Tsar Nicholas Quotes

I'll pretend, I tell myself. Pretending is safer than believing.

We should be used to it," Tatiana reasons. "There have always been lines separating us from the rest of the world, whether they were satin ribbons or iron rails.

History may have condemned him many times over for being a weak and reactionary tsar, but he was, without doubt, the most exemplary of royal fathers.

My sisters and I sit together on a pair of suitcases. If we've forgotten anything, it's already too late -- our rooms have all been sealed and photographed. Anyway, Tatiana would say it's bad luck to return for something you've forgotten.

Peter, who broke his enemies on the rack and hanged them in Red Square, who had his son tortured to death, is Peter the Great. But Nicholas, whose hand was lighter than that of any tsar before him, is "Bloody Nicholas". In human terms, this is irony rich and dramatic, the more so because Nicholas knew what he was called.

I wish I wasn't an imperial highness or an ex-grand duchess. I'm sick of people doing things to me because of what I am. Girl-in-white-dress. Short-one-with-fringe. Daughter-of-the-tsar. Child-of-the-ex-tyrant. I want people to look and see me, Anastasia Nikolaevna Romanova, not the caboose on a train of grand duchesses. Someday, I promise myself, no one will be able to hear my name or look at my picture and suppose they know all about me. Someday I will do something bigger than what I am.

The constant, obvious flattery, contrary to all evidence, of the people around him [Tsar Nicholas I] had brought him to the point that he no longer saw his contradictions, no longer conformed his actions and words to reality, logic, or even simple common sense, but was fully convinced that all his orders, however senseless, unjust, and inconsistent with each other, became sensible, just, and consistent with each other only because he gave them.

Maria cries unashamedly on my shoulder while I whisper and pet her cheek, but Anastasia grips my other hand and stares fiercely back at our Alexander Palace with her wet blue eyes until it is no more than a lemon-colored speck against the sunrise.

It's different now, like pushing the stop lever on my camera until nothing except the war can squeeze through the lens.

There was a happy irony in the first cousin of the autocratic Kaiser Wilhelm II and Tsar Nicholas II (with whom George bore a striking resemblance) furthering British democracy.

With tears in her eyes, Alexandra assured him that the husband and father was infinitely more precious to her than the tsar whose throne she had shared. Nicholas finally broke. Laying his head on his wife’s breast, he sobbed like a child.

He [Tsar Nicholas I] had done much evil to the Poles. To explain that evil he had to be convinced that all Poles were scoundrels. And Nicholas regarded them as such and hated them in proportion to the evil he had done them.

That debauchery was not a good thing in a married man did not even occur to him [Tsar Nicholas I], and he would have been very surprised if anyone had condemned him for it. But, even though he was convinced that he had acted as he ought, he was left with some sort of unpleasant aftertaste, and, to stifle that feeling, he began thinking about something that always soothed him: about what a great man he was.

Elena Pavlovna was for him [Tsar Nicholas I] the personification of those empty people who talked not only about science and poetry, but also about governing people, imagining that they could govern themselves better than he, Nicholas, governed them.

It was clear to anyone who encountered the tsar and his daughters in the Alexander Park how much pride he had in his girls. ‘He was happy that people admired them. It was as though his kind blue eyes were saying to them: “Look what wonderful daughters I have.

This praise of his strategic abilities was especially pleasing to [Tsar] Nicholas, because, though he was proud of his strategic abilities, at the bottom of his heart he was aware that he had none. And now he wanted to to hear more detailed praise of himself.

Yes, what would Russia be without me?" he [Tsar Nicholas I] said to himself, again sensing the approach of the unpleasant feeling. "Yes, what would, not just Russia, but Europe be without me?" And he remembered his brother-in-law, the king of Prussia, and his weakness and stupidity and shook his head.

Nicholas was received with cheers as he drove past dense crowds in the streets. While he stood on the Neva bank, a cannon employed in the ceremonial salute fired a live charge which landed near the Tsar and wounded a policeman, but investigation proved that the shot was an accident, not part of a plot.

was

So anxious was the tsar to keep the Balkan states faithful to Russia, it was asserted, that he intended ‘to utilize his four daughters, who are not to marry four Russian Grand Dukes, nor even four unorthodox Princes of Europe’. No, the four grand duchesses of Russia, so the rumour went, were to become ‘Queens of the Balkans’, with Olga a bride for Prince George of Serbia; Tatiana for Prince George of Greece; Maria for Prince Carol of Romania and Anastasia set for Prince Boris of Bulgaria – although other press reports had gone so far as to claim that Boris was in fact about to be betrothed to Olga.29

Russians love a good plot--camarillas, Masons, whatever--where in fact there is usually just plain sloppiness. Someone mistrusted someone else; someone failed to warn someone else. So someone decided to take out more insurance, called up the troops and removed the tsar from Petersburg. Great and terrible events in Russia are usually due to someone's stupidity or laziness.

The so-called “breeding” of the tsar, his ability to control himself in the most extraordinary circumstances, cannot be explained by a mere external training; its essence was an inner indifference, a poverty of spiritual forces, a weakness of the impulses of the will. That mask of indifference which was called breeding in certain circles, was a natural part of Nicholas at birth. The

July is a bad month for revolutionaries. In France, Robespierre was executed in July; in Russia, five eminent Decembrists, who had revolted against Nicholas I, were hanged in July. And now in July the hour of vengeance had come. Vengeance against the son and grandson of the man who had once killed Lenin's brother. The revolutionaries' age-old hunt for Russian tsars was drawing to a close.

The tsar twice went to visit Stolypin again, but on both occasions Stolypin’s wife Olga, blaming him for the attack, refused to allow Nicholas to see him.45 On 5 September Stolypin died of sepsis and Olga Stolypina declined to accept the tsar’s condolences. With martial law declared in Kiev and 30,000 troops on alert, fears spread of an anti-Jewish pogrom in retaliation, prompting many of the Jewish residents to flee the city.

Sometimes, the men did more than mock: when Nicholas got his bicycle and started to pedal along a path, a soldier thrust his bayonet between the spokes. The Tsar fell and the soldiers guffawed. Yet Nicholas was unfailingly friendly even to those who insulted him. He always said “Good morning” and held out his hand. “Not for anything in the world,” declared one soldier, turning his back on the outstretched hand. “But, my dear fellow, why? What have you got against me?” asked Nicholas, genuinely astonished.

But “Bloody Sunday” was only the beginning of a year of terror. Three weeks later, in February, Grand Duke Serge, the Tsar’s uncle and Ella’s husband, was assassinated in Moscow. The Grand Duke, who took a harsh pride in knowing how bitterly he was hated by revolutionaries, had just said goodbye to his wife in their Kremlin apartment and was driving through one of the gates when a bomb exploded on top of him. Hearing the shuddering blast, Ella cried, “It’s Serge,” and rushed to him. What she found was not her husband, but a hundred unrecognizable pieces of flesh, bleeding into the snow.

During [Erté]’s childhood St. Petersburg was an elegant centre of theatrical and artistic life. At the same time, under its cultivated sophistication, ominous rumbles could be distinguished. The reign of the tough Alexander III ended in 1894 and his more gentle successor Nicholas was to be the last of the Tsars … St. Petersburg was a very French city. The Franco-Russian Pact of 1892 consolidated military and cultural ties, and later brought Russia into the First World war. Two activities that deeply influenced [Erté], fashion and art, were particularly dominated by France. The brilliant couturier Paul Poiret, for whom Erté was later to work in Paris, visited the city to display his creations. Modern art from abroad, principally French, was beginning to be show in Russia in the early years of the century … In St. Petersburg there were three Imperial theatres―the Maryinsky, devoted to opera and ballet, the Alexandrinsky, with its lovely classical façade, performing Russian and foreign classical drama, and the Michaelovsky with a French repertoire and company … It is not surprising that an artistic youth in St. Petersburg in the first decade of this century should have seen his future in the theatre. The theatre, especially opera and ballet, attracted the leading young painters of the day, including Mikhail Vrubel, possibly the greatest Russian painter of the pre-modernistic period. The father of modern theatrical design in Russia was Alexandre Benois, an offspring of the brilliant foreign colony in the imperial capital. Before 1890 he formed a club of fellow-pupils who were called ‘The Nevsky Pickwickians’. They were joined by the young Jew, Leon Rosenberg, who later took the name of one of his grandparents, Bakst. Another member introduced his cousin to the group―Serge Diaghilev. From these origins emerged the Mir Iskustva (World of Art) society, the forerunner of the whole modern movement in Russia. Soon after its foundation in 1899 both Benois and Bakst produced their first work in the theatre, The infiltration of the members of Mir Iskustva into the Imperial theatre was due to the patronage of its director Prince Volkonsky who appointed Diaghilev as an assistant. But under Volkonsky’s successor Diagilev lost his job and was barred from further state employment. He then devoted his energies and genius to editing the Mir Iskustva magazine and to a series of exhibitions which introduced Russia to work of foreign artists … These culminated in the remarkable exhibition of Russian portraiture held at the Taurida Palace in 1905, and the Russian section at the salon d'Autumne in Paris the following year. This was the most comprehensive Russian exhibition ever held, from early icons to the young Larionov and Gontcharova. Diagilev’s ban from Russian theatrical life also led to a series of concerts in Paris in 1907, at which he introduced contemporary Russian composers, the production Boris Godunov the following year with Chaliapin and costumes and décor by Benois and Golovin, and then in 1909, on May 19, the first season of the ballet Russes at the Châtelet Theatre.

In his work habits, Nicholas was solitary. Unlike most monarchs and chiefs of state—unlike even his own wife—he had no private secretary. He preferred to do things for himself. On his desk he kept a large calendar of his daily appointments, scrupulously entered in his own hand. When official papers arrived, he opened them, read them, signed them and put them in envelopes himself.

With much the same sense of privacy, Nicholas disliked discussions of politics, especially in casual conversation. A new aide-de-camp, galloping at the side of the Tsar near Livadia on a morning ride, supposed that his duty was to amuse the Tsar with small talk. He chose politics as his subject. Nicholas replied reluctantly, and quickly switched the conversation to the weather, the mountain scenery, the horses and tennis. When the aide persisted, Nicholas put spurs to his horse and galloped ahead. This sense of privacy, along with an unwillingness to provoke personal unpleasantness, created perennial difficulty between the Tsar and his ministers. Ministers were appointed and dismissed directly by the crown. In theory, they were the servants of the Tsar, and he was free to give these posts to whomever he liked, to listen to or ignore a minister’s advice, and to hand down dismissals without explanation.

In the evening after supper, Nicholas often sat in the family drawing room reading aloud while his wife and daughters sewed or embroidered. His choice, said Anna Vyrubova, who spent many of these cozy evenings with the Imperial family, might be Tolstoy, Turgenev or his own favorite, Gogol. On the other hand, to please the ladies, it might be a fashionable English novel. Nicholas read equally well in Russian, English and French and he could manage in German and Danish.

Nicholas never mastered the technique of forceful, efficient management of subordinates. He hated scenes and found it impossible to sternly criticize or dismiss a man to his face. If something was wrong, he preferred to give a minister a friendly reception, comment gently and shake hands warmly. Occasionally, after such an interview, the minister would return to his office, well pleased with himself, only to receive in the morning mail a letter regretfully asking for his resignation. Not unnaturally, these men complained that they had been deceived.

Unlike many a royal couple, Nicholas and Alexandra shared the same bed. The bedroom was a large chamber with tall windows opening onto the park. A large double bed made of light-colored wood stood between two windows. Chairs and couches covered in flowered tapestry were scattered about on a thick carpet of mauve pile. To the right of the bed, a door led to a small chapel used by the Empress for her private prayers. Dimly lit by hanging lamps, the room contained only an icon on one wall and a table holding a Bible. Another door led from the bedroom to Alexandra’s private bathroom, where a collection of old-fashioned fixtures were set in a dark recess.

The most famous room in the palace—for a time the most famous room in Russia—was the Empress’s mauve boudoir. Everything in it was mauve: curtains, carpet, pillows; even the furniture was mauve-and-white Hepplewhite. Masses of fresh white and purple lilacs, vases of roses and orchids and bowls of violets perfumed the air. Tables and shelves were cluttered with books, papers and porcelain and enamel knicknacks. In this room, Alexandra surrounded herself with mementoes of her family and her religion. The walls were covered with icons. Over her chaise-longue hung a picture of the Virgin Mary. A portrait of her mother, Princess Alice, looked down from another wall. On a table in a place of honor stood a large photograph of Queen Victoria. The only portrait in the room other than religious and family pictures was a portrait of Marie Antoinette.

Books were supplied by his private librarian, whose job it was to provide the Tsar each month with twenty of the best books from all countries. This collection was laid out on a table and Nicholas arranged them in order of preference; thereafter the Tsar’s valets saw to it that no one disarranged them until the end of the month. Sometimes, instead of reading, the family spent evenings pasting snapshots taken by the court photographers or by themselves into green leather albums stamped in gold with the Imperial monograph. Nicholas enjoyed supervising the placement and pasting of the photographs and insisted that the work be done with painstaking neatness.

marriage would necessitate a change of religion, the still-hesitant Alix at first refused. But the otherwise impassive Nicky was nothing if not determined. The very day after Ernie and Ducky were married, the overwhelmed princess finally agreed to become both Russian Orthodox and wife of the heir to the Russian throne. Just as Queen Victoria, the preeminent guest at the festivities, was finishing her breakfast, Ella burst in on her grandmother with the dramatic announcement that “Alix and Nicky are to be engaged.” The wedding was planned for the spring of 1895, but the death of Nicky’s father changed all the elaborate arrangements, including sufficient time for Alix to become literate in the Russian language. Alix had just joined her future husband at the imperial summer palace of Livadia in the Crimea when Tsar Alexander III died on November 1, 1894. His widow Minnie, the princess of Wales’s sister, became the dowager empress; and her son Nicky the new tsar, Nicholas II. The morning after her fiancé’s accession, Alix was received into the Orthodox faith and at the same time given the new name of Alexandra Feodorovna. The imperial family decided the wedding should follow the late tsar’s funeral within the week. Like her mother’s wedding at Osborne in 1862, Alix’s was far more funereal in tone than joyous. All that saved it from complete gloom was the depth of the young bride and groom’s love for each other. During the years when Alice’s children were marrying their cousins and producing a multitude of little second cousins, Vicky had moved from the hurricane’s eye to near oblivion. Though she had been wounded by Fritz’s illness and Willy’s uncivil behavior, until June 1888 she at least had a loving and sympathetic husband to share her distress and lighten her sometimes intolerable burden. After his death, Vicky was left to face her martyrdom stripped of that unfaltering support. With her widowhood, her difficulties centered, inevitably, on the new emperor. Such was the exquisite release Willy experienced in succeeding his father to the throne that he took vainglory to new heights. To the horror of his mother and English grandmother, he jettisoned the standard symbols of mourning that were obligatory for a son in so visible a role, notably refusing to refrain from travel for pleasure. On a grander scale, in his eagerness to test his new powers, Willy made the most disastrous mistake of his early reign only two years after coming

In Russia in 1839, Custine wrote that Tsar Nicholas I was both eagle and insect: eagle because he soared over society surveying it with a sharp raptor’s eye from above, and insect because he bored himself into every tiny crack and crevice of society from below. Nothing was either too large or too small for his attention; and sometimes one feels that political correctness is rather like that. For the politically correct, nothing is too large or too small to escape their puritanical attention. As a consequence, we suspect that we are living an authoritarian prelude to a totalitarian future.

Early in his life, Dostoevsky underwent a virtual resurrection. He had been arrested for belonging to a group judged treasonous by Tsar Nicholas I, who, to impress upon the young parlor radicals the gravity of their errors, sentenced them to death and staged a mock execution. A firing squad stood at the ready. Bareheaded, robed in white burial shrouds, hands bound tightly behind them, they were paraded through the snow before a gawking crowd. At the very last instant, as the order, “Ready, aim!” was heard and rifles were cocked and lifted, a horseman galloped up with a message from the tsar: he would mercifully commute their sentences to hard labor. Dostoevsky never recovered from this experience. He had peered into the maw of death, and from that moment life became for him precious beyond all calculation. “Now my life will change,” he said; “I shall be born again in a new form.” As he boarded the convict train toward Siberia, a devout woman handed him a New Testament, the only book allowed in prison. Believing that God had given him a second chance to fulfill his calling, Dostoevsky pored over that New Testament during his confinement. After ten years he emerged from exile with unshakable Christian convictions, as expressed in a letter to the woman who had given him the New Testament, “If anyone proved to me that Christ was outside the truth … then I would prefer to remain with Christ than with the truth.” Prison offered Dostoevsky another opportunity, which at first seemed a curse: it forced him to live at close quarters with thieves, murderers, and drunken peasants. His shared life with these prisoners later led to unmatched characterizations in his novels, such as that of the murderer Raskolnikov in Crime and Punishment. Dostoevsky’s liberal view of the inherent goodness in humanity could not account for the pure evil he found in his cell mates, and his theology had to adjust to this new reality. Over time, though, he also glimpsed the image of God in the lowest of prisoners. He came to believe that only through being loved is a human being capable of love.

The Pearl of Russia was one of fifty jeweled eggs handcrafted over a period of three decades for Tsars Alexander III and Nicholas II. Each year they’d given them as Easter presents to their wives and mothers.

Tsar Nicholas reacted with a characteristic lack of appreciation for how serious the situation had become

A strong man has no need of power, and weak man is destroyed by it.

A strong man has no need of power, and a weak man is destroyed by it.

Only one group, the intelligentsia, rose to challenge the dynasty. Educated people in all walks of life, especially those who had not been absorbed in officialdom, had no less reason than had the peasantry to be disappointed with the Tsar—the Emancipator. He had first aroused and then frustrated their craving for freedom as he had aroused and deceived the muzhiks’ hunger for land. Alexander had not, like his predecessor Nicholas I, chastised the intelligentsia with scorpions; but he was still punishing them with whips. His reforms in education and in the Press had been half-hearted and mean: the spiritual life of the nation remained under the tutelage of the police, the censorship, and the Holy Synod. By offering the educated a semblance of freedom he made the denial of real freedom even more painful and humiliating. The intelligentsia sought to avenge their betrayed hopes; the Tsar strove to tame their restive spirit; and, so, semi-liberal reforms gave way to repression and repression bred rebellion. Numerically

The man who did the shooting was a civilian, Peter Kakhovsky, a gifted intellectual of extreme purity of motive in whom the conviction of the necessity of regicide burned with a gem-like flame. Determined to kill, expecting to die, this brilliant and terrible apparition, his slender form bundled up in a sheepskin coat, his delicate features surmounted by a shabby top hat, shot to kill with that indiscriminate ruthlessness which was later to characterise a whole generation of revolutionary terrorists. If he could not yet murder the Tsar, he would do the next best thing.

The local Red Cross chapter volunteered to publish his book. It came out in a deluxe, gold-embossed, Japanese-paper edition to remind the reader of human artistry, which can be a refuge from evil and a source of new, platonic stirrings. One copy was reserved for His Imperial Majesty Nicholas II. (The Tsar fairly devoured mystical works, believing that hell could be avoided by a combination of education and deceit.) "The Book of Kings and Fools," p. 136.

Alexandra and Nicholas in the centre and little Alexei in front. 21st November 1914. Had tea at home with Mama [we] four, and Malama sweetheart was [here]. [Was] awfully glad to see him. And we said goodbye as he is going to the front soon. If Dmitri and Tatiana corresponded while he was at the front, the letters have not survived. A year and a half later, once he had returned to Tsarskoe Selo, Alexandra wrote of him to Tsar Nicholas: ‘He had matured, though still a lovely boy. I have to admit, he would make an excellent son-in-law. Why are foreign princes not like him?’ Had it not been for the Revolution, there is a good chance Malama and Tatiana could have married: Malama’s family were part of Russia’s old nobility and there were precedents because Nicholas’s sister Olga had married an army officer in 1916. Tatiana also had an admirer called Volodya, but there is no doubt Malama was her favourite from the many times she mentions him in her diaries and from the

But was this really gambling from his point of view? We know from Nicholas’s private writings that he took confidence from comparisons with 1812. He constantly referred to his older brother’s war against Napoleon as a reason why it was possible for Russia to fight alone against the world. ‘If Europe forces me to go to war,’ he wrote in February, ‘I will follow the example of my brother Alexander in 1812, I will venture into uncompromising war against it, I will retreat if necessary to behind the Urals, and will not put down arms as long as the feet of foreign forces trample anywhere on Russian land.’43 This was not a reasoned argument. It was not based on any calculation of the armed forces at his disposal or any careful thought about the practical difficulties the Russians would face in fighting against the superior forces of the European powers, difficulties often pointed out by Menshikov and his other senior commanders, who had warned him several times not to provoke war with Turkey and the Western powers by invading the Danubian principalities. It was a purely emotional reaction, based on the Tsar’s pride and arrogance, on his inflated sense of Russian power and prestige, and perhaps above all on his deeply held belief that he was engaged in a religious war to complete Russia’s providential mission in the world. In all sincerity Nicholas believed that he had been called by God to wage a holy war for the liberation of the Orthodox from Muslim rule, and nothing would divert him from this ‘divine cause’. As he explained to Frederick William, the Prussian king, in March 1854, he was prepared to fight this war alone, against the Western powers, if they sided with the Turks:

The last Russian tsar, Nicholas II, had been deposed and then murdered during the Russian Revolution in 1917,

term coined by the Russian Tsar Nicholas I.

All around me is cowardice and deceit.

Alexander II was known as the “Tsar-Liberator,” yet his murder became the preeminent objective of Russian revolutionaries. The assassins went to extraordinary lengths. Once, near Moscow, they purchased a building near the railway track and tunneled a gallery from the building under the track, where they planted a huge mine. The Tsar was saved when his train left Moscow in a different direction.

In many respects, his education was excellent. He had an unusual memory and had done well in history. He spoke French and German, and his English was so good that he could have fooled an Oxford professor into mistaking him for an Englishman. He rode beautifully, danced gracefully and was an excellent shot. He had been taught to keep a diary and, in the style of innumerable princes and gentlemen of that era,

Where the Russian flag was raised once, it should never be taken down.” —Tsar Nicholas

It was in this tradition that the priest Georgi Gapon led an icon-bearing procession of workers to the Winter Palace in Petersburg on January 22, 1905, to petition Nicholas for reforms and assistance. The tsar would not receive his loyal subjects, troops fired upon the procession, and the day went down in Russian history as “Bloody Sunday.” The massacre contributed both to the outbreak of the 1905 Revolution and to the decline of credence in the traditional Russian ruler-myth. Its symbolic significance to a tradition-bound Russian mind was expressed in Gapon’s tragic words after the shooting: “There is no tsar anymore.”[6]

Russia as a Great Power, 1801–55 During the first half of the nineteenth century, the status of the Russian empire in the international arena changed dramatically. After 1812 it reached the pinnacle of prestige and influence, but in the mid 1850s Russia endured a military defeat that exposed the internal weaknesses of the country, throwing into doubt its viability as a great power. Tsars Alexander I (1801–25) and Nicholas I (1825–55) reveled in Russia’s enhanced status, but both seemed to sense that political and social changes would be necessary to retain that status. From time to time, they actually contemplated a wide range of reforms and they even implemented a