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Abstract:

The purpose of the article is to identify the features of L.N. Tolstoy’s artistic reworking in the folk drama “Peter the Baker” (1884, 1894) of the myth of the “great sinner,” the most important plot scheme of Russian literature. The historical and literary genesis of this play by Tolstoy is considered in relation to the patristic tradition of interpreting repentance as a change of consciousness, rethinking, epiphany, as a fundamental change in life from a sinful state to living according to the commandments of God, in love and in striving for God. The scientific novelty of the study is establishing the first substantiated connection between the theme of the “great sinner’s” repentance in L.N. Tolstoy’s folk drama “Peter the Baker” and of that in N.A. Nekrasov’s poem “Vlas” (1855) and “Who Lives Well in Russia” (1863–1877) in conjunction with their common source — the hagiographic story of St. Peter the Publican from the Prologue (12th century). It is concluded that the image of Vlas the wanderer is close to Tolstoy’s understanding of wandering as a way of spiritual salvation, and that the scene of the murder of Pan Glukhovsky by ataman Kudeyar (“Who Lives Well in Russia”) goes back to folklore, but not to the patristic tradition. At the same time, Nekrasov retains the general dynamics of the character development of the negative hero, which Tolstoy also adhered to: from the “beast-man” — through crisis and repentance — to a righteous life. The reception of Nekrasov’s work in “Peter the Baker” transforms the literary and hagiographical basis of this folk drama by Tolstoy and helps to restore the subsequent stages in the formation of its artistic whole: continuity with Shakespeare’s tragedy “Coriolanus,” with Tolstoy’s treatise “So What Should We Do?”, with the political and economic works of G. George (“Progress and Poverty,” “Social Tasks”), with the teachings of the peasant thinker V.K. Syutaev about the invisible presence of God in man.