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 transcend18 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 ethically19 and one aesthetically20; 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 simplicity21. 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 dealing22 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 supreme23 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 artifice24, 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 interpretation25 of their emotion and cogitation26. 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 burlesqued28 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 Compassion29; 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 faculty30 of perceiving the truth concerning an illicit31 love. When you have once read ‘Anna Karenina’ you know how fatally miserable and essentially32 unhappy such a love must be. But the character of Karenin himself is quite as important as the intrigue33 of Anna and Vronsky. It is wonderful how such a man, cold, Philistine34 and even mean in certain ways, towers into a sublimity35 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 triumphant36, not beyond the power, but hitherto beyond the imagination of men in this effect, which is not solicited37, not forced, not in the least romantic, but comes naturally, almost inevitably38, from the make of man.
The vast prospects39, 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 unity40 with their people such as I had never felt with the people of other fiction.
His didactic stories, like all stories of the sort, dwindle41 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 realization42 of themselves in others. The simple pathos43, 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 parables44; 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 fables45 of the early Christian16 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 rust27 out in disuse.
Terrible as the ‘Kreutzer Sonata’ was, it had a moral effect dramatically which it lost altogether when the author descended46 to exegesis47, and applied48 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 erring49 and stumbling follower50 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 creed51 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 sordid52 way that I did before I read Tolstoy.
Artistically53, 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 likeness54 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 attest55 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 fully56 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 homage57 to his heart and mind, which any man can pay another, that I close this record with the name of Lyof Tolstoy.
The End
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1 aesthetics | |
n.(尤指艺术方面之)美学,审美学 | |
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2 ethics | |
n.伦理学;伦理观,道德标准 | |
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3 awakens | |
v.(使)醒( awaken的第三人称单数 );(使)觉醒;弄醒;(使)意识到 | |
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4 distinguished | |
adj.卓越的,杰出的,著名的 | |
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5 alloy | |
n.合金,(金属的)成色 | |
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6 miserable | |
adj.悲惨的,痛苦的;可怜的,糟糕的 | |
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7 motive | |
n.动机,目的;adv.发动的,运动的 | |
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8 sublime | |
adj.崇高的,伟大的;极度的,不顾后果的 | |
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9 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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10 labor | |
n.劳动,努力,工作,劳工;分娩;vi.劳动,努力,苦干;vt.详细分析;麻烦 | |
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11 ethical | |
adj.伦理的,道德的,合乎道德的 | |
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12 rapture | |
n.狂喜;全神贯注;着迷;v.使狂喜 | |
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13 astonishment | |
n.惊奇,惊异 | |
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14 pessimism | |
n.悲观者,悲观主义者,厌世者 | |
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15 solitude | |
n. 孤独; 独居,荒僻之地,幽静的地方 | |
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16 Christian | |
adj.基督教徒的;n.基督教徒 | |
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17 Christians | |
n.基督教徒( Christian的名词复数 ) | |
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18 transcend | |
vt.超出,超越(理性等)的范围 | |
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19 ethically | |
adv.在伦理上,道德上 | |
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20 aesthetically | |
adv.美地,艺术地 | |
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21 simplicity | |
n.简单,简易;朴素;直率,单纯 | |
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22 dealing | |
n.经商方法,待人态度 | |
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23 supreme | |
adj.极度的,最重要的;至高的,最高的 | |
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24 artifice | |
n.妙计,高明的手段;狡诈,诡计 | |
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25 interpretation | |
n.解释,说明,描述;艺术处理 | |
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26 cogitation | |
n.仔细思考,计划,设计 | |
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27 rust | |
n.锈;v.生锈;(脑子)衰退 | |
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28 burlesqued | |
v.(嘲弄地)模仿,(通过模仿)取笑( burlesque的过去式和过去分词 ) | |
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29 compassion | |
n.同情,怜悯 | |
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30 faculty | |
n.才能;学院,系;(学院或系的)全体教学人员 | |
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31 illicit | |
adj.非法的,禁止的,不正当的 | |
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32 essentially | |
adv.本质上,实质上,基本上 | |
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33 intrigue | |
vt.激起兴趣,迷住;vi.耍阴谋;n.阴谋,密谋 | |
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34 philistine | |
n.庸俗的人;adj.市侩的,庸俗的 | |
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35 sublimity | |
崇高,庄严,气质高尚 | |
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36 triumphant | |
adj.胜利的,成功的;狂欢的,喜悦的 | |
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37 solicited | |
v.恳求( solicit的过去式和过去分词 );(指娼妇)拉客;索求;征求 | |
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38 inevitably | |
adv.不可避免地;必然发生地 | |
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39 prospects | |
n.希望,前途(恒为复数) | |
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40 unity | |
n.团结,联合,统一;和睦,协调 | |
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41 dwindle | |
v.逐渐变小(或减少) | |
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42 realization | |
n.实现;认识到,深刻了解 | |
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43 pathos | |
n.哀婉,悲怆 | |
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44 parables | |
n.(圣经中的)寓言故事( parable的名词复数 ) | |
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45 fables | |
n.寓言( fable的名词复数 );神话,传说 | |
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46 descended | |
a.为...后裔的,出身于...的 | |
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47 exegesis | |
n.注释,解释 | |
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48 applied | |
adj.应用的;v.应用,适用 | |
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49 erring | |
做错事的,错误的 | |
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50 follower | |
n.跟随者;随员;门徒;信徒 | |
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51 creed | |
n.信条;信念,纲领 | |
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52 sordid | |
adj.肮脏的,不干净的,卑鄙的,暗淡的 | |
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53 artistically | |
adv.艺术性地 | |
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54 likeness | |
n.相像,相似(之处) | |
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55 attest | |
vt.证明,证实;表明 | |
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56 fully | |
adv.完全地,全部地,彻底地;充分地 | |
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57 homage | |
n.尊敬,敬意,崇敬 | |
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