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Quote by Leo Tolstoy

“The military estate is the most honored. But what is war, what is needed for success in military affairs, what are the morals of military society? The aim of war is killing, the instruments of war are espionage, treason and the encouragement of it, the ruin of the inhabitants, robbing them or stealing to supply the army; deception and lying are called military stratagems; the morals of the military estate are absence of freedom, that is, discipline, idleness, ignorance, cruelty, depravity, and drunkenness. And in spite of that, it is the highest estate, respected by all . . . the one who has killed the most people gets the greatest reward . . . They come together . . . to kill each other, they slaughter and maim tens of thousands of men, and then they say prayers of thanksgiving for having slaughtered so many people . . . and proclaim victory, supposing that the more people slaughtered, the greater the merit. How does God look down and listen to them! . . . Ah, dear heart, lately it has become hard for me to live. I see that I've begun to understand too much. And it's not good for man to taste of the tree of the knowledge of good and evil . . . Well, it won't be for long!”

Author

Leo Tolstoy

Leo Tolstoy was a Russian writer and thinker, a prominent representative of 19th-century Russian literature. His works deeply revealed social contradictions and human nature, and had a profound impact on the world. more

“The Russian reader in old cultured Russia was certainly proud of Pushkin and of Gogol, but he was just as proud of Shakespeare or Dante, of Baudelaire or of Edgar Allan Poe, of Flaubert or of Homer, and this was the Russian reader's strength. I have a certain personal interest in the question, for if my fathers had not been good readers, I would hardly be here today, speaking of these matters in this tongue.”

Literature Russian Culture Universal Literature

Book:Lectures on Russian Literature

Source: Lectures on Russian Literature

“Then there were times when Vassy compulsively yet touchingly would get very drunk and break down in great heaving sobs when we got home. No one could possibly understand what it meant to be a 'fucking Russian in America,' he sobbed. 'My fucking country, my beloved Russia,' he would cry. 'No one understands my country. You judge us, you condemn us, you believe we have swords in our teeth. You're so conditioned, so brainwashed, even more than we are. At least Russians know about America, not only bad things. And you here imagine Russia as a concentration camp! You don't like Commies! That's your problem. Now I hear Americans think 'Russian' is the same as evil, stupidity, idleness. That's dangerous! What about our culture, our music, our ingenuity, our patience, endurance--these are qualities, not drawbacks! Yes, we are fucking different, why not? Why should we be the same? Instead of trying to change each other, why don't we simply tolerate our differences and enjoy similarities?”

Russians Russian Culture Russian Soul Russo American Relations

Book:Dancing in the Light

Source: Dancing in the Light

“Умом Россию не понять, Аршином общим не измерить. У ней особенная стать, В Россию можно только верить! Fyodor Tyutchev, Russian poet, 1803–1873 You will not grasp her with your mind Or cover with a common label, For Russia is one of a kind — Believe in her, if you are able... translated by Anatoly Liberman, published in "Russian Life in the United States”

Poetry Russia Russian Culture

Author:Fyodor Tyutchev Anatoly Liberman

“En Union Soviétique, quand quelque chose ne va pas, dans un domaine d’activité quelconque, on pense d’abord structures. On l’a vu en août 1972, après le sévère réquisitoire du Comité Central du Parti contre la production cinématographique. Des mesures de réorganisation avaient tout de suite été prises. Un nouveau patron était nommé à la tête de Goskino. Deux mois plus tard, l’Union des Cinéastes se réunissait à Moscou. Un débat très libre s’ouvrait qui étonnait les correspondants étrangers par sa franchise. On y entendait Alexandre Medvedkine (Le Bonheur) s’interroger sur la notion de « film politique ». En même temps qu’étaient critiquées certaines mesures de réorganisation, on se félicitait de la création d’un « studio central des scénarios » susceptible d’assainir les rapports (difficiles, paraît-il) entre scénaristes et réalisateurs. Mais l’interrogation majeure de cette rencontre était : « Existe-t-il un cinéma pour les masses et un cinéma pour les élites ? ». On conviendra que c’était là une question d’importance. Surtout en Union Soviétique. Répondre oui c’était reconnaître l’existence possible de plusieurs publics avec ce que cela implique de conséquences sur la conception, la production, la distribution des films dans un appareil d’État qui fait volontiers du populisme une vertu.”