A major part of Hughes's legacy as a historian--especially clear in her monograph on Peter the Great--was the demonstration of the virtues and vibrancy of biography as a mode of historical writing and an appreciation of the ways in which quirks of personality shape history "from above." Simon Dixon's and Patrick O'Meara's contributions to the volume take an explicitly biographical approach to two quite different public figures: General Pavel Kiselev (1788-1872), who was forced to hide his liberal sympathies in a repressive political context, and the "Mad Monk" Iliodor (S.
Dixon tells another gripping biographical tale with his article on Iliodor, a major reactionary demagogue and scandalmonger, known as the ally and then enemy of Rasputin.
He was unable to settle on a name for the heiromonk, alternating between Iliodor and Isidor, and even Ivan, the priest's secular name (Prince Ivan Tverskoy).
In particular, I suggested that the priest's name had to be "Isidor" rather than "Iliodor" and that the reading of the word "doors" in lieu of "robbers" at the very end of Tolstoy's plan for the story was correct.
See also the biographical articles by Simon Dixon: "Sergii (Stragorodskii) in the Russian Orthodox Diocese of Finland: Apostasy and Mixed Marriages, 1905-1917," Slavonic and East European Review 82, 1 (2004): 50-73; "The 'Mad Monk' Iliodor
in Tsaritsyn," Slavonic and East European Review 88, 1-2 (2010): 377-415; and "Archimandrite Mikhail (Semenov) and Russian Christian Socialism," Historical Journal 51, 3 (2008): 689-718.
See Hugh McLean's translation of "Hieromonk Iliodor" immediately following this note, in "The Whole World of Tolstoy.")
As I have argued elsewhere, the hieromonk plot developed by Tolstoy in January 1909 and known throughout its publication history by its conventional title, "Hieromonk Iliodor" and by its alias, "Hieromonk Isidor." This pair appears to be closely related to other drafts of the same period, in particular to those that deal with multi-genre explorations of revolutionary terrorism centered around the character of Pavel Kudriash (or his other assumed names) and left unrealized at Tolstoy's death.
Sorina, Rol' Verkhnevolzh'ia v obrazovanii i razvitii russkogo tsentralizovannogo gosudarstva v XVI-XVII v.: Uchebnoe posobie (Kalinin: Kalininskii gosudarstvennyi universitet, 1978), 64; Ieromonakh Iliodor, Istorichesko-statisticheskoe opisanie goroda Torzhka (Tver': Tipografiia Gubernskago pravleniia, 1860), 55; I.
(8) Iliodor, Istorichesko-statisticheskoe opisanie, 74-78; Kolosov, Novotorzhskii Borisoglebskii monastyr' , 76.
During the service Hieromonk Iliodor
was sitting in the sanctuary of the monastery church with his head bowed and his eyes closed.
These are "Pavel Kudriash" and "Ieromonakh Iliodor
" (The Hieromonk Iliodor
The hero of his late fragment "Hieromonakh Iliodor
" (The Hieromonk Iliodor
) is in this place as he endures the monastery services, and he emerges with a similar will to act anew.