Tolstoi would change the entire order of human development. As a matter of fact, the savage who adorns himself or herself with strings of shells, or with feathers, has taken the first step towards civilization. The tatooed is somewhat in advance of the unfrescoed. At the bottom of all this is the love of approbation, of the admiration of their fellows, and this feeling, this love, cannot be torn from the human heart.
In spite of ourselves we are attracted by what to us is beautiful, because beauty is associated with pleasure, with enjoyment. The love of the well-formed, of the beautiful, is prophetic of the perfection of the human race. It is impossible to admire the deformed. They may be loved for their goodness or genius, but never because of their deformity. There is within us the love of proportion. There is a physical basis for the appreciation of harmony, which is also a kind of proportion.
The love of the beautiful is shared with man by most animals. The wings of the moth are painted by love, by desire. This is the foundation of the bird's song. This love of approbation, this desire to please, to be admired, to be loved, is in some way the cause of all heroic, self-denying, and sublime actions.
Count Tolstoï, following parts of the New Testament, regards love as essentially impure. He seems really to think that there is a love superior to human love; that the love of man for woman, of woman for man, is, after all, a kind of glittering degradation; that it is better to love God than woman; better to love the invisible phantoms of the skies than the children upon our knees—in other words, that it is far better to love a heaven somewhere else than to make one here. He seems to think that women adorn themselves simply for the purpose of getting in their power the innocent and unsuspecting men. He forgets that the best and purest of human beings are controlled, for the most part unconsciously, by the hidden, subtle tendencies of nature. He seems to forget the great fact of "natural selection," and that the choice of one in preference to all others is the result of forces beyond the control of the individual. To him there seems to be no purity in love, because men are influenced by forms, by the beauty of women; and women, knowing this fact, according to him, act, and consequently both are equally guilty. He endeavors to show that love is a delusion; that at best it can last but for a few days; that it must of necessity be succeeded by indifference, then by disgust, lastly by hatred; that in every Garden of Eden is a serpent of jealousy, and that the brightest days end with the yawn of ennui.
Of course he is driven to the conclusion that life in this world is without value, that the race can be perpetuated only by vice, and that the practice of the highest virtue would leave the world without the form of man. Strange as it may sound to some, this is the same conclusion reached by his Divine Master: "They did eat, they drank, they married, they were given in marriage, until the day that Noe entered the ark and the flood came and destroyed them all." "Every one that hath forsaken houses, or brethren, or sisters, or father, or mother, or wife, or children, or lands, for my name's sake, shall receive an hundredfold, and shall inherit everlasting life."
According to Christianity, as it really is and really was, the Christian should have no home in this world—at least none until the earth has been purified by fire. His affections should be given to God; not to wife and children, not to friends or country. He is here but for a time on a journey, waiting for the summons. This life is a kind of dock running out into the sea of eternity, on which he waits for transportation. Nothing here is of any importance; the joys of life are frivolous and corrupting, and by losing these few gleams of happiness in this world he will bask forever in the unclouded rays of infinite joy. Why should a man risk an eternity of perfect happiness for the sake of enjoying himself a few days with his wife and children? Why should he become an eternal outcast for the sake of having a home and fireside here?
The "Fathers" of the church had the same opinion of marriage. They agreed with Saint Paul, and Tolstoï agrees with them. They had the same contempt for wives and mothers, and uttered the same blasphemies against that divine passion that has filled the world with art and song.
All this is to my mind a kind of insanity; nature soured or withered—deformed so that celibacy is mistaken for virtue. The imagination becomes polluted, and the poor wretch believes that he is purer than his thoughts, holier than his desires, and that to outrage nature is the highest form of religion. But nature imprisoned, obstructed, tormented, always has sought for and has always found revenge. Some of these victims, regarding the passions as low and corrupting, feeling humiliated by hunger and thirst, sought through maimings and mutilations the purification of the soul.
Count Tolstoi in "The Kreutzer Sonata," has drawn, with a free hand, one of the vilest and basest of men for his hero. He is suspicious, jealous, cruel, infamous. The wife is infinitely too good for such a wild unreasoning beast, and yet the writer of this insane story seems to justify the assassin. If this is a true picture of wedded life in Russia, no wonder that Count Tolstoï looks forward with pleasure to the extinction of the human race.
Of all passions that can take possession of the heart or brain jealousy is the worst. For many generations the chemists sought for the secret by which all metals could be changed to gold, and through which the basest could become the best. Jealousy seeks exactly the opposite. It endeavors to transmute the very gold of love into the dross of shame and crime.