in the piling up of Cyclopean thoughts lacks the binding mortar. In such cases the translation leaves him in his original gigantic ruggedness. No attempt has been made to correct Tolstóy’s style, which is so frequently practised by his other translators. The last volume will contain a sketch of Tolstóy’s life and works, an analysis of all his productions, a complete index to his thoughts, a chronological table of the incidents in his life, and a bibliography of English, French, and German books and magazine articles dealing with all possible aspects of Tolstóy and his works. The copious illustrations accompanying the present translation are mainly from Russian sources, many of them rare, and invariably illustrate the scenes represented; wherever possible, existing illustrations to Tolstóy by native artists have been given.
The present translation contains everything given in the Russian complete edition published in Russia, with such authorized corrections of passages mutilated by the censor as have appeared abroad, and all the publications of Tolstóy’s prohibited works which have appeared in Switzerland and in England. The only works omitted are those which Tolstóy himself translated from other languages. In the matter of text, the last reliable source has been given, the corrections in various instances reaching the translator just as the translations were going through the press. No attempt has been made to give older readings or readings mutilated by the censor, as the time for a critical edition has not yet come. Many of the manuscripts, in their correct form, were sent by Tolstóy to the Ryumántsev Museum, with the proviso that they be made public only ten years after his death; and the publications that have appeared abroad sometimes rest on unreliable manuscripts. The dates given for each production are not those of their publication (which will be given in the chronological table), but of their writing.
