Despite Tolstoy's religious mania6, I have never doubted his sincerity7 for a moment. It is a mysterious yet potent8 factor in the psychology9 of such an artist as he that whatever he did he did with tremendous sincerity. That is the reason his fiction is nearer reality than all other fictions, and the reason, too, that his realities, i. e., his declarations of faith, are nearer other men's fictions. When he writes of his conversion10, like John Bunyan, he lets you see across the very sill of his soul. And he does it artistically11. He is not conscious that [Pg 78] art enters into the mechanism12 of this spiritual evisceration13; but it does. St. Augustine, John Bunyan, John Henry Newman wrote of their adventures of the spirit in letters of fire, and in all three there is a touch of the sublime14 na?veté of childhood's outpourings.
I agree with the estimate of Tolstoy by Merejkowski. The main points of this study have been known to students who followed Tolstoy's extraordinary career for the past quarter of a century. Ibsen's individualism appeals. Better his torpedo16 exploding a thousand times under the social ark than the Oriental passivity of the Russian. There is hope in the message of Brand; none in Tolstoy's nihilism. One glorifies17 the will, the other denies, rejects it. No comparison can be made between the two wonderful men as playwrights18. Yet Tolstoy's Powers of Darkness is brutal19 melodrama20 when compared to Ibsen's complex dramatic organisms. But what a nerve-shattering revelation is The Death of Ivan Ilyitch. This is the real Tolstoy.
How amateurish21 is the attitude of the Tolstoy disciple22 who cavils23 at his masterpieces. What is mere15 art compared to the message! And I say: what are all his vapourings and fatidical croonings on the tripod of pseudo-prophecy as compared to Anna Karenina? There is implicit24 drama, implicit morality in its noble pages, and a segment of the life of a nation in War and Peace. With preachers [Pg 79] and saviours25 with quack26 nostrums27 the world is already well stocked. Great artists are rare. Every day a new religion is born somewhere—and it always finds followers28. But art endures, it outlives dynasties, religions, divinities. It is with Tolstoy the artist we are enamoured. He may deliver his message of warning to a careless world—which only pricks29 up its ears when that message takes on questionable30 colour, as in the unpalatable Kreutzer Sonata31. (Yes; that was eagerly devoured32 for its morbid33 eroticism.) We prefer the austerer Ibsen, who presents his men and women within the frame of the drama, absolutely without personal comment or parti pris—as before his decadence34 did Tolstoy in his novels. Ibsen is the type of the philosophical35 anarch, the believer in man's individuality, in the state for the individual, not the individual for the state. It is at least more dignified36 than the other's flood of confessions37, of hysterical39 self-accusations, of penitential vows40, and abundant lack of restraint. Yet no one doubts Tolstoy's repentance41. Like Verlaine's it carried with it its own proofs.
But why publish to the world these intimate soul processes, fascinating as they are to laymen42 and psychologists alike? Why not keep watch with his God in silence and alone? The reason was (only complicated with a thousand other things, for Tolstoy was a complex being and a Slav), the plain reason was, we repeat, because Leo Nikolaievitch was an artist. He [Pg 80] obeyed that demon43 known to Socrates and Goethe, and minutely recorded his mental and emotional fluctuations44. And with Richard Wagner and Dosto?evsky, Tolstoy is one of the three most emotional temperaments45 of the nineteenth century. Unlike Ibsen or Nietzsche, he does not belong to the twentieth century; his religion, his social doctrines46 are atavistic, are of the past. Tolstoy is what the French call un cérébral, which, as Arthur Symons points out, is by no means a man of intellect. "Un cérébral is a man who feels through his brain, in whom emotion transforms itself into idea, rather than in whom idea is transformed by emotion." How well that phrase fits Tolstoy—the fever of the soul! He has had the fever of the soul, has subdued48 it, and his recital49 of his struggles makes breathless reading. They are depicted50 by an artist, an emotional artist, and, despite his protestations, by one who will die an artist and be remembered, not as the pontiff of a new dispensation, but as a great world artist.
An admirer has said of him that "confession38 has become his second nature"; rather it was a psychological necessity. The voice that cried from the comfortable wilderness51 of Yasnaya Polyana furnished unique "copy" for newspapers. Alas52! the pity of it all. The moral dyspepsia that overtook Carlyle in middle life was the result of a lean, spoiled, half-starved youth; the moral dyspepsia that seized the soul of the wonderful Tolstoy was the outcome of a riotous53 youth, a youth overflowing54 with the [Pg 81] "joy of life." Ibsen, like Carlyle, battled in his early days with poverty; but his message—if you will have a definite message (Oh, these literal, unimaginative folk of the Gradgrind sort, who would wring55 from the dumb mysterious beauty of nature definite meanings—as if sheer existence itself is not its own glorious vindication56!)—may be a hopeful one. The individual is all in all; he is the evangel of the future; his belief is buoyant and Northern; whereas Tolstoy's sour outlook, his constant girding at the vanities of life (after he had, Solomon-like, tasted of them to the full) is Eastern; his is the Oriental fatalism, the hopeless doctrine47 of determinism. He discovers a new sin every day. Better one hour of Nietzsche's dancing madness than a cycle of Tolstoy's pessimistic renunciations. And all his ethical57 propaganda does not shake in the least our conviction of the truth and grandeur58 of Tolstoy's art.
Of the disciples59 the son of Tolstoy, Count Ilya, tells us in no uncertain accents:
My father had good reason for saying that the "Tolstoyites" were to him the most incomprehensible sect60 and the furthest removed from his way of thinking that he had ever come across. "I shall soon be dead," he sadly predicted, "and people will say that Tolstoy taught men to plough and reap and make boots; while the chief thing that I have been trying so hard to say all my life, the thing I believe in the most important of all, they will forget."
点击收听单词发音
1 vagaries | |
n.奇想( vagary的名词复数 );异想天开;异常行为;难以预测的情况 | |
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2 dwarfed | |
vt.(使)显得矮小(dwarf的过去式与过去分词形式) | |
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3 fictional | |
adj.小说的,虚构的 | |
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4 immortality | |
n.不死,不朽 | |
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5 lust | |
n.性(淫)欲;渴(欲)望;vi.对…有强烈的欲望 | |
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6 mania | |
n.疯狂;躁狂症,狂热,癖好 | |
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7 sincerity | |
n.真诚,诚意;真实 | |
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8 potent | |
adj.强有力的,有权势的;有效力的 | |
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9 psychology | |
n.心理,心理学,心理状态 | |
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10 conversion | |
n.转化,转换,转变 | |
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11 artistically | |
adv.艺术性地 | |
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12 mechanism | |
n.机械装置;机构,结构 | |
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13 evisceration | |
n.除脏(术) | |
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14 sublime | |
adj.崇高的,伟大的;极度的,不顾后果的 | |
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15 mere | |
adj.纯粹的;仅仅,只不过 | |
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16 torpedo | |
n.水雷,地雷;v.用鱼雷破坏 | |
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17 glorifies | |
赞美( glorify的第三人称单数 ); 颂扬; 美化; 使光荣 | |
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18 playwrights | |
n.剧作家( playwright的名词复数 ) | |
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19 brutal | |
adj.残忍的,野蛮的,不讲理的 | |
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20 melodrama | |
n.音乐剧;情节剧 | |
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21 amateurish | |
n.业余爱好的,不熟练的 | |
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22 disciple | |
n.信徒,门徒,追随者 | |
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23 cavils | |
v.挑剔,吹毛求疵( cavil的第三人称单数 ) | |
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24 implicit | |
a.暗示的,含蓄的,不明晰的,绝对的 | |
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25 saviours | |
n.救助者( saviour的名词复数 );救星;救世主;耶稣基督 | |
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26 quack | |
n.庸医;江湖医生;冒充内行的人;骗子 | |
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27 nostrums | |
n.骗人的疗法,有专利权的药品( nostrum的名词复数 );妙策 | |
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28 followers | |
追随者( follower的名词复数 ); 用户; 契据的附面; 从动件 | |
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29 pricks | |
刺痛( prick的名词复数 ); 刺孔; 刺痕; 植物的刺 | |
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30 questionable | |
adj.可疑的,有问题的 | |
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31 sonata | |
n.奏鸣曲 | |
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32 devoured | |
吞没( devour的过去式和过去分词 ); 耗尽; 津津有味地看; 狼吞虎咽地吃光 | |
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33 morbid | |
adj.病的;致病的;病态的;可怕的 | |
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34 decadence | |
n.衰落,颓废 | |
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35 philosophical | |
adj.哲学家的,哲学上的,达观的 | |
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36 dignified | |
a.可敬的,高贵的 | |
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37 confessions | |
n.承认( confession的名词复数 );自首;声明;(向神父的)忏悔 | |
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38 confession | |
n.自白,供认,承认 | |
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39 hysterical | |
adj.情绪异常激动的,歇斯底里般的 | |
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40 vows | |
誓言( vow的名词复数 ); 郑重宣布,许愿 | |
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41 repentance | |
n.懊悔 | |
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42 laymen | |
门外汉,外行人( layman的名词复数 ); 普通教徒(有别于神职人员) | |
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43 demon | |
n.魔鬼,恶魔 | |
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44 fluctuations | |
波动,涨落,起伏( fluctuation的名词复数 ) | |
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45 temperaments | |
性格( temperament的名词复数 ); (人或动物的)气质; 易冲动; (性情)暴躁 | |
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46 doctrines | |
n.教条( doctrine的名词复数 );教义;学说;(政府政策的)正式声明 | |
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47 doctrine | |
n.教义;主义;学说 | |
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48 subdued | |
adj. 屈服的,柔和的,减弱的 动词subdue的过去式和过去分词 | |
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49 recital | |
n.朗诵,独奏会,独唱会 | |
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50 depicted | |
描绘,描画( depict的过去式和过去分词 ); 描述 | |
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51 wilderness | |
n.杳无人烟的一片陆地、水等,荒漠 | |
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52 alas | |
int.唉(表示悲伤、忧愁、恐惧等) | |
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53 riotous | |
adj.骚乱的;狂欢的 | |
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54 overflowing | |
n. 溢出物,溢流 adj. 充沛的,充满的 动词overflow的现在分词形式 | |
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55 wring | |
n.扭绞;v.拧,绞出,扭 | |
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56 vindication | |
n.洗冤,证实 | |
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57 ethical | |
adj.伦理的,道德的,合乎道德的 | |
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58 grandeur | |
n.伟大,崇高,宏伟,庄严,豪华 | |
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59 disciples | |
n.信徒( disciple的名词复数 );门徒;耶稣的信徒;(尤指)耶稣十二门徒之一 | |
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60 sect | |
n.派别,宗教,学派,派系 | |
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