Part 11

To Bondareff in particular Tolstoy confessedly owes the conviction that the best preventive for immorality is physical labor, for which reason the lower classes are less widely removed from grace than the upper. Bondareff maintained on scriptural grounds that everybody should employ at least a part of his time in working the land. This view Tolstoy shared definitely after 1884. Not only did he devote a regular part of his day to agricultural labor; he learned, in addition, shoemaking and carpentry, meaning to demonstrate by his example that it is feasible to return to those patriarchal conditions under which the necessities of life were produced by the consumer himself. From this time forth he modelled his habits more and more upon those of the common rustic. He adopted peasant apparel and became extremely frugal in his diet. Although by natural taste he was no scorner of the pleasures of the table, he now eliminated one luxury after another. About this time he also turned strict vegetarian, then gave up the use of wine and spirits, and ultimately even tobacco, of which he had been very fond, was made to go the way of flesh. He practiced this self-abnegation in obedience to the Law of Life which he interpreted as a stringent renunciation of physical satisfactions and personal happiness. Nor did he shirk the ultimate conclusion to which his premises led: if the Law of Life imposes the suppression of all natural desires and appetites and commands the voluntary sacrifice of every form of property and power, it must be clear that life itself is devoid of sense and utterly undesirable. And so it is expressly stated in his "Thoughts."(31)

(31) No. 434.

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To what extent Tolstoy was a true Christian believer may best be gathered from his own writings, "What Do I Believe?" (1884), "On Life," (1887), and "The Kingdom of God is within You," (1893). Although at the age of seventeen he had ceased to be orthodox, there can be no question whatever that throughout his whole life religion remained the deepest source of his inspiration. By the early eighties he had emerged from that acute scepticism that well-nigh cost him life and reason, and had, outwardly at least, made his peace with the church, attending services regularly, and observing the feasts and the fasts; here again in imitating the muzhik in his religious practices he strove apparently to attain also to the muzhik's actual gift of credulity. But in this endeavor his superior culture proved an impediment to him, and his widening doctrinal divergence from the established church finally drew upon his head, in 1891, the official curse of the Holy Synod. And yet a leading religious journal was right, shortly after his death, in this comment upon the religious meaning of his life: "If Christians everywhere should put their religious beliefs into practice with the simplicity and sincerity of Tolstoy, the entire religious, moral, and social life of the world would be revolutionized in a month." The orthodox church expelled him from its communion because of his radicalism; but in his case radicalism meant indeed the going to the roots of Christian religion, to the original foundations of its doctrines. In the teachings of the _primitive_ church there presented itself to Tolstoy a dumfoundingly simple code for the attainment of moral perfection. Hence arose his opposition to the _established_ church which seemed to have strayed so widely from its own fundamentals.

Since Tolstoy's life aimed at the progressive exercise of self-sacrifice, his religious belief could be no gospel of joy. In fact, his is a sad, gray, ascetic religion, wholly devoid of poetry and emotional uplift. He did not learn to believe in the divinity of Christ nor in the existence of a God in any definite sense personal, and it is not even clear whether he believed in an after-life. And yet he did not wrongfully call himself a Christian, for the mainspring of his faith and his labor was the message of Christ delivered to his disciples in the Sermon on the Mount. This, for Tolstoy, contained all the philosophy and the theology of which the modern world stands in need, since in the precept of non-resistance is joined forever the issue between the Law and the Gospel: "Ye have heard that it hath been said, An eye for an eye, and a tooth for a tooth: But I say unto you, That ye resist not evil: but whosoever shall smite thee on the right cheek, turn to him the other also."

And farther on: "Ye have heard that it hath been said, Thou shalt love thy neighbor, and hate thine enemy. But I say unto you. Love your enemies, bless them that curse you, do good to them that hate you, and pray for them that despitefully use you, and persecute you." ...

In this commandment Tolstoy found warrant for unswerving forbearance toward every species of private and corporate aggression. Offenders against individuals or the commonwealth deserve nothing but pity. Prisons should be abolished and criminals never punished. Tolstoy went so far as to declare that even if he saw his own wife or daughters being assaulted, he would abstain from using force in their defense. The infliction of the death penalty was to him the most odious of crimes. No life, either human or animal, should be wilfully destroyed.

The doctrine of non-resistance removes every conceivable excuse for war between the nations. A people is as much bound as is an individual by the injunction: "Whosoever shall smite thee on the right cheek, turn to him the other also." War is not to be justified on patriotic grounds, for patriotism, far from being a virtue, is an enlarged and unduly glorified form of selfishness. Consistently with his convictions, Tolstoy put forth his strength not for the glory of his nation but for the solidarity of mankind.

The cornerstones of Tolstoy's religion, then, were these three articles of faith. First, True Faith gives Life. Second, Man must live by labor. Third, Evil must never be resisted by means of evil.

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Outside of the sphere of religious thought it is inaccurate to speak of a specific Tolstoyan philosophy, and it is impossible for the student to subscribe unconditionally to the hackneyed formula of the books that Tolstoy "will be remembered as perhaps the most profound influence of his day on human thought." Yet the statement might be made measurably true if it were modified in accordance with the important reservation made earlier in this sketch. In the field of thought he was not an original explorer. He was great only as the promulgator, not as the inventor, of ideas. His work has not enriched the wisdom of man by a single new thought, nor was he a systematizer and expounder of thought or a philosopher. In fact he possessed slight familiarity with philosophical literature. Among the older metaphysicians his principal guide was Spinoza, and in more modern speculative science he did not advance beyond Schopenhauer. To the latter he was not altogether unlike in his mental temper. At least he showed himself indubitably a pessimist in his works by placing in fullest relief the bad side of the social state. We perceive the pessimistic disposition also through his personal behavior, seeing how he desponded under the discords of life, how easily he lost courage whenever he undertook to cope with practical problems, and how sedulously he avoided the contact with temptations. It was only by an almost total withdrawal from the world, and by that entire relief from its daily and ordinary affairs which he owed to the devotion of his wife that Tolstoy was enabled during his later years to look upon the world less despairingly.

Like his theology, so, too, his civic and economic creed was marked by the utmost and altogether too primitive simplicity. Political questions were of slight interest to him, unless they touched upon his vital principles. If, therefore, we turn from his very definite position in matters of individual conduct to his political views, we shall find that he was wanting in a program of practical changes. His only positive contribution to economic discussion was a persistent advocacy of agrarian reform. Under the influence of Henry George he became an eloquent pleader for the single tax and the nationalization of the land. This question he discussed in numerous places, with especial force and clearness in a long article entitled "A Great Iniquity."(32) He takes the view that the mission of the State, if it have any at all, can only consist in guaranteeing the rights of every one of its denizens, but that in actual fact the State protects only the rights of the propertied. Intelligent and right-minded citizens must not conspire with the State to ride rough-shod over the helpless majority. Keenly alive to the unalterable tendency of organized power to abridge the rights of individuals and to dominate both their material and spiritual existence, Tolstoy fell into the opposite extreme and would have abolished with a clean sweep all factors of social control, including the right of property and the powers of government, and transformed society into a community of equals and brothers, relying for its peace and well-being upon a universal love of liberty and justice.

(32) Printed in the (London) _Times_ of September 10, 1905.

By his disbelief in authority, the rejection of the socialists' schemes of reconstruction, his mistrust of fixed institutions and reliance on individual right-mindedness for the maintenance of the common good, Tolstoy in the sphere of civic thought separated himself from the political socialists by the whole diameter of initial principle: he might not unjustly be classified, therefore, as an anarchist, if this definition were neither too narrow nor too wide. The Christian Socialists might claim him, because he aspires ardently to ideals essentially Christian in their nature, and there is surely truth in the thesis that "every thinker who understands and earnestly accepts the teaching of the Master is at heart a socialist." At the same time, Christianity and Socialism do not travel the whole way together. For a religion that enjoins patience and submission can hardly be conducive to the full flowering of Socialism. And Tolstoy's attitude towards the church differs radically from that of the Christian Socialists. On the whole one had best abstain from classifying men of genius.

The base of Tolstoy's social creed was the non-recognition of private property. The effect of the present system is to maintain the inequality of men and thereby to excite envy and stir up hatred among them. Eager to set a personal example and precedent, Tolstoy rendered himself nominally penniless by making all his property, real and personal, over to his wife and children. Likewise he abdicated his copyrights. Thus he reduced himself to legal pauperism with a completeness of success that cannot but stir with envy the bosom of any philanthropist who shares Mr. Andrew Carnegie's conviction that to die rich is to die disgraced.

Tolstoy's detractors have cast a plausible suspicion upon his sincerity. They pointed out among other things that his relinquishment of pecuniary profit in his books was apparent, not real. Since Russia has no copyright conventions with other countries, it was merely making a virtue of necessity to authorize freely the translation of his works into foreign languages. As for the Russian editions of his writings, it is said that in so far as the heavy hand of the censor did not prevent, the Countess, as her husband's financial agent, managed quite skilfully to exploit them.

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Altogether, did Tolstoy practice what he professed? Inconsistency between principles and conduct is a not uncommon frailty of genius, as is notoriously illustrated by Tolstoy's real spiritual progenitor, Jean Jacques Rousseau.

Now there are many discreditable stories in circulation about the muzhik lord of Yasnaya Polyana. He urged upon others the gospel commands: "Lay not up for yourselves treasures upon earth" and: "Take what ye have and give to the poor," and for his own part lived, according to report, in sumptuous surroundings. He went ostentatiously on pilgrimages to holy places, barefooted but with an expert pedicure attending him. He dressed in a coarse peasant blouse, but underneath it wore fine silk and linen. He was a vegetarian of the strictest observance, yet so much of an epicure that his taste for unseasonable dainties strained the domestic resources. He preached simplicity, and according to rumor dined off priceless plate; taught the equality of men, and was served by lackies in livery. He abstained from alcohol and tobacco, but consumed six cups of strong coffee at a sitting. Finally, he extolled the sexless life and was the father of thirteen children. It was even murmured that notwithstanding his professed affection for the muzhik and his incessant proclamation of universal equality, the peasantry of Yasnaya Polyana was the most wretchedly-treated to be found in the whole province and that the extortionate landlordism of the Tolstoys was notorious throughout the empire.

Much of this, to be sure, is idle gossip, unworthy of serious attention. Nevertheless, there is evidence enough to show that Tolstoy's insistence upon a literal acceptance of earlier Christian doctrines led him into unavoidable inconsistencies and shamed him into a tragical sense of dishonesty.

Unquestionably Tolstoy lived very simply and laboriously for a man of great rank, means, and fame, but his life was neither hard nor cramped. Having had no personal experience of garret and hovel, he could have no first-hand practical knowledge of the sting of poverty, nor could he obtain hardship artificially by imposing upon himself a mild imitation of physical discomfort. For the true test of penury is not the suffering of to-day but the oppressive dread of to-morrow. His ostensible muzhik existence, wanting in none of the essentials of civilization, was a romance that bore to the real squalid pauperism of rural Russia about the same relation that the bucolic make-belief of Boucher's or Watteau's swains and shepherdesses bore to the unperfumed truth of a sheep-farm or a hog-sty. As time passed, and the sage turned his thoughts to a more rigid enforcement of his renunciations, it was no easy task for a devoted wife to provide comfort for him without shaking him too rudely out of his fond illusion that he was enduring privations.

After all, then, his practice did not tally with his theory; and this consciousness of living contrary to his own teachings was a constant source of unhappiness which no moral quibbles of his friends could still.

Yet no man could be farther from being a hypocrite. If at last he broke down under a burden of conscience, it was a burden imposed by the reality of human nature which makes it impossible for any man to live up to intentions of such rigor as Tolstoy's. From the start he realized that he did not conform his practice entirely to his teachings, and as he grew old he was resolved that having failed to harmonize his life with his beliefs he would at least corroborate his sincerity by his manner of dying. Even in this, however, he was to be thwarted. In his dramatic ending, still plainly remembered, we feel a grim consistency with the lifelong defeat of his will to suffer.

Early in 1910 a student by the name of Manzos addressed a rebuke to Tolstoy for simulating the habits of the poor, denouncing his mode of life as a form of mummery. He challenged the sage to forsake his comforts and the affections of his family, and to go forth and beg his way from place to place. "Do this," entreated the young fanatic, "and you will be the first true man after Christ." With his typical large-heartedness, Tolstoy accepted the reproof and said in the course of his long reply:(33) ... "The fact that I am living with wife and daughter in terrible and shameful conditions of luxury when poverty surrounds me on all sides, torments me ever more and more, and there is not a day when I am not thinking of following your advice. I thank you very, very much for your letter." As a matter of fact, he had more than once before made ready to put his convictions to a fiery proof by a final sacrifice,--leaving his home and spending his remaining days in utter solitude. But when he finally proceeded to carry out this ascetic intention and actually set out on a journey to some vague and lonely destination, he was foiled in his purpose. If ever Tolstoy's behavior irresistibly provoked misrepresentation of his motives it was by this somewhat theatrical hegira. The fugitive left Yasnaya Polyana, not alone, but with his two favorite companions, his daughter Alexandra and a young Hungarian physician who for some time had occupied the post of private secretary to him. After paying a farewell visit to his sister, a nun cloistered in Shamardin, he made a start for the Trans-Caucasus. His idea was to go somewhere near the Tolstoy colony at the Black Sea. But in an early stage of the journey, a part of which was made in an ordinary third-class railway compartment, the old man was overcome by illness and fatigue. He was moved to a trackman's hut at the station of Astopovo, not farther than eighty miles from his home, and here,--surrounded by his hastily summoned family and tenderly nursed for five days,--he expired. Thus he was denied the summit of martyrdom to which he had aspired,--a lonely death, unminded of men.

(33) February 17, 1910.

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Even a summary review like this of Tolstoy's life and labors cannot be concluded without some consideration of his final attitude toward the esthetic embodiment of civilization. The development of his philosophy of self-abnegation had led irresistibly, as we have seen, to the condemnation of all self-regarding instincts. Among these, Art appeared to him as one of the most insidious. He warned against the cultivation of the beautiful on the ground that it results in the suppression and destruction of the moral sense. Already in 1883 it was known that he had made up his mind to abandon his artistic aspirations out of loyalty to his moral theory, and would henceforth dedicate his talents exclusively to the propagation of humanitarian views. In vain did the dean of Russian letters, Turgenieff, appeal to him with a death-bed message: "My friend, great writer of the Russians, return to literary work! Heed my prayer." Tolstoy stood firm in his determination. Nevertheless, his genius refused to be throttled by his conscience; he could not paralyze his artistic powers; he could merely bend them to his moral aims.

As a logical corollary to his opposition to art for art's sake, Tolstoy cast from him all his own writings antedating "Confession,"--and denounced all of them as empty manifestations of worldly conceit. His authorship of that immortal novel, "War and Peace," filled him with shame and remorse. His views on Art are plainly and forcibly expounded in the famous treatise on "What is Art?" and in the one on "Shakespeare." In both he maintains that Art, no matter of what sort, should serve the sole purpose of bringing men nearer to each other in the common purpose of right living. Hence, no art work is legitimate without a pervasive moral design. The only true touchstone of an art work is the uplifting strength that proceeds from it. Therefore, a painting like the "Angelus," or a poem like "The Man with the Hoe" would transcend in worth the creations of a Michael Angelo or a Heinrich Heine even as the merits of Sophocles, Shakespeare, and Goethe are outmatched in Tolstoy's judgment by those of Victor Hugo, Charles Dickens, and George Eliot. By the force of this naïve reasoning and his theoretical antipathy toward true art, he was led to see in "Uncle Tom's Cabin" the veritable acme of literary perfection, for the reason that this book wielded such an enormous and noble influence upon the most vital question of its day. He strongly discountenanced the literary practice of revamping ancient themes, believing with Ibsen that modern writers should impart their ideas through the medium of modern life. Yet at the same time he was up in arms against the self-styled "moderns"! They took their incentives from science, and this Tolstoy decried, because science did not fulfill its mission of teaching people how rightly to live. In this whole matter he reasoned doggedly from fixed ideas, no matter to what ultimates the argument would carry him. For instance, he did not stick at branding Shakespeare as an utter barbarian, and to explain the reverence for such "disgusting" plays as "King Lear" as a crass demonstration of imitative hypocrisy.

Art in general is a practice aiming at the production of the beautiful. But what is "beautiful"? asked Tolstoy. The current definitions he pronounced wrong because they were formulated from the standpoint of the pleasure-seeker. Such at least has been the case since the Renaissance. From that time forward, Art, like all cults of pleasure, has been evil. To the pleasure-seeker, the beautiful is that which is enjoyable; hence he appraises works of art according to their ability to procure enjoyment. In Tolstoy's opinion this is no less absurd than if we were to estimate the nutritive value of food-stuffs by the pleasure accompanying their consumption. So he baldly declares that we must abolish beauty as a criterion of art, or conversely, must establish truth as the single standard of beauty. "The heroine of my stories whom I strive to represent in all her beauty, who was ever beautiful, is so, and will remain so, is Truth."

His views on art have a certain analogy with two modern schools,--much against his will, since he strenuously disavows and deprecates everything modern; they make us think on the one hand of the "naturalists," inasmuch as like them Tolstoy eschews all intentional graces of style and diction: and on the other hand of the "impressionists," with whom he seems united by his fundamental definition of art, namely that it is the expression of a dominant emotion calculated to reproduce itself in the reader or beholder. Lacking, however, a deep and catholic understanding for art, Tolstoy, in contrast with the modern impressionists, would restrict artists to the expression of a single type of sentiments, those that reside in the sphere of religious consciousness. To him art, as properly conceived and practiced, must be ancillary to religion, and its proper gauge is the measure of its agreement with accepted moral teachings. Remembering, then, the primitive form of belief to which Tolstoy contrived to attain, we find ourselves face to face with a theory of art which sets up as the final arbiter the man "unspoiled by culture," and he, in Tolstoy's judgment, is the Russian muzhik.

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This course of reasoning on art is in itself sufficient to show the impossibility for any modern mind of giving sweeping assent to Tolstoy's teachings. And a like difficulty would be experienced if we tried to follow him in his meditations on any other major interest of life. Seeking with a tremendous earnestness of conscience to reduce the bewildering tangle of human affairs to elementary simplicity, he enmeshed himself in a new network of contradictions. The effect was disastrous for the best part of his teaching; his own extremism stamped as a hopeless fantast a man incontestably gifted by nature, as few men have been in history, with the cardinal virtues of a sage, a reformer, and a missionary of social justice. Because of this extremism, his voice was doomed to remain that of one crying in the wilderness.