Essays on Russian Novelists

by William Lyon Phelps

Throughout this book, as in all Tolstoi's work, is the eternal question Why? For what purpose is life, and to what end am I living? What is the real meaning of human ambition and human effort?

Tolstoi's reputation as an artist quite rightly began with the publication of the three Sevastopol stories, Sevastopol in December [1854], Sevastopol in May, Sevastopol in August. This is the work, not of a promising youth, but of a master. There is not a weak or a superfluous paragraph. Maurice Hewlett has cleverly turned the charge that those 'who oppose war are sentimentalists, by risposting that the believers in war are the real sentimentalists: "they do not see the murder beneath the khaki and the flags." Tolstoi was one of the first novelists to strip war of its glamour, and portray its dull, commonplace filth, and its unspeakable horror. In reading that masterpiece La Débâcle, and every one who believes in war ought to read it, one feels that Zola must have learned something from Tolstoi. The Russian novelist stood in the midst of the flying shells, and how little did any one then realise that his own escape from death was an event of far greater importance to the world than the outcome of the war!

There is little patriotic feeling in Sevastopol, and its success was artistic rather than political. Of course Russian courage is praised, but so is the courage of the French. In spite of the fact that Tolstoi was a Russian officer, actively fighting for his country, he shows a singular aloofness from party passion in all his descriptions. The only partisan statement is in the half sentence, "it is a comfort to think that it was not we who began this war, that we are only defending our own country," which might profitably be read by those who believe in "just" wars, along with Tennyson's Maud, published at the same time. Tennyson was cock-sure that the English were God's own people, and in all this bloodshed were doing the blessed work of their Father in heaven.

"God's just wrath shall be wreak'd on a giant liar."

Throughout the heat of the conflict, Tolstoi felt its utter absurdity, really holding the same views of war that he held as an old man. "And why do not Christian people," he wrote in Sevastopol in May, "who profess the one great law of love and self-sacrifice, when they behold what they have wrought, fall in repentance upon their knees before Him who, when He gave them life, implanted in the soul of each of them, together with the fear of death, a love of the good and beautiful, and, with tears of joy and happiness, embrace each other like brothers?"

Together with the fear of death-this fear is analysed by Tolstoi in all its manifestations. The fear of the young officer, as he exchanges the enthusiastic departure from Petersburg for the grim reality of the bastions; the fear of the still sound and healthy man as he enters the improvised hospitals; the fear as the men watch the point of approaching light that means a shell; the fear of the men lying on the ground, waiting with closed eyes for the shell to burst. It is the very psychology of death. In reading the account of Praskukhin's sensations just before death, one feels, as one does in reading the thoughts of Anna Karenina under the train, that Tolstoi himself must have died in some previous existence, in order to analyse death so clearly. And all these officers, who walk in the Valley of the Shadow, have their selfish ambitions, their absurd social distinctions, and their overweening, egotistical vanity.

At the end of the middle sketch, Sevastopol in May, Tolstoi wrote out the only creed to which he remained consistently true all his life, the creed of Art.

"Who is the villain, who the hero? All are good and all are evil.

"The hero of my tale, whom I love with all the strength of my soul, whom I have tried to set forth in all his beauty, and who has always been, is, and always will be most beautiful, is--the truth."

The next important book, The Cossacks, is not a great novel. Tolstoi himself grew tired of it, and never finished it. It is interesting as an excellent picture of an interesting community, and it is interesting as a diary, for the chief character, Olenin, is none other than Leo Tolstoi. He departed for the Caucasus in much the same manner as the young writer, and his observations and reflections there are Tolstoi's own. The triple contrast in the book is powerfully shown: first, the contrast between the majesty of the mountains and the pettiness of man; second, the contrast between the noble simplicity of the Cossack women and the artificiality of the padded shapes of society females; third, the contrast between the two ways of life, that which Olenin recognises as right, the Christian law of self-denial, but which he does not follow, and the almost sublime pagan bodily joy of old Uncle Yeroshka, who lives in exact harmony with his creed. Yeroshka is a living force, a real character, and might have been created by Gogol.