I come now, though not quite in the order of time, to the noblest of all
these enthusiasms--namely, my devotion for the writings of Lyof Tolstoy.
I should wish to speak of him with his own incomparable truth, yet I do
not know how to give a notion of his influence without the effect of
exaggeration. As much as one merely human being can help another I
believe that he has helped me; he has not influenced me in aesthetics
only, but in ethics, too, so that I can never again see life in the way I
saw it before I knew him. Tolstoy awakens in his reader the will to be a
man; not effectively, not spectacularly, but simply, really. He leads
you back to the only true ideal, away from that false standard of the
gentleman, to the Man who sought not to be distinguished from other men,
but identified with them, to that Presence in which the finest gentleman
shows his alloy of vanity, and the greatest genius shrinks to the measure
of his miserable egotism. I learned from Tolstoy to try character and
motive by no other test, and though I am perpetually false to that
sublime ideal myself, still the ideal remains with me, to make me ashamed
that I am not true to it. Tolstoy gave me heart to hope that the world
may yet be made over in the image of Him who died for it, when all
Caesars things shall be finally rendered unto Caesar, and men shall come
into their own, into the right to labor and the right to enjoy the fruits
of their labor, each one master of himself and servant to every other.
He taught me to see life not as a chase of a forever impossible personal
happiness, but as a field for endeavor towards the happiness of the whole
human family; and I can never lose this vision, however I close my eyes,
and strive to see my own interest as the highest good. He gave me new
criterions, new principles, which, after all, were those that are taught
us in our earliest childhood, before we have come to the evil wisdom of
the world. As I read his different ethical books, ‘What to Do,’
‘My Confession,’ and ‘My Religion,’ I recognized their truth with a
rapture such as I have known in no other reading, and I rendered them my
allegiance, heart and soul, with whatever sickness of the one and despair
of the other. They have it yet, and I believe they will have it while I
live. It is with inexpressible astonishment that I bear them attainted
of pessimism, as if the teaching of a man whose ideal was simple goodness
must mean the prevalence of evil. The way he showed me seemed indeed
impossible to my will, but to my conscience it was and is the only
possible way. If there, is any point on which he has not convinced my
reason it is that of our ability to walk this narrow way alone. Even
there he is logical, but as Zola subtly distinguishes in speaking of
Tolstoy’s essay on “Money,” he is not reasonable. Solitude enfeebles and
palsies, and it is as comrades and brothers that men must save the world
from itself, rather than themselves from the world. It was so the
earliest Christians, who had all things common, understood the life of
Christ, and I believe that the latest will understand it so.
I have spoken first of the ethical works of Tolstoy, because they are of
the first importance to me, but I think that his aesthetical works are as
perfect. To my thinking they transcend in truth, which is the highest
beauty, all other works of fiction that have been written, and I believe
that they do this because they obey the law of the author’s own life.
His conscience is one ethically and one aesthetically; with his will to
be true to himself he cannot be false to his knowledge of others. I
thought the last word in literary art had been said to me by the novels
of Tourguenief, but it seemed like the first, merely, when I began to
acquaint myself with the simpler method of Tolstoy. I came to it by
accident, and without any manner, of preoccupation in The Cossacks, one
of his early books, which had been on my shelves unread for five or six
years. I did not know even Tolstoy’s name when I opened it, and it was
with a kind of amaze that I read it, and felt word by word, and line by
line, the truth of a new art in it.
I do not know how it is that the great Russians have the secret of
simplicity. Some say it is because they have not a long literary past
and are not conventionalized by the usage of many generations of other
writers, but this will hardly account for the brotherly directness of
their dealing with human nature; the absence of experience elsewhere
characterizes the artist with crudeness, and simplicity is the last
effect of knowledge. Tolstoy is, of course, the first of them in this
supreme grace. He has not only Tourguenief’s transparency of style,
unclouded by any mist of the personality which we mistakenly value in
style, and which ought no more to be there than the artist’s personality
should be in a portrait; but he has a method which not only seems without
artifice, but is so. I can get at the manner of most writers, and tell
what it is, but I should be baffled to tell what Tolstoy’s manner is;
perhaps he has no manner. This appears to me true of his novels, which,
with their vast variety of character and incident, are alike in their
single endeavor to get the persons living before you, both in their
action and in the peculiarly dramatic interpretation of their emotion and
cogitation. There are plenty of novelists to tell you that their
characters felt and thought so and so, but you have to take it on trust;
Tolstoy alone makes you know how and why it was so with them and not
otherwise. If there is anything in him which can be copied or burlesqued
it is this ability of his to show men inwardly as well as outwardly; it
is the only trait of his which I can put my hand on.
After ‘The Cossacks’ I read ‘Anna Karenina’ with a deepening sense of the
author’s unrivalled greatness. I thought that I saw through his eyes a
human affair of that most sorrowful sort as it must appear to the
Infinite Compassion; the book is a sort of revelation of human nature in
circumstances that have been so perpetually lied about that we have
almost lost the faculty of perceiving the truth concerning an illicit
love. When you have once read ‘Anna Karenina’ you know how fatally
miserable and essentially unhappy such a love must be. But the character
of Karenin himself is quite as important as the intrigue of Anna and
Vronsky. It is wonderful how such a man, cold, Philistine and even mean
in certain ways, towers into a sublimity unknown (to me, at least), in
fiction when he forgives, and yet knows that he cannot forgive with
dignity. There is something crucial, and something triumphant, not
beyond the power, but hitherto beyond the imagination of men in this
effect, which is not solicited, not forced, not in the least romantic,
but comes naturally, almost inevitably, from the make of man.
The vast prospects, the far-reaching perspectives of ‘War and Peace’ made
it as great a surprise for me in the historical novel as ‘Anna Karenina’
had been in the study of contemporary life; and its people and interests
did not seem more remote, since they are of a civilization always as
strange and of a humanity always as known.
I read some shorter stories of Tolstoy’s before I came to this greatest
work of his: I read ‘Scenes of the Siege of Sebastopol,’ which is so much
of the same quality as ‘War and Peace;’ and I read ‘Policoushka’ and most
of his short stories with a sense of my unity with their people such as I
had never felt with the people of other fiction.
His didactic stories, like all stories of the sort, dwindle into
allegories; perhaps they do their work the better for this, with the
simple intelligences they address; but I think that where Tolstoy becomes
impatient of his office of artist, and prefers to be directly a teacher,
he robs himself of more than half his strength with those he can move
only through the realization of themselves in others. The simple pathos,
and the apparent indirectness of such a tale as that of ‘Poticoushka,’
the peasant conscript, is of vastly more value to the world at large than
all his parables; and ‘The Death of Ivan Ilyitch,’ the Philistine
worldling, will turn the hearts of many more from the love of the world
than such pale fables of the early Christian life as “Work while ye have
the Light.” A man’s gifts are not given him for nothing, and the man who
has the great gift of dramatic fiction has no right to cast it away or to
let it rust out in disuse.
Terrible as the ‘Kreutzer Sonata’ was, it had a moral effect dramatically
which it lost altogether when the author descended to exegesis, and
applied to marriage the lesson of one evil marriage. In fine, Tolstoy is
certainly not to be held up as infallible. He is very, distinctly
fallible, but I think his life is not less instructive because in certain
things it seems a failure. There was but one life ever lived upon the
earth which was without failure, and that was Christ’s, whose erring and
stumbling follower Tolstoy is. There is no other example, no other
ideal, and the chief use of Tolstoy is to enforce this fact in our age,
after nineteen centuries of hopeless endeavor to substitute ceremony for
character, and the creed for the life. I recognize the truth of this
without pretending to have been changed in anything but my point of view
of it. What I feel sure is that I can never look at life in the mean and
sordid way that I did before I read Tolstoy.
Artistically, he has shown me a greatness that he can never teach me.
I am long past the age when I could wish to form myself upon another
writer, and I do not think I could now insensibly take on the likeness of
another; but his work has been a revelation and a delight to me, such as
I am sure I can never know again. I do not believe that in the whole
course of my reading, and not even in the early moment of my literary
enthusiasms, I have known such utter satisfaction in any writer, and this
supreme joy has come to me at a time of life when new friendships, not to
say new passions, are rare and reluctant. It is as if the best wine at
this high feast where I have sat so long had been kept for the last, and
I need not deny a miracle in it in order to attest my skill in judging
vintages. In fact, I prefer to believe that my life has been full of
miracles, and that the good has always come to me at the right time, so
that I could profit most by it. I believe if I had not turned the corner
of my fiftieth year, when I first knew Tolstoy, I should not have been
able to know him as fully as I did. He has been to me that final
consciousness, which he speaks of so wisely in his essay on “Life.”
I came in it to the knowledge of myself in ways I had not dreamt of
before, and began at least to discern my relations to the race, without
which we are each nothing. The supreme art in literature had its highest
effect in making me set art forever below humanity, and it is with the
wish to offer the greatest homage to his heart and mind, which any man
can pay another, that I close this record with the name of Lyof Tolstoy.