
+End of the Project Gutenberg EBook of Plays, by Leo Tolstoy
+
+*** END OF THIS PROJECT GUTENBERG EBOOK PLAYS ***
+
+***** This file should be named 26660-8.txt or 26660-8.zip *****
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+ <title>The Project Gutenberg eBook of Plays (Complete Edition), by Leo Tolstoy</title>
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+<pre>
+
+The Project Gutenberg EBook of Plays, by Leo Tolstoy
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Plays
+ Complete Edition, Including the Posthumous Plays
+
+Author: Leo Tolstoy
+
+Translator: Louise Maude
+ Aylmer Maude
+
+Release Date: September 20, 2008 [EBook #26660]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PLAYS ***
+
+
+
+
+Produced by Bryan Ness, Jana Srna and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div id="tnote"><p class="center" style="font-weight: bold;">Transcriber's Note:</p>
+<p>This e-book only contains the front matter of Tolstoy's <i>Plays (Complete Edition)</i>.
+The individual plays have been posted as separate Project Gutenberg e-books;
+they are linked to from this book's <a href="#contents">table of contents</a>.</p>
+</div>
+
+<div style="width: 45%; margin: 8em auto 8em 45%; font-style: italic;">
+<p>From <span class="smcap">Leo Tolstoy</span> concerning
+the translation of his works by
+<span class="smcap">Louise</span> and <span class="smcap">Aylmer Maude</span>:&mdash;</p>
+
+<p>&ldquo;Better translators, both for
+knowledge of the two languages
+and for penetration into the very
+meaning of the matter translated,
+could not be invented.&rdquo;</p></div>
+
+
+
+<div class="figcenter" style="width: 361px;"><a name="portrait"></a>
+<img src="images/frontispiece.png" width="361" height="500" alt="Leo Tolstoy" title="" />
+</div>
+<div class="figcenter" style="width: 220px;">
+<img src="images/signature.png" width="220" height="84" alt="" title="" />
+</div>
+
+
+
+<p class="center" style="text-decoration: underline; font-size: 1.2em; margin-top: 120px;">LEO TOLSTOY</p>
+
+<h1 style="font-weight: normal; letter-spacing: 0.3em; margin: 1.5em -0.3em 1.5em 0em;">PLAYS</h1>
+
+<p class="center"><i>Translated by</i><br/><br/>
+<big class="smcap">Louise and Aylmer Maude</big></p>
+
+<p class="center" style="font-size: smaller; margin: 5em auto 3em auto;">COMPLETE EDITION<br/>
+INCLUDING THE POSTHUMOUS<br/>
+PLAYS</p>
+
+<p class="center" style="font-size: smaller; margin-bottom: 6em;"><i>FOURTH IMPRESSION</i></p>
+
+<p class="center">NEW YORK<br/>
+FUNK &amp; WAGNALLS COMPANY<br/>
+1919</p>
+
+
+
+<div class="new-h2">&nbsp;</div>
+<p><span class="pagenum"><a name="Page_vii">vii</a></span></p>
+<h2>LIST OF ILLUSTRATIONS</h2>
+
+
+<table id="loi" summary="List of Illustrations">
+<tr>
+ <td><span class="smcap"><a href="#portrait">Leo Tolstoy</a></span> (Photogravure Portrait)</td>
+ <td class="page">Frontispiece</td>
+</tr>
+<tr>
+ <td class="smcap"><a href="http://www.gutenberg.org/files/26661/26661-h/26661-h.htm#powders">Matry&oacute;na gives An&iacute;sya the powders</a></td>
+ <td class="page">Facing page 12</td>
+</tr>
+<tr>
+ <td class="smcap"><a href="http://www.gutenberg.org/files/26661/26661-h/26661-h.htm#parent">I'm not ashamed of my parent</a></td>
+ <td class="page">Facing page 51</td>
+</tr>
+<tr>
+ <td class="smcap"><a href="http://www.gutenberg.org/files/26661/26661-h/26661-h.htm#box">Her box is full as it is</a></td>
+ <td class="page">Facing page 53</td>
+</tr>
+<tr>
+ <td class="smcap"><a href="http://www.gutenberg.org/files/26661/26661-h/26661-h.htm#fear">You tell me not to fear men?</a></td>
+ <td class="page">Facing page 91</td>
+</tr>
+<tr>
+ <td class="smcap"><a href="http://www.gutenberg.org/files/26663/26663-h/26663-h.htm#business">Well, dear, and what progression is our business making?</a></td>
+ <td class="page">Facing page 174</td>
+</tr>
+<tr>
+ <td class="smcap"><a href="http://www.gutenberg.org/files/26663/26663-h/26663-h.htm#fool">There, you see! You are being made a fool of</a></td>
+ <td class="page">Facing page 223</td>
+</tr>
+</table>
+
+
+<div class="new-h2">&nbsp;</div>
+<p><span class="pagenum"><a name="Page_viii">viii</a></span></p>
+<h2><a name="contents">CONTENTS</a></h2>
+
+
+<table id="toc" summary="Contents">
+<tr>
+ <td colspan="2" class="right" style="font-size: 0.8em; border-bottom: none;">PAGE</td>
+</tr>
+<tr>
+ <td class="smcap"><a href="#Page_ix">Preface</a></td>
+ <td class="page">ix</td>
+</tr>
+<tr>
+ <th colspan="2">Plays published during Tolstoy's life</th>
+</tr>
+<tr>
+ <td class="smcap"><a href="http://www.gutenberg.org/files/26661/26661-h/26661-h.htm">The Power of Darkness</a> (1886)</td>
+ <td class="page">3</td>
+</tr>
+<tr>
+ <td class="smcap"><a href="http://www.gutenberg.org/files/26662/26662-h/26662-h.htm">The First Distiller</a> (1886)</td>
+ <td class="page">97</td>
+</tr>
+<tr>
+ <td class="smcap"><a href="http://www.gutenberg.org/files/26663/26663-h/26663-h.htm">Fruits of Culture</a> (1889)</td>
+ <td class="page">125</td>
+</tr>
+<tr>
+ <th colspan="2">Posthumous Plays</th>
+</tr>
+<tr>
+ <td class="smcap"><a href="http://www.gutenberg.org/files/26664/26664-h/26664-h.htm">The Live Corpse</a></td>
+ <td class="page">229</td>
+</tr>
+<tr>
+ <td class="smcap"><a href="http://www.gutenberg.org/files/26665/26665-h/26665-h.htm">The Cause of it All</a></td>
+ <td class="page">303</td>
+</tr>
+<tr>
+ <td class="smcap"><a href="http://www.gutenberg.org/files/26666/26666-h/26666-h.htm">The Light Shines in Darkness</a></td>
+ <td class="page">321</td>
+</tr>
+</table>
+
+
+
+<div class="new-h2">&nbsp;</div>
+<p><span class="pagenum"><a name="Page_ix">ix</a></span></p>
+<h2>PREFACE</h2>
+
+
+<p><cite>The Power of Darkness</cite>, Tolstoy's first and greatest play,
+was not written until he was fifty-eight years of age, and
+it was not allowed to be performed in Russia till some
+years later. Both there and elsewhere abroad it was
+highly successful on the stage, as was also the comedy,
+<cite>Fruits of Culture</cite>, which he wrote three years later, to be
+performed by his own family and their friends.</p>
+
+<p>The only other play published during his lifetime,
+<cite>The First Distiller</cite>, is a very slight piece of no particular
+dramatic importance. It was written in the cause
+of temperance.</p>
+
+<p>Besides these, he left three other plays finished, or
+nearly finished, when he died.</p>
+
+<p><cite>The Live Corpse</cite> (which in English has also been called
+<cite>The Man who was Dead</cite>) is the one best adapted for the
+stage. <cite>The Cause of it All</cite> is, like <cite>The First Distiller</cite>, a short
+and unimportant piece dealing with the effects of drink.
+The most interesting, not dramatically but psychologically,
+of the three is <cite>The Light Shines in Darkness</cite>, which
+was left in an unfinished state. In it Tolstoy presents
+his own case, and deals with the contradiction that existed
+and has so often been commented on, between practice
+and theory in his own life and teaching.</p>
+
+<p>For the purpose of the play he greatly simplified his
+own highly complex personality, and, though many of the
+details and characters are drawn from life with extraordinary
+exactitude, the picture presented is not one which
+all the people concerned are disposed to regard as quite
+fair to themselves.</p>
+
+<p><span class="pagenum"><a name="Page_x">x</a></span>
+The play presents the terrible clash which resulted
+from the calls Tolstoy made on himself and on others to
+abandon all customary ways of life and to start afresh in
+a new direction. In his own case he was never allowed
+to test the effects of a life of extreme poverty and
+manual labour, such as he advocated; nor did those of his
+followers who adopted such a life achieve much success
+therein. Tolstoy's artistic sincerity is indeed shown by the
+fact that, despite his spiritual fervour and his profound conviction
+that he had really found the road to salvation for
+mankind, he has not, in this play, minimised the failure
+of his efforts to carry convictions to those about him, or
+to achieve any other success than that of obtaining an
+inward assurance that he was fulfilling the will of God.
+This assurance would, no doubt, have been more fully indicated
+in the last act, had he lived to complete it.</p>
+
+<p>Tolstoy was well aware of the advantages a play
+possesses over a novel as a means of propaganda, and but
+for the existence of the Censorship he would have written
+more for the stage. When asked, in 1892, whether he
+would write any more plays, he replied: &ldquo;I would
+do so with great pleasure, and I even feel a special
+need to express myself in that way; but I feel certain
+the Censor would not pass my plays. You would not
+believe how, from the very commencement of my activity,
+that horrible Censor question has tormented me! I
+wanted to write what I felt; but at the same time I felt
+that what I wrote would not be permitted; and involuntarily
+I abandoned the work. I abandoned, and went on
+abandoning, and meanwhile the years passed away.&rdquo;</p>
+
+<p class="center" style="letter-spacing: 4em; margin: 2em -4em 2em 0em;">&middot;&middot;&middot;&middot;&middot;&middot;</p>
+
+<p>There is one other matter of some importance on
+which I must here say a word.</p>
+
+<p>No accepted standard of transliteration for Russian
+names into English has hitherto existed. Each writer has
+been a law unto himself. Now, at last, the Liverpool
+<span class="pagenum"><a name="Page_xi">xi</a></span>School of Russian Studies has prepared and privately circulated
+a scheme, which deserves to be, and is likely to be,
+generally adopted. It differs in some particulars from the
+plan I have followed heretofore; but the advantage to
+Anglo-Russian literature of the general adoption of a
+uniform and authoritative rule will be so great that I
+hasten to put myself in accord with the Liverpool scheme,
+without even waiting for it to be publicly promulgated.</p>
+
+<p>The result of so doing however is that in the three
+earlier plays now reprinted from stereotype plates the
+transliteration does not quite coincide with the plan
+adopted in the three freshly translated plays. For this
+discrepancy I must ask the readers' kind indulgence.</p>
+
+<p class="right" style="margin: 3em 2em 0em 0em;">AYLMER MAUDE.</p>
+
+<p class="center" style="font-size: smaller; margin: 12em auto 120px auto;">Printed in Great Britain by<br/>
+T. and <span class="smcap">A. Constable</span>, Printers to His Majesty<br/>
+at the University Press, Edinburgh</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Plays, by Leo Tolstoy
+
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+</body>
+</html>
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+The Project Gutenberg EBook of Plays, by Leo Tolstoy
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Plays
+ Complete Edition, Including the Posthumous Plays
+
+Author: Leo Tolstoy
+
+Translator: Louise Maude
+ Aylmer Maude
+
+Release Date: September 20, 2008 [EBook #26660]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PLAYS ***
+
+
+
+
+Produced by Bryan Ness, Jana Srna and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+ [ Transcriber's Note:
+ This e-book only contains the front matter of Tolstoy's Plays
+ (Complete Edition). The individual plays have been posted as
+ separate Project Gutenberg e-books; they are linked to from this
+ book's HTML version. For reference, here is a list of their
+ e-book numbers:
+
+ 26661: The Power of Darkness
+ 26662: The First Distiller
+ 26663: Fruits of Culture
+ 26664: The Live Corpse
+ 26665: The Cause of it All
+ 26666: The Light Shines in Darkness
+ ]
+
+
+
+
+ From LEO TOLSTOY concerning the translation of
+ his works by LOUISE and AYLMER MAUDE:--
+
+ "Better translators, both for knowledge of the
+ two languages and for penetration into the very
+ meaning of the matter translated, could not be
+ invented."
+
+
+
+
+ [Illustration: Leo Tolstoy.]
+
+
+
+
+ LEO TOLSTOY
+
+ PLAYS
+
+ Translated by
+
+ LOUISE AND AYLMER MAUDE
+
+ COMPLETE EDITION
+ INCLUDING THE POSTHUMOUS
+ PLAYS
+
+ FOURTH IMPRESSION
+
+ NEW YORK
+ FUNK & WAGNALLS COMPANY
+ 1919
+
+
+
+
+ LIST OF ILLUSTRATIONS
+
+
+ LEO TOLSTOY (Photogravure Portrait) Frontispiece
+
+ MATRYONA GIVES ANISYA THE POWDERS Facing page 12
+
+ I'M NOT ASHAMED OF MY PARENT " " 51
+
+ HER BOX IS FULL AS IT IS " " 53
+
+ YOU TELL ME NOT TO FEAR MEN? " " 91
+
+ WELL, DEAR, AND WHAT PROGRESSION IS OUR BUSINESS MAKING? " " 174
+
+ THERE, YOU SEE! YOU ARE BEING MADE A FOOL OF " " 223
+
+
+
+
+ CONTENTS
+
+
+ PAGE
+
+ PREFACE ix
+
+
+ Plays published during Tolstoy's life
+
+ THE POWER OF DARKNESS (1886) 3
+
+ THE FIRST DISTILLER (1886) 97
+
+ FRUITS OF CULTURE (1889) 125
+
+
+ Posthumous Plays
+
+ THE LIVE CORPSE 229
+
+ THE CAUSE OF IT ALL 303
+
+ THE LIGHT SHINES IN DARKNESS 321
+
+
+
+
+PREFACE
+
+
+_The Power of Darkness_, Tolstoy's first and greatest play, was not
+written until he was fifty-eight years of age, and it was not allowed to
+be performed in Russia till some years later. Both there and elsewhere
+abroad it was highly successful on the stage, as was also the comedy,
+_Fruits of Culture_, which he wrote three years later, to be performed
+by his own family and their friends.
+
+The only other play published during his lifetime, _The First Distiller_,
+is a very slight piece of no particular dramatic importance. It was
+written in the cause of temperance.
+
+Besides these, he left three other plays finished, or nearly finished,
+when he died.
+
+_The Live Corpse_ (which in English has also been called _The Man who
+was Dead_) is the one best adapted for the stage. _The Cause of it All_
+is, like _The First Distiller_, a short and unimportant piece dealing
+with the effects of drink. The most interesting, not dramatically but
+psychologically, of the three is _The Light Shines in Darkness_, which
+was left in an unfinished state. In it Tolstoy presents his own case,
+and deals with the contradiction that existed and has so often been
+commented on, between practice and theory in his own life and teaching.
+
+For the purpose of the play he greatly simplified his own highly complex
+personality, and, though many of the details and characters are drawn
+from life with extraordinary exactitude, the picture presented is not
+one which all the people concerned are disposed to regard as quite fair
+to themselves.
+
+The play presents the terrible clash which resulted from the calls
+Tolstoy made on himself and on others to abandon all customary ways of
+life and to start afresh in a new direction. In his own case he was
+never allowed to test the effects of a life of extreme poverty and
+manual labour, such as he advocated; nor did those of his followers who
+adopted such a life achieve much success therein. Tolstoy's artistic
+sincerity is indeed shown by the fact that, despite his spiritual
+fervour and his profound conviction that he had really found the road to
+salvation for mankind, he has not, in this play, minimised the failure
+of his efforts to carry convictions to those about him, or to achieve
+any other success than that of obtaining an inward assurance that he was
+fulfilling the will of God. This assurance would, no doubt, have been
+more fully indicated in the last act, had he lived to complete it.
+
+Tolstoy was well aware of the advantages a play possesses over a novel
+as a means of propaganda, and but for the existence of the Censorship he
+would have written more for the stage. When asked, in 1892, whether he
+would write any more plays, he replied: "I would do so with great
+pleasure, and I even feel a special need to express myself in that way;
+but I feel certain the Censor would not pass my plays. You would not
+believe how, from the very commencement of my activity, that horrible
+Censor question has tormented me! I wanted to write what I felt; but at
+the same time I felt that what I wrote would not be permitted; and
+involuntarily I abandoned the work. I abandoned, and went on abandoning,
+and meanwhile the years passed away."
+
+ * * * * *
+
+There is one other matter of some importance on which I must here say a
+word.
+
+No accepted standard of transliteration for Russian names into English
+has hitherto existed. Each writer has been a law unto himself. Now, at
+last, the Liverpool School of Russian Studies has prepared and privately
+circulated a scheme, which deserves to be, and is likely to be, generally
+adopted. It differs in some particulars from the plan I have followed
+heretofore; but the advantage to Anglo-Russian literature of the general
+adoption of a uniform and authoritative rule will be so great that I
+hasten to put myself in accord with the Liverpool scheme, without even
+waiting for it to be publicly promulgated.
+
+The result of so doing however is that in the three earlier plays now
+reprinted from stereotype plates the transliteration does not quite
+coincide with the plan adopted in the three freshly translated plays.
+For this discrepancy I must ask the readers' kind indulgence.
+
+ AYLMER MAUDE.
+
+
+
+
+ Printed in Great Britain by
+ T. and A. CONSTABLE, Printers to His Majesty
+ at the University Press, Edinburgh
+
+
+
+
+
+End of the Project Gutenberg EBook of Plays, by Leo Tolstoy
+
+*** END OF THIS PROJECT GUTENBERG EBOOK PLAYS ***
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