Tolstoy’s “Three Deaths” (1858) in Light of Contrast - Character, Space, Season, and Acoustic Sense -
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“Three Deaths” (1858) is, no doubt, young Tolstoy’s best story. Regardless of its implications for Christian belief and teachings, the short piece makes the reader think of death itself, including different dimensions of death: a self-centered attitude toward death vs. being receptive, generative, and natural. From its time of publication onward, this work has been interpreted as both positive and negative, structurally and thematically, in biographical applications and solely formal studies. Drawing on these diverse views, in this paper I explore the work’s structure with four analytical contrasts (three types of death of the noblewoman, of a coachman, and of a tree in the forest) in terms of character, space, season, and acoustic sense. To this end, I analyze the work structurally first, then substantiates whether it is possible to associate the structure with thematic characteristics concealed in the story. Though this story invites numerous diverse interpretations, I am strongly convinced that Tolstoy succeeded in in creating a masterful text in which structure and theme are intertwined organically, while the theme of death is spiritually sublimed, not remaining on the level of mundane, humane fear of death.
Abstract
“Three Deaths” (1858) is, no doubt, young Tolstoy’s best story. Regardless of its implications for Christian belief and teachings, the short piece makes the reader think of death itself, including different dimensions of death: a self-centered attitude toward death vs. being receptive, generative, and natural. From its time of publication onward, this work has been interpreted as both positive and negative, structurally and thematically, in biographical applications and solely formal studies. Drawing on these diverse views, in this paper I explore the work’s structure with four analytical contrasts (three types of death of the noblewoman, of a coachman, and of a tree in the forest) in terms of character, space, season, and acoustic sense. To this end, I analyze the work structurally first, then substantiates whether it is possible to associate the structure with thematic characteristics concealed in the story. Though this story invites numerous diverse interpretations, I am strongly convinced that Tolstoy succeeded in in creating a masterful text in which structure and theme are intertwined organically, while the theme of death is spiritually sublimed, not remaining on the level of mundane, humane fear of death.
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