My Religion

COUNT LEO TOLSTOI.
TRANSLATED FROM THE FRENCH.
NEW YORK: THOMAS Y. CROWELL & CO., 13 Astor Place.
Copyright by Thomas Y. Crowell & Co., 1885.
To one not familiar with the Russian language the accessible data relative to the external life of Leo Nikolaevich Tolstoi, the author of this book, are, to say the least, not voluminous. His name does not appear in that heterogeneous record of celebrities known as The Men of the Time , nor is it to be found in M. Vapereau's comprehensive Dictionnaire des Contemporains . And yet Count Leo Tolstoi is acknowledged by competent critics to be a man of extraordinary genius, who, certainly in one instance, has produced a masterpiece of literature which will continue to rank with the great artistic productions of this age.
The stage is immense and the actors are innumerable; among them three emperors with their ministers, their marshals, and their generals, and then a countless retinue of minor officers, soldiers, nobles, and peasants. We are transported by turns from the salons of St. Petersburg to the camps of war, from Moscow to the country. And all these diverse and varied scenes are joined together with a controlling purpose that brings everything into harmony. Each one of the prolonged series of constantly changing tableaux is of remarkable beauty and palpitating with life.
Pierre Besushkof, one of the three heroes of War and Peace , has, rightly or wrongly, long been regarded as in some respects an autobiographical study, but the personal note is always clearly perceptible in Count Tolstoi's writings, if we are to believe the reports of the enthusiastic purveyors of literary information who have made known some of their many attractive qualities. It is plain also that a common purpose runs through them all, a purpose which only in the author's latest production finds full expression. There are hints of it in Childhood and Youth ; in War and Peace , and in a subsequent romance, Anna Karenin , it becomes very distinct. In the two works last named Count Tolstoi is pitiless in his portrayal of the vices and follies of the wealthy, aristocratic class, and warm in his praise of simplicity and unpretending virtue. Pierre Besushkof is represented as the product of a transition period, one who sees clearly that the future must be different from the past, but unable to interpret the prophecies of its coming. M. Courrière speaks of him very happily as an overgrown child who seems to be lost in a wholly unfamiliar world. For a time Pierre finds mental tranquility in the tenets of freemasonry, and the author gives us a vivid account, humorous and pathetic by turns, of the young man's efforts to carry the newly acquired doctrines into practice. He determines to better the condition of the peasants on his estates; but instead of looking after the affair himself, he leaves the consummation of his plans to his stewards, with the result that the cleverest among them listened with attention, but considered one thing only,—how to carry out their own private ends under the pretense of executing his commands. Later on we are shown Pierre wandering aimlessly about the streets of burning Moscow, until taken into custody by the French. Then he learns the true meaning of life from a simple soldier, a fellow-prisoner, and thereby realizes that safety for the future is to be obtained only by bringing life to the standard of rude simplicity adopted by the common people, by recognizing, in act as well as in deed, the brotherhood of man.