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Leo Tolstoy - G K Chesterton Edward Garnett George Herbert Perris · Leo Tolstoy Audiobooks

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  Speaker 1: Chapter one of Leo Tolstoy. This is a LibriVox recording.
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  Speaker 1: All LibriVox recordings are in the public domain. For more
• 0:10
  Speaker 1: information or to volunteer, please visit LibriVox dot org. Leo
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  Speaker 1: Tolstoy by G. K. Chesterton and others. Chapter one Tolstoy
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  Speaker 1: by G. K. Chesterton. If anyone wishes to form the
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  Speaker 1: fullest estimate of the real character and influence of the
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  Speaker 1: great man whose name is prefixed to these remarks, he
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  Speaker 1: will not find it in his novels, splendid as they are,
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  Speaker 1: or in his ethical views, clearly and finely as they
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  Speaker 1: are conceived and expanded. He will find it best expressed
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  Speaker 1: in the news that has recently come from Canada that
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  Speaker 1: a sect of Russian Christian anarchists has turned all its
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  Speaker 1: animals loofs on the ground that it is immoral to
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  Speaker 1: possess them or control them. About such an incident as this,
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  Speaker 1: there is equality altogether, independent of the rightness or wrongness,
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  Speaker 1: the sanity or insanity of the view. It is first
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  Speaker 1: and foremost a reminder that the world is still young.
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  Speaker 1: There are still theories of life as insanely reasonable as
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  Speaker 1: those which were disputed under the clear blue skies of Athens.
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  Speaker 1: There are still examples of a faith as fierce and
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  Speaker 1: practical as that of the Mahometans who swept across Africa
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  Speaker 1: and Europe shouting a single word. To the languid contemporary
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  Speaker 1: politician and philosopher, it seems doubtless like something out of
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  Speaker 1: a dream that, in this iron bound, homogeneous and clockwork age,
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  Speaker 1: a company of European men in boots and waistcoats should
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  Speaker 1: begin to insist on taking the horse out of the
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  Speaker 1: shafts of the omnibus, and lift the pig out of
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  Speaker 1: his pigstye and the dog out of his kennels because
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  Speaker 1: of a moral scruple or theory. It is like a
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  Speaker 1: page from some fairy fast to imagine the Dalkeba solemnly
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  Speaker 1: escorting a hen to the door of the yard and
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  Speaker 1: bidding it a benevolent farewell as it sets out on
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  Speaker 1: its travels. All this, I say, seems mere muddle headed
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  Speaker 1: absurdity to the typical leader of human society in this decade,
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  Speaker 1: to a man like mister Balfour or mister Wyndham. But
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  Speaker 1: there is nevertheless a further thing to be said, and
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  Speaker 1: that is that if mister balpher could be converted to
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  Speaker 1: a religion which taught him that he was morally bound
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  Speaker 1: to walk into the House of Commons on his hands,
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  Speaker 1: and he did walk on his hands. If mister Wyndham
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  Speaker 1: could accept a creed which taught that he ought to
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  Speaker 1: dye his head blue, and he did dye his hair blue,
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  Speaker 1: they would both of them be almost beyond description, better
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  Speaker 1: and happier men than they are. For there is only
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  Speaker 1: one happiness possible or conceivable under the sun, and that
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  Speaker 1: is enthusiasm, that strange and splendid word that has passed
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  Speaker 1: through so many vicissitudes, which meant in the eighteenth century
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  Speaker 1: the condition of a lunatic, and in ancient Greece the
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  Speaker 1: presence of a god. This great act of heroic consistency,
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  Speaker 1: which has taken place in Canada is the best example
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  Speaker 1: of the work of Tolstoy. It is true, as I
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  Speaker 1: believe that the Daukburs have an origin quite independent of
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  Speaker 1: the great Russian moralist, but there can surely be no
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  Speaker 1: doubt that their emergence into importance and the growth and
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  Speaker 1: mental distinction of their sect is due to his admirable
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  Speaker 1: summary and justification of their scheme of ethics. Tolstoy, besides
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  Speaker 1: being a magnificent novelist, is one of the very very
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  Speaker 1: few men alive who have a real, solid and serious
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  Speaker 1: view of life. He is a Catholic church, of which
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  Speaker 1: he is the only member, the somewhat arrogant pope and
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  Speaker 1: the somewhat submissive layman. He is one of the two
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  Speaker 1: or three men in Europe who have an attitude towards
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  Speaker 1: things so entirely their own that we could supply their
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  Speaker 1: inevitable view on anything a silk hat, a home rule bill,
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  Speaker 1: an Indian poem, or a pound of tobacco. There are
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  Speaker 1: three men in existence who have such an attitude, Tolstoy,
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  Speaker 1: mister Bernard Shaw, and my friend mister Hilaire Bellock. They
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  Speaker 1: are all diametrically opposed to each other, but they all
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  Speaker 1: have this essential resemblance that, given their basis of thought,
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  Speaker 1: their soil of conviction, their opinions on every earthly subject
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  Speaker 1: grow there naturally, like flowers in a field. There are
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  Speaker 1: certain views of certain things that they must take. They
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  Speaker 1: do not form opinions, the opinions form themselves. Take, for instance,
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  Speaker 1: in the case of Tolstoy, the mere list of miscellaneous
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  Speaker 1: objects which I wrote down at random above a silk hat,
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  Speaker 1: a home rule bill, an Indian poem, and a pound
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  Speaker 1: of tobacco. Tolstoy would say, I believe in the utmost
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  Speaker 1: possible simplification of life. Therefore this silk hat is a
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  Speaker 1: black abortion. He would say, I believe in the utmost
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  Speaker 1: possible simplification of life. Therefore this home rule bill is
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  Speaker 1: a mere peddling compromise. It is no good to break
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  Speaker 1: up a centralized empire into nations. You must break the
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  Speaker 1: nation up into individuals. He would say, I believe in
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  Speaker 1: the utmost possible simplification of life. Therefore I am interested
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  Speaker 1: in this Indian poem, for Eastern ethics, under their apparent gorgeousness,
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  Speaker 1: are far simpler and more Tolstoyan than Western. He would say,
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  Speaker 1: I believe even the utmost possible simplification of life. Therefore
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  Speaker 1: this pound of tobacco is a thing of evil. Take
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  Speaker 1: it away. Everything in the world, from the Bible to
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  Speaker 1: a boot jack, can be and is reduced by Tolstoy
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  Speaker 1: to this great fundamental Tolstoyan principle, the simplification of life.
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  Speaker 1: When we deal with a body of opinion like this,
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  Speaker 1: we are dealing with an incident in the history of Europe,
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  Speaker 1: infinitely more important than the appearance of Napoleon Bonaparte. This
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  Speaker 1: emergence of Tolstoy, with his awful and simple ethics, is
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  Speaker 1: important in more ways than one. Among other things, it
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  Speaker 1: is a very interesting commentary on an attitude which has
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  Speaker 1: been taken up for the matter of half a century
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  Speaker 1: by all the avowed opponents of religion. The secularist and
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  Speaker 1: the skeptic have denounced Christianity first and foremost because of
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  Speaker 1: its encouragement of fanaticism, because religious excitement led men to
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  Speaker 1: burn their neighbors to dance naked down the street. How
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  Speaker 1: queer it all sounds. Now religion can be swept out
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  Speaker 1: of the matter altogether. And still there are philosophical and
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  Speaker 1: ethical theories which can produce fanaticism enough to fill the world.
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  Speaker 1: Fanaticism has nothing at all to do with religion. There
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  Speaker 1: are grave scientific theories which, if carried out logically, would
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  Speaker 1: result in the same fires in the marketplace and the
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  Speaker 1: same nakedness in the street. There are modern esthetes who
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  Speaker 1: would expose themselves like the Adamites if they could do
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  Speaker 1: in elegant attitudes. There are modern scientific moralists, who would
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  Speaker 1: burn their opponents alive, and would be quite contented if
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  Speaker 1: they were burnt by some new chemical process. And if
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  Speaker 1: anyone doubts this proposition that fanaticism has nothing to do
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  Speaker 1: with religion, but has only to do with human nature,
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  Speaker 1: let him take this case of Tolstoy and the Daukbos.
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  Speaker 1: A sect of men start with no theology at all,
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  Speaker 1: but with the simple doctrine that we ought to love
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  Speaker 1: our neighbor and use no force against him, and they
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  Speaker 1: end in thinking it wicked to carry a leather handbag
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  Speaker 1: or to write a cart A great modern writer, who
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  Speaker 1: erases theology altogether, denies the validity of the scriptures and
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  Speaker 1: the churches alike, forms a purely ethical theory that love
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  Speaker 1: should be the instrument of reform, and ends by maintaining
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  Speaker 1: that we have no right to strike a man if
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  Speaker 1: he is torturing a child before our eyes. He goes
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  Speaker 1: on he develops a theory of the mind and the
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  Speaker 1: emotions which might be held by the most rigid atheist,
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  Speaker 1: and he ends by maintaining that the sexual relation out
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  Speaker 1: of which all humanity has come is not only not moral,
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  Speaker 1: but it is positively not natural. This is fanaticism, as
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  Speaker 1: it has been and as it will always be, destroy
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  Speaker 1: the last copy of the Bible, and persecution and insane
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  Speaker 1: Orgi's will be founded on mister Herbert Spencer's synthetic philosophy.
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  Speaker 1: Some of the broadest thinkers of the Middle Ages believed
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  Speaker 1: in faggots, and some of the broadest thinkers in the
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  Speaker 1: nineteenth century believe in dynamite. The truth is that Tolstoy,
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  Speaker 1: with his immense genius, with his colossal faith, with his
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  Speaker 1: vast fearlessness and vast knowledge of life, is deficient in
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  Speaker 1: one faculty and one faculty alone. He is not a mystic,
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  Speaker 1: and therefore he has a tendency to go mad. Men
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  Speaker 1: talk of the extravagances and frenzies that have been produced
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  Speaker 1: by mysticism, they are a mere drop in the bucket.
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  Speaker 1: In the main, and from the beginning of time mysticism
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  Speaker 1: has kept men sane. The thing that has driven them
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  Speaker 1: mad was logic. It is significant that, with all that
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  Speaker 1: has been said about the excitability of poets, only one
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  Speaker 1: English poet ever went mad, and he went mad from
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  Speaker 1: a logical system of theology. He was cowper, and his
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  Speaker 1: poetry retarded his insanity for many years. So poetry in
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  Speaker 1: which Tolstoy is deficient has always been a tonic and
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  Speaker 1: sanitive thing. The only thing that has kept the race
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  Speaker 1: of men from the mad extremes of the convent and
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  Speaker 1: the pirate galley, the nightclub, and the lethal chamber has
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  Speaker 1: been mysticism, the belief that logic is misleading and that
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  Speaker 1: things are not what they seem. End of Chapter one,
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  Speaker 1: Chapter two of Leo Tolstoy. This is a LibriVox recording.
• 10:39
  Speaker 1: All LibriVox recordings are in the public domain. For more
• 10:43
  Speaker 1: information or to volunteer, please visit LibriVox dot org. Leo
• 10:48
  Speaker 1: Tolstoy by G. K. Chesterton and others. Chapter two, Leo
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  Speaker 1: Tolstoy as writer by G. H. Peris. Half the ignorance
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  Speaker 1: or miss understanding of this great living figure in literature
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  Speaker 1: comes of the attempt to judge him as we judge
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  Speaker 1: the specialized Western novelist and utterly futile method of approach.
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  Speaker 1: He is a Russian in the first place. Had he
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  Speaker 1: come to Paris with Turgeniev, he might have been similarly denationalized,
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  Speaker 1: might possibly have developed into a right pure and simple.
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  Speaker 1: The world might so have gained a few great romances,
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  Speaker 1: it would have lost infinitely in other directions. Turgeniev wished
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  Speaker 1: it so, my friend, he wrote to Tolstoy from his deathbed,
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  Speaker 1: return to literature, reflect that that gift comes to you,
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  Speaker 1: whence everything comes to us. Ah, how happy I should
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  Speaker 1: be if I could think that my prayer would influence you,
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  Speaker 1: my friend, great writer of our Russian land. Here my
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  Speaker 1: entreaty for once, the second greatest of modern Russians took
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  Speaker 1: a narrow view of character and destiny. Genius must work
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  Speaker 1: itself out on its own lines. Tolstoy remained a Russian
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  Speaker 1: from tip to toe. That is one of his supreme
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  Speaker 1: values for us, and he remained an indivisible personality. The
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  Speaker 1: artist and the moralist are inseparable in his works. We
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  Speaker 1: are not to take Anna Karenina as a work of art,
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  Speaker 1: said Matthew Arnold. We are to take it as a
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  Speaker 1: piece of life. The distinction is not very satisfactorily stated,
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  Speaker 1: but the meaning is clear, so too W. D. Howells,
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  Speaker 1: in his introduction to an American edition of the Sebastopol Sketches.
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  Speaker 1: I do not know how it is with others to
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  Speaker 1: whom these books of Tolstoys have come. But for my part,
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  Speaker 1: I cannot think of them as literature in the artistic
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  Speaker 1: sense at all. Some people complain to me when I
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  Speaker 1: praise them, that they are too long to diffuse, to confuse,
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  Speaker 1: that the character's names are hard to pronounce, that the
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  Speaker 1: life they portray is very sad and not amusing. In
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  Speaker 1: the presence of these criticisms, I can only say that
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  Speaker 1: I find them nothing of the kind, but that each
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  Speaker 1: history of Tolstoy's is as clear, as orderly, as brief
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  Speaker 1: as something I've lived through myself. I cannot think of
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  Speaker 1: any service which imaginative literature has done the race so
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  Speaker 1: great as that which Tolstoy has done in his conception
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  Speaker 1: of Karenina at that crucial moment when the cruelly outraged
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  Speaker 1: man sees that he cannot be good with dignity. This
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  Speaker 1: leaves all tricks of fancy, all effects of art, immeasurably behind.
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  Speaker 1: So much being said, however, we may be allowed to
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  Speaker 1: emphasize in this small space the great qualities and achievements
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  Speaker 1: of Tolstoy as artist, rather than the expositions of Christian
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  Speaker 1: anarchism and the social philippics under which those achievements have
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  Speaker 1: been somewhat hidden in recent years. Morbid introspectiveness and the
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  Speaker 1: spirit of revolt inevitably colour what is best in nineteenth
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  Speaker 1: century Russia. Born in Yasnaya Polyana, clear Field, Tula in
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  Speaker 1: eighteen twenty eight and early orphaned, Tolstoy's youth synchronized with
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  Speaker 1: the period of reaction that brought the Empire to the
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  Speaker 1: humiliating disasters of the Crimean War. No hope was left
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  Speaker 1: in the thin layer of society lying between the two
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  Speaker 1: millstones of the court and the serfs. None in the
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  Speaker 1: little sphere of art, where byronic romanticism was ready to expire.
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  Speaker 1: The boy saw from the first the rottenness of the
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  Speaker 1: patriarchal aristocracy, in which his lot seemed to be cast. Precocious,
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  Speaker 1: abnormally sensitive and observant, impatient of discipline and formal yearning,
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  Speaker 1: awkward and bashful, always brooding, not a little conceited. He
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  Speaker 1: was a skeptic at fifteen, and left the University of
• 14:38
  Speaker 1: Kazan in disgust at the stupid conventions of the time
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  Speaker 1: and place without taking his degree. Childhood, Boyhood and Youth,
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  Speaker 1: which appeared in three sections between eighteen fifty two and
• 14:51
  Speaker 1: eighteen fifty seven tells the story of this period through
• 14:54
  Speaker 1: the figure of Herteniev is probably a projection rather than
• 14:57
  Speaker 1: a portrait of himself, to whom he he is always
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  Speaker 1: less fair, not to say merciful, than to others. This
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  Speaker 1: book is a most uncompromising exercise in self analysis. It
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  Speaker 1: is of great length, there is no plot, and few
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  Speaker 1: outer events are recorded. The realism is generally morbid, but
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  Speaker 1: is varied by some passages of great descriptive power, such
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  Speaker 1: as the account of the storm, and occasionally with tender pathos,
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  Speaker 1: as in the story of the Soldier's death, as well
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  Speaker 1: as by grimly vivid pages such as the narrative of
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  Speaker 1: the mother's death. In this earliest work will be found
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  Speaker 1: the seeds both of Tolstoy's artistic genius and of his
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  Speaker 1: ethical gospel. After five years of mildly benevolent efforts among
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  Speaker 1: his serfs at Yasnaya Polyana, the disappointments of which he
• 15:46
  Speaker 1: related a few years later in a Landlord's Mourning, intended
• 15:50
  Speaker 1: to have been part of a full novel to be
• 15:52
  Speaker 1: called a Russian Proprietor. His elder brother Nicholas, persuaded him
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  Speaker 1: to join the army, and in eighteen fifty one, he
• 15:59
  Speaker 1: was drafted to the court Caucases as a military officer,
• 16:03
  Speaker 1: on this favorite stage of classical Russian romance, where for
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  Speaker 1: the first time he saw the towering mountains and the
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  Speaker 1: tropical sun, and met the rugged, adventurous Highlanders. Tolsto felt
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  Speaker 1: his imagination stirred as Byron among the isles of Greece,
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  Speaker 1: and his early revulsion against city life confirmed as Wordsworth
• 16:22
  Speaker 1: amid the lakes as the Row at Walden, by a
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  Speaker 1: direct call from nature to his own heart. The largest
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  Speaker 1: result of this experience was The Cossacks eighteen fifty two.
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  Speaker 1: Turgenev described this fine prose epic of the contact of
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  Speaker 1: civilized and savage man as the best novel written in
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  Speaker 1: our language. The Raid or the Invaders, as mister Doll's
• 16:45
  Speaker 1: translation is entitled, dating from the same year. The wood
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  Speaker 1: cutting Expedition eighteen fifty five, Meeting an old acquaintance eighteen
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  Speaker 1: fifty six and a prisoner in the Caucuses eighteen sixty one,
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  Speaker 1: are also drawn from recollections of this sojourn and show
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  Speaker 1: the same descriptive and romantic power. Upon the outbreak of
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  Speaker 1: the Crimean War, the count was called to Sebastopol, where
• 17:11
  Speaker 1: he had command of a battery and took part in
• 17:14
  Speaker 1: the defense of the citadel. The immediate product of these
• 17:18
  Speaker 1: dark months of bloodshed was the thrilling series of impressions
• 17:21
  Speaker 1: reprinted from one of the leading Russian reviews as Sebastopol
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  Speaker 1: Sketches eighteen fifty six. From that day onward, Tolstoy knew
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  Speaker 1: and told the hateful truth about war and the thoughtless
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  Speaker 1: pseudo patriotism which hurries nations into fratricidal slaughter. From that
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  Speaker 1: day there was expunge from his mind all the cheap
• 17:41
  Speaker 1: romanticism which keeps upon the glorification of the savage side
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  Speaker 1: of human nature. These wonderful pictures of the routine of
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  Speaker 1: the battlefield established his position in Russia as a writer,
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  Speaker 1: and later on created in Western countries an impression like
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  Speaker 1: that of the canvasses of Bereschekin. For a brief time,
• 18:01
  Speaker 1: Tolsto became a figure in the old and new capitals
• 18:04
  Speaker 1: of Russia by right of talent as well as birth.
• 18:08
  Speaker 1: His very checkered friendship with Turgeniev, one of the oddest
• 18:12
  Speaker 1: chapters in literary history, can only be mentioned here. In
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  Speaker 1: eighteen fifty seven, he traveled in Germany, France and Italy.
• 18:19
  Speaker 1: It was of these years that he declared in my
• 18:22
  Speaker 1: Confession that he could not think of them without horror, disgust,
• 18:26
  Speaker 1: and pain of heart. The catalog of crime which he
• 18:29
  Speaker 1: charged against himself in his Salvationist Crisis of twenty years later,
• 18:33
  Speaker 1: must not be taken literally, but that there was some
• 18:36
  Speaker 1: ground for it. We may guess from the scenic and
• 18:39
  Speaker 1: incidental realism of the Recollections of a Billiard Marker eighteen
• 18:43
  Speaker 1: fifty six and of many a later page. Several other
• 18:48
  Speaker 1: powerful short novels date from about this time, including Albert
• 18:52
  Speaker 1: and Lucerne, both of which remind us of the Count's
• 18:55
  Speaker 1: susceptibility to music. Polykushka, a tale of per life and
• 19:00
  Speaker 1: family happiness, the story of a marriage that failed, a
• 19:04
  Speaker 1: most clear, consistent, forceful, and in part's beautiful piece of work,
• 19:08
  Speaker 1: anticipating in essentials the Kreutzer Sonata that was to scandalize
• 19:13
  Speaker 1: the world thirty years afterward. After all, it was family
• 19:18
  Speaker 1: happiness that saved Leo Tolstoy for the third time. The
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  Speaker 1: hand of death had snatched away one of the nearest
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  Speaker 1: to him, his brother Nicholas. Two years later, in eighteen
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  Speaker 1: sixty two he married Miss Burr's, daughter of the army
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  Speaker 1: surgeon in Tula. The most fortunate thing that has happened
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  Speaker 1: to him in his whole life. I should think family responsibilities,
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  Speaker 1: those novel and daring experiments in the peasant education, which
• 19:42
  Speaker 1: are recorded in several volumes of the highest interest, the
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  Speaker 1: supervision of the estate, magisterial work, and last but not least,
• 19:49
  Speaker 1: the prolonged labours upon War and Peace and Anna Karenina
• 19:53
  Speaker 1: Phillip The Next fifteen Years War in Peace eighteen sixty
• 19:57
  Speaker 1: four to nine is a huge panora of the Napoleonic
• 20:01
  Speaker 1: campaign of eighteen twelve, with preceding and succeeding chapters in
• 20:05
  Speaker 1: Russian society. These four volumes display, in their superlative degree
• 20:10
  Speaker 1: Tolstoi's indifference to plot is absorption in individual character. They
• 20:14
  Speaker 1: are rather a series of scenes threaded upon the fortunes
• 20:17
  Speaker 1: of several families than a set novel, But they contain
• 20:21
  Speaker 1: passages of penetrating psychology and vivid description, as well as
• 20:25
  Speaker 1: a certain amount of anarchist theorizing. Of this work by
• 20:29
  Speaker 1: which its author became known in the West Flaubert, how
• 20:33
  Speaker 1: that name carries us Backward wrote, it is of the
• 20:36
  Speaker 1: first order, what a painter and what a psychologist. The
• 20:39
  Speaker 1: two first volumes are sublime, but the third drags frightfully.
• 20:44
  Speaker 1: There are some quite Shakespearean things in it. The artist's
• 20:47
  Speaker 1: hand was now strengthening for his highest attainment. In eighteen
• 20:51
  Speaker 1: seventy six appeared Anacornina, his greatest and as he intended
• 20:55
  Speaker 1: at the time. But art is not so easily jilted
• 20:58
  Speaker 1: his last novel. The fine qualities of this book, which
• 21:03
  Speaker 1: though long, is dramatically unified and vitally coherent, have been
• 21:07
  Speaker 1: so fully recognized that I need not attempt to describe them.
• 21:12
  Speaker 1: Mister George Meredith has described Anna as the most perfectly
• 21:16
  Speaker 1: depicted female character in or fiction, which from the author
• 21:20
  Speaker 1: of Diana is praise indeed parallel with the main subject
• 21:25
  Speaker 1: of the illicit Love of Anna and Vronsky, there is
• 21:29
  Speaker 1: a minor subject in the Fortunes of Levin and Kitty,
• 21:32
  Speaker 1: wherein the reader will discover many of Tolstoy's own experiences.
• 21:37
  Speaker 1: Matthew Arnold complained that the book contained too many characters
• 21:40
  Speaker 1: and a burdensome multiplicity of actions, but praised its author's
• 21:44
  Speaker 1: extraordinarily fine perception and no less extraordinary truthfulness, and frankly
• 21:50
  Speaker 1: reveled in Anna's large, fresh, rich, generous, delightful nature. When
• 21:55
  Speaker 1: I had ended my work Anna Karenina, said Tolstoy in
• 21:59
  Speaker 1: my confession eighteen seventy nine to eighty two, my despair
• 22:03
  Speaker 1: reached such a height that I could do nothing but
• 22:05
  Speaker 1: think of the horrible condition in which I found myself.
• 22:09
  Speaker 1: I saw only one thing death. Everything else was a
• 22:12
  Speaker 1: lie of that spiritual crisis. Nothing need be said here
• 22:17
  Speaker 1: except that it only intensified, and it did not, really,
• 22:20
  Speaker 1: as it seemed to do, vitally change principles and instincts
• 22:24
  Speaker 1: which had possessed Tolsto from the beginning. His subsequent ethical
• 22:28
  Speaker 1: and religious development may be traced in a long series
• 22:31
  Speaker 1: of books and pamphlets, of which the most important are
• 22:34
  Speaker 1: the Gospels Translated, compared, and Harmonized eighteen eighty two. What
• 22:40
  Speaker 1: I Believe My religion produced Abroad eighteen eighty four, What
• 22:45
  Speaker 1: is to be Done eighteen eighty four to five, Life
• 22:49
  Speaker 1: eighteen eighty seven, Work eighteen eighty eight. The Kingdom of
• 22:54
  Speaker 1: God Is within You eighteen ninety three, non Action eighteen
• 22:58
  Speaker 1: ninety four, Patriotism Christianity eighteen ninety six, escaping attack upon
• 23:04
  Speaker 1: militarism in general and the Franco Russian Alliance in particular,
• 23:08
  Speaker 1: the Christian Teaching eighteen ninety eight and the Slavery of
• 23:11
  Speaker 1: Our Times nineteen hundred. Various letters of the successive famines
• 23:18
  Speaker 1: and on the religious persecutions in Russia deserve separate mention.
• 23:22
  Speaker 1: They remind us that since the failure of the revolutionary
• 23:25
  Speaker 1: movement miscalled nihilism, Tolstoy has gradually risen to the position
• 23:30
  Speaker 1: of the one man who can continue with impunity a
• 23:33
  Speaker 1: public crusade in the foreign and the clandestine presses, at
• 23:37
  Speaker 1: least against all imperial authority and social maladjustments. Mister Chertkov,
• 23:44
  Speaker 1: mister Aimler Maude, the Brotherhood Publishing Co. And the Free
• 23:48
  Speaker 1: Age Press deserve praise for their efforts to popularize these
• 23:52
  Speaker 1: and other works of the count in thoroughly good translations.
• 23:56
  Speaker 1: In What is Art? Eighteen ninety eight, with the bare
• 24:00
  Speaker 1: utilitarian argument that is merely a means of social union,
• 24:04
  Speaker 1: he launched a gihad against all modern ideas of art
• 24:08
  Speaker 1: which rely upon a conception of beauty, In all ideas
• 24:10
  Speaker 1: of beauty into which pleasure enters as a leading constituent.
• 24:15
  Speaker 1: A short but luminous essay on guy de Motpossont and
• 24:19
  Speaker 1: the art of Fiction is a more satisfactory contribution to
• 24:22
  Speaker 1: the subject. It is more to our purpose to note
• 24:25
  Speaker 1: that in this volcanic and becunnd if fundamentally simple personality,
• 24:30
  Speaker 1: the artist has dogged the steps of the evangelist to
• 24:33
  Speaker 1: the last. Master and Man eighteen ninety five is one
• 24:36
  Speaker 1: of the most exquisite short stories ever written. The Death
• 24:40
  Speaker 1: of ivan Ilitch eighteen eighty four and Resurrection eighteen ninety
• 24:44
  Speaker 1: nine are in some ways the most powerful of all
• 24:47
  Speaker 1: his works. The much condemned Dominion of Darkness eighteen eighty
• 24:51
  Speaker 1: six and Krutza Snata eighteen eighty nine will be more
• 24:54
  Speaker 1: fairly judged when the average Englishman has learned the supreme
• 24:58
  Speaker 1: merit of that uncompromised in truthfulness, which gives nobility to
• 25:02
  Speaker 1: every line the grand Russian ever wrote. To submit a
• 25:05
  Speaker 1: work like Resurrection to the summary treatment which the ordinary
• 25:09
  Speaker 1: novel receives in merits is absurd. It is a large
• 25:13
  Speaker 1: picture of the fall and rise of man, done by
• 25:15
  Speaker 1: the swift and restless hand of a master who stands
• 25:18
  Speaker 1: in the category apart with an eye that sees externals
• 25:21
  Speaker 1: and essentials with like accuracy and rapidity. Because the dramatic
• 25:26
  Speaker 1: quality of these living pictures lies not in their organization
• 25:29
  Speaker 1: into a conventionally limited plot, but first in the challenging
• 25:33
  Speaker 1: idea upon which they are founded, then the inexorable development
• 25:37
  Speaker 1: of individual characters, and ever and anon in the grip
• 25:40
  Speaker 1: of particular episodes. The little critics scoff the idea of
• 25:44
  Speaker 1: the characters. The episodes are all too real and vital
• 25:47
  Speaker 1: for their precious British self complacency. The grandmotherly Athenaeum permits
• 25:53
  Speaker 1: some person to describe this Promethean figure as a precious
• 25:57
  Speaker 1: vase that has been broken and can now only be
• 26:00
  Speaker 1: pieced together to make the ornament of the museum. Which
• 26:03
  Speaker 1: reminds me that I heard a lecturer before a well
• 26:06
  Speaker 1: known literary society in London describe him lately as a scavenger,
• 26:11
  Speaker 1: and that a city bookseller assured me the other day
• 26:14
  Speaker 1: that there was something almost amounting to a boycott against
• 26:17
  Speaker 1: his fiction in the shops. The publisher who's preparing a
• 26:20
  Speaker 1: complete edition of tolstoy enormous work knows better knows that
• 26:25
  Speaker 1: Tolstoy is one of the world's spirits, whose advance out
• 26:28
  Speaker 1: of the obscurity of a benighted land into the largest
• 26:31
  Speaker 1: contemporary circulation is but a foretaste of an influence that
• 26:35
  Speaker 1: will soon be co extensive with the commonwealth of thinking
• 26:38
  Speaker 1: men and women. His service to literature is precisely the
• 26:42
  Speaker 1: same as his service to morals. Like Bunyan and Burns,
• 26:45
  Speaker 1: Dickon and Whitman, he throws down, in a world of
• 26:48
  Speaker 1: decadent conventions, the gauge of the democratic ideal. As he
• 26:52
  Speaker 1: calls the politician and the social reformer back to the
• 26:55
  Speaker 1: land and the common people, so he calls the artist
• 26:58
  Speaker 1: back to the elemental force. Ever at work beneath the
• 27:01
  Speaker 1: surface show of nature and humanity, with an extraordinary penetration
• 27:06
  Speaker 1: into the hidden recesses of character, he joins a terrible
• 27:09
  Speaker 1: truthfulness and that absolute simplicity of manner which we generally
• 27:14
  Speaker 1: associate with genius. He is a realist, not merely of
• 27:18
  Speaker 1: the outer but more especially of the inner life. There
• 27:21
  Speaker 1: is no staginess, no sentimentality in his work. He has
• 27:24
  Speaker 1: no heroes in our western sense, none even of those
• 27:28
  Speaker 1: sensational types of personality which glorify the name of his
• 27:32
  Speaker 1: Northern contemporary Ibsen. His style is always natural, direct, irresistible.
• 27:37
  Speaker 1: As a physical process. He is rarely strayed beyond the
• 27:41
  Speaker 1: channel of his own experience, and the reader who prefers
• 27:44
  Speaker 1: breadth to depth of knowledge must seek elsewhere. He has
• 27:48
  Speaker 1: little humor, but a grimly satiric note has sometimes crept
• 27:52
  Speaker 1: into his writing. As Archdeacon Ferral will remember of artifice
• 27:57
  Speaker 1: designed for vulgar entertainment. He knows nothing in the world
• 28:00
  Speaker 1: of true art, which is the wine press of the
• 28:03
  Speaker 1: soul of man. He stands a princely figure. Theories, prescriptions,
• 28:07
  Speaker 1: and discussions are forgotten, and we think only with love
• 28:11
  Speaker 1: and reverence of this modern patriarch, so lonely amid the
• 28:14
  Speaker 1: daily enlarging congregation of the hearts, he has awakened to
• 28:18
  Speaker 1: the sense of the mystery, the terror, the joy, the
• 28:21
  Speaker 1: splendor of human destinies. G. H. Paris, end of chapter.
• 28:28
  Speaker 2: Two, Chapter three of Leo Tolstoi. This is a LibriVox recording.
• 28:39
  Speaker 2: All LibriVox recordings are in the public domain. For more
• 28:43
  Speaker 2: information or to volunteer, please visit LibriVox dot org. Leo
• 28:50
  Speaker 2: Tolstoy by J. K. Chesterton and others Tolstoy's Place in
• 28:56
  Speaker 2: European Literature by Edward Garnett. The justness of the word
• 29:02
  Speaker 2: great applied to a nation's writers is perhaps best tested
• 29:07
  Speaker 2: by simply taking each writer in turn from out his age,
• 29:11
  Speaker 2: and seeing how far our conception of his age remains unaffected.
• 29:16
  Speaker 2: We may take away hundreds of clever writers, scores of
• 29:20
  Speaker 2: distinguished creators, and the age remains before our eyes solidly
• 29:27
  Speaker 2: unaffected by their absence. But touch one or two central figures,
• 29:32
  Speaker 2: and lo, the whole framework of the age gives in
• 29:36
  Speaker 2: your hands, and you realize that the world's insight into
• 29:40
  Speaker 2: and understanding of that age's life has been supplied us
• 29:44
  Speaker 2: by the special interpretation offered by two or three great minds.
• 29:49
  Speaker 2: In fact, every age seems dwarfed, chaotic, full of confused
• 29:54
  Speaker 2: tendencies and general contradiction, till the few great men have
• 29:58
  Speaker 2: arisen in simple lif in themselves what their nation's growth
• 30:03
  Speaker 2: or strife signifies. How many dumb ages are there in
• 30:08
  Speaker 2: which no great writer has appeared, ages to whose inner life,
• 30:12
  Speaker 2: in consequence, we have no key. Tolstoy's significance as the
• 30:17
  Speaker 2: great writer of modern Russia can scarcely be augmented in
• 30:21
  Speaker 2: Russian eyes by his exceeding significance to Europe as symbolizing
• 30:26
  Speaker 2: the spiritual unrest of the modern world. Yet so inevitably
• 30:31
  Speaker 2: must the mainstream of age, ages, tendency, and the main
• 30:36
  Speaker 2: movement of the world's thought be discovered for us by
• 30:39
  Speaker 2: the great writers whenever they appear. That Russian can no
• 30:43
  Speaker 2: more keep Tolstoy's significance to herself than could Germany keep
• 30:48
  Speaker 2: youths to herself. True, it is that Tolstoy, as great novelists,
• 30:53
  Speaker 2: has been absorbed in mirroring the peculiar world of half
• 30:57
  Speaker 2: feudal modern Russia, the world strange to Western Europe. But
• 31:02
  Speaker 2: the spirit of analysis with which the creature of Anna
• 31:06
  Speaker 2: Karenina and War and Peace has confronted the modern world
• 31:11
  Speaker 2: is more truly representative of our age's outlook than is
• 31:16
  Speaker 2: the spirit of any other of his great contemporaries. Between
• 31:21
  Speaker 2: the days of Wilhelm Meista and of Resurrection, what an
• 31:25
  Speaker 2: extraordinary volume of the Russian side of modern life has
• 31:29
  Speaker 2: swept by. A century of that liberation of modern Europe
• 31:33
  Speaker 2: from the old routine has passed since Guta stood forth
• 31:38
  Speaker 2: for the awakening of the modern spirit. A century of
• 31:42
  Speaker 2: emancipation of science, of unbelief, of ansistant shock, change and
• 31:47
  Speaker 2: progress all over the face of Europe. And even as
• 31:51
  Speaker 2: Guta one hundred years ago typified the triumph of the
• 31:54
  Speaker 2: new intelligence of Europe over the shackles of its old institutions,
• 31:59
  Speaker 2: routie and dogma. As Matthew Arnold affirms, so Tolstoy today
• 32:05
  Speaker 2: stands for the triumph of the European soul against civilization's
• 32:10
  Speaker 2: routine and dogma. The peculiar moderness of Tolstoy's attitude, however,
• 32:16
  Speaker 2: as we shall presently show, is that he is inspired
• 32:19
  Speaker 2: largely by the modern scientific spirit in his searching analysis
• 32:24
  Speaker 2: of modern life, apparently at war with science and progress.
• 32:29
  Speaker 2: His extraordinary fascination for the mind of Europe lies in
• 32:33
  Speaker 2: the fact that he, of all great contemporary writers, has
• 32:37
  Speaker 2: come nearest to demonstrating to realize in what the life
• 32:42
  Speaker 2: of the modern man is. He, of all analysts of
• 32:46
  Speaker 2: the civilized men's thoughts, emotions and actions, has least idealized,
• 32:52
  Speaker 2: least beautified, and least distorted the complex daily life of
• 32:56
  Speaker 2: the European world with a marked moral bias. Driven onward
• 33:01
  Speaker 2: in his search for truth by his passionate religious temperament. Tolstoy,
• 33:07
  Speaker 2: in his pictures of life, has constructed a truer whole,
• 33:11
  Speaker 2: a human world less bounded by the artist's individual limitations,
• 33:17
  Speaker 2: more mysteriously living in its vast flocks and flow than
• 33:22
  Speaker 2: is the world of any writer of the century. War
• 33:25
  Speaker 2: and Peace and Anna Karenina. Those great worlds were the
• 33:30
  Speaker 2: physical environment, mental outlook, emotional aspiration, and moral code of
• 33:35
  Speaker 2: the whole community of Russia are reproduced by his art
• 33:39
  Speaker 2: as some mighty cunning Phantasmagoria of change in life are
• 33:44
  Speaker 2: superior in the sense of containing a whole nation's life
• 33:48
  Speaker 2: to the worlds of Gotha Byron Scott, Victorigo, Balzac, Dickens, Thackeray, Mopasson,
• 33:55
  Speaker 2: or any latter day creator we can name. And not
• 33:58
  Speaker 2: only so, but Tolstoy's analysis of life throws more light
• 34:03
  Speaker 2: on the main current of thought in our age, raises
• 34:07
  Speaker 2: deeper problems, and explores more untouched territories of the mind
• 34:12
  Speaker 2: than does any correspondent analysis by his European contemporaries. It
• 34:17
  Speaker 2: is by Tolstoy's passionate seeking of the life of the
• 34:20
  Speaker 2: soul that the great Russian writer towers above the men
• 34:24
  Speaker 2: of our day. And it is because his hunger for
• 34:27
  Speaker 2: spiritual truth has led him to probe contemporary life, to
• 34:31
  Speaker 2: examine all modern formulas and appearances, to penetrate into the
• 34:36
  Speaker 2: secret thought and emotion of men of all grades in
• 34:39
  Speaker 2: our complex society, that his work is charged with the
• 34:43
  Speaker 2: essence of nearly all that modernity thinks and feels, believes,
• 34:48
  Speaker 2: and suffers, hopes and fears as it evolves in more
• 34:52
  Speaker 2: and more complex forms of our terribly complex civilization. The
• 34:56
  Speaker 2: soul of humanity is, however, always the appeal of men
• 35:01
  Speaker 2: from the life that environs, molds, and burdens them, to
• 35:05
  Speaker 2: instincts that go beyond and transcend their present life. Tolstoy
• 35:10
  Speaker 2: is the appeal of the modern world, the cry of
• 35:13
  Speaker 2: the modern conscience against the blinded fate of its own progress.
• 35:18
  Speaker 2: To the eye of science, everything is possible in human life.
• 35:22
  Speaker 2: The sacrifice of the innocent for the sake of the
• 35:25
  Speaker 2: progress of the guilty, the crushing and the foreman of
• 35:28
  Speaker 2: the weak, so that the strong may triumph over them.
• 35:32
  Speaker 2: The evolution of new serf classes at the dictates of
• 35:35
  Speaker 2: a ruling class. All this nineteenth century has seen accomplished,
• 35:41
  Speaker 2: and not seen alone in Russia, It is Tolstoy's distinction
• 35:44
  Speaker 2: to have combined in his life work more than any
• 35:47
  Speaker 2: other great artists, two main conflicting points of Vieurope. He
• 35:52
  Speaker 2: has fused by his art the science that defines the
• 35:55
  Speaker 2: way humanity is forced forward blindly and irresponsibly from century
• 36:01
  Speaker 2: to century by the mere pressure of events. He has
• 36:05
  Speaker 2: fused with the science of our modern world, the soul's
• 36:09
  Speaker 2: protest against the earthly fate of men, which leads the
• 36:13
  Speaker 2: generations into taking ceaseless roads of evil, which every age unwins.
• 36:20
  Speaker 2: Let us cite Tolstoy's treatment of war as an instance
• 36:23
  Speaker 2: of how this great artist symbolizes the age for us,
• 36:27
  Speaker 2: and so marks the advance and self consciousness of the
• 36:31
  Speaker 2: modern mind, and as a nearer approximation to our realization
• 36:35
  Speaker 2: of what life is. We have only got to compare
• 36:39
  Speaker 2: Tolstoi's Sebastopol eighteen fifty six with any other document on
• 36:44
  Speaker 2: war by other European writers to perceive that Tolstoy, alone
• 36:49
  Speaker 2: among artists, has realized war. His fellows have idealized that.
• 36:55
  Speaker 2: To quote a passage from a former article, let us
• 36:58
  Speaker 2: say that Sebasti Poul gives us war under all aspects
• 37:03
  Speaker 2: war as a squalid, honorable, daily affair of mud and glory,
• 37:08
  Speaker 2: of vanity, disease, hard work, stupidity, patriotism, and inhumane agony.
• 37:15
  Speaker 2: Tolstoy gets the complex effects of Sebastopol by keenly analyzing
• 37:21
  Speaker 2: the effect of the sights and sounds, dangers and pleasures
• 37:25
  Speaker 2: of war on the brains of a variety of typical men,
• 37:28
  Speaker 2: and by placing especial valuation of his own on these
• 37:32
  Speaker 2: men's actions, thoughts, and emotions, on their courage, altruism, and
• 37:37
  Speaker 2: show off indifference in the face of death, he lifts up,
• 37:41
  Speaker 2: in fact, the veil of appearances conventionally drawn by society
• 37:46
  Speaker 2: over the actualities of the glorious trade of killing men.
• 37:50
  Speaker 2: And he does this chiefly by analyzing keenly the insensitiveness
• 37:55
  Speaker 2: and indifference of the average mind, which says, of the
• 37:59
  Speaker 2: worst of war's realities, I felt so and so, and
• 38:03
  Speaker 2: did so and so. But as to what those other
• 38:06
  Speaker 2: thousands may have felt in their agony, that I did
• 38:10
  Speaker 2: not enter into at all. Sebastopol, therefore, though an exceedingly
• 38:16
  Speaker 2: short and exceedingly simple narrative, is a psychological document on
• 38:21
  Speaker 2: modern war of extraordinary value for it simply relegates to
• 38:26
  Speaker 2: the lumber room as a lifelike and hopelessly limited all
• 38:30
  Speaker 2: those theatrical glorifications of war which men of letters, romantic poets,
• 38:37
  Speaker 2: and grave historians alike have been busily piling up on
• 38:41
  Speaker 2: humanities shelves from generation to generation. And more. We feel
• 38:47
  Speaker 2: that in Sebastopol we have at last the skeptical modern
• 38:51
  Speaker 2: spirit absorbed in actual life, demonstrating what war is and
• 38:56
  Speaker 2: expressing at length the confused sensations of countless men who
• 39:01
  Speaker 2: have heretofore never found a genius who can make humanity
• 39:06
  Speaker 2: realize what it knows half consciously and consciously evades. We
• 39:11
  Speaker 2: cannot help therefore recognizing this man told Stoy as the
• 39:16
  Speaker 2: most advanced product of our civilization, and li likening him
• 39:20
  Speaker 2: to a great surgeon who, not deceived by the world's
• 39:24
  Speaker 2: presentation of its own life, penetrates into the essential joy
• 39:28
  Speaker 2: and suffering health and disease of multitudes of men. A
• 39:33
  Speaker 2: surgeon who, face to face with the strangest of nature's
• 39:37
  Speaker 2: law and the constitution of human society, puzzled by all
• 39:41
  Speaker 2: the illusions, fastuties, and conventions of the human mind, resolutely
• 39:48
  Speaker 2: sets himself to laybare the roots of all its passions,
• 39:51
  Speaker 2: appetites and insensitives, and the struggle for life, so that
• 39:56
  Speaker 2: at least human reason may advance farther alone the path
• 40:00
  Speaker 2: of self knowledge and advance in towards a general sociological
• 40:05
  Speaker 2: study of men. Tolstoy's place in the nineteenth century literature
• 40:09
  Speaker 2: is therefore, in our view no less fixed and certain
• 40:13
  Speaker 2: that it is Voltaire's place in the eighteenth century. Both
• 40:16
  Speaker 2: of these writers focus for us, in a marvelously complete manner,
• 40:21
  Speaker 2: the respective methods of analyzing life by which the rationalism
• 40:26
  Speaker 2: of the seventeenth and eighteenth centuries and the science and
• 40:30
  Speaker 2: humanitarianism of the nineteenth century have molded for us the
• 40:35
  Speaker 2: modern world, all the movements, all the problems, all the speculation,
• 40:40
  Speaker 2: all the agitations of the world of today, in contrast
• 40:44
  Speaker 2: with the immense materialistic civilization that science has hastily built
• 40:50
  Speaker 2: up for us in three or four generations. All the
• 40:54
  Speaker 2: spirit of modern life is condensed in the pages of
• 40:57
  Speaker 2: Tolstoy's writings, because, as we have said, he typifies the
• 41:02
  Speaker 2: soul of the modern man, gazing, now undaunted and now
• 41:06
  Speaker 2: in alarm, at the formidable array of the newly tabulated
• 41:10
  Speaker 2: cause and effect of humanity's progress at the appalling cheapness
• 41:16
  Speaker 2: and waste of human life in nature's hands. Tolstoy thus
• 41:20
  Speaker 2: stands for the modern soul's alarming contact with science, and
• 41:25
  Speaker 2: just as sciences work, after its first destruction of the
• 41:28
  Speaker 2: past ages, formalism, superstition, and dogma, is directed more and
• 41:34
  Speaker 2: more to the examination and emuluration of human life. So
• 41:38
  Speaker 2: Tolstoy's work has been throughout inspired by a passionate love
• 41:43
  Speaker 2: of humanity and by his ceaseless struggle against conventional religion,
• 41:48
  Speaker 2: dogmatic science, and society's mechanical influence on the minds of
• 41:53
  Speaker 2: its members. To make men more conscious of his acts,
• 41:57
  Speaker 2: to show society its real motive in what it is feeling,
• 42:02
  Speaker 2: and not cry out in admiration at what it pretends
• 42:06
  Speaker 2: to feel. This has been the great novelist's aim in
• 42:10
  Speaker 2: his delineation of Fresha's life, ever seeking the one truth
• 42:15
  Speaker 2: to arrive at men's thoughts and sensations under the daily
• 42:19
  Speaker 2: pressure of life, never flinching from his exploration of the
• 42:23
  Speaker 2: dark world of men's animalism and incessant self deception. Tolstoy's
• 42:29
  Speaker 2: realism in art is symbolical of our absorption in the
• 42:33
  Speaker 2: world of fact in the modern study of natural law,
• 42:37
  Speaker 2: a study ultimately without loss of spirituality, nay resulting in
• 42:42
  Speaker 2: immense gain to spiritual life. The realism of the Great
• 42:46
  Speaker 2: Russians novels is therefore more in the line with the
• 42:50
  Speaker 2: modern tendency and outlook than is the general tendency of
• 42:54
  Speaker 2: other schools of continental literature, and Tolstoy must be finally
• 42:59
  Speaker 2: looked on not merely as the conscience of the Russian world,
• 43:03
  Speaker 2: revolting against the too heavy burden which the Russian people
• 43:07
  Speaker 2: have now to bear in Holy Russia's unward march towards
• 43:11
  Speaker 2: the building up of her great Asiatic Empire, but also
• 43:16
  Speaker 2: as the soul of the modern world, seeking to replace
• 43:20
  Speaker 2: in its love of humanity the life of those old
• 43:24
  Speaker 2: religions which science is destroying day by day. In this sense,
• 43:29
  Speaker 2: Tolstoy will stand in European literature as the conscience of
• 43:34
  Speaker 2: the modern world. End of chapter three read by Isamil Aevi.
• 43:46
  Speaker 3: Chapter four of Leo Tolstoy. This is a LibriVox recording.
• 43:51
  Speaker 3: All LibriVox recordings are in the public domain. For more
• 43:55
  Speaker 3: information or to volunteer, please visit LibriVox dot org. Recording
• 44:01
  Speaker 3: by Rita Boutros Leo Tolstoy by G. K. Chesterson and others.
• 44:08
  Speaker 3: Chapter four biographical note by G. K. Chestersen Lief Nikolayevitch
• 44:15
  Speaker 3: Tolstoy was born at Yasnaya Poliana on August twenty eighth
• 44:21
  Speaker 3: September ninth, New Style, eighteen twenty eight. His father, Count
• 44:27
  Speaker 3: Nicholas Tolstoy, was a member of the old Russian nobility.
• 44:31
  Speaker 3: In eighteen thirteen, after the Siege of Erfurt, he was
• 44:36
  Speaker 3: taken prisoner by the French, and afterwards retired from the army,
• 44:40
  Speaker 3: holding the rank of lieutenant colonel. Having assumed the burden
• 44:45
  Speaker 3: of many family debts, he succeeded in paying his creditors
• 44:49
  Speaker 3: in full, thus gaining a reputation for unfailing perseverance. Tolstoy
• 44:56
  Speaker 3: has described his character in childhood and youth. He was
• 45:00
  Speaker 3: a man of the last century, he wrote, and like
• 45:03
  Speaker 3: all his contemporaries, he had in him something chivalrous, enterprising,
• 45:09
  Speaker 3: self possessed, amiable, a passion for pleasure. His life was
• 45:14
  Speaker 3: so full of all kinds of impulse that he had
• 45:18
  Speaker 3: no time to think about convictions. And besides, he had
• 45:22
  Speaker 3: been so happy all his life that he did not
• 45:25
  Speaker 3: feel it necessary to do so. His father died before
• 45:29
  Speaker 3: Tolstoy reached the age of ten years, seven years after
• 45:33
  Speaker 3: the death of his mother, of whom he wrote, when
• 45:36
  Speaker 3: I tried to recall to mind my mother as she
• 45:39
  Speaker 3: was then, only her brown eyes arise before me, always
• 45:43
  Speaker 3: the same look of love and kindness in them. If
• 45:47
  Speaker 3: during the most trying moments of my life, I could
• 45:49
  Speaker 3: have caught a glimpse of her smile, I should not
• 45:52
  Speaker 3: have known what grief is. Tolstoy's early years were passed
• 45:58
  Speaker 3: in the country, on the old old fashioned Russian estate,
• 46:02
  Speaker 3: which resembled somewhat in patriarchal habits, aristocratic manners, democratic familiarity, shiftlessness,
• 46:10
  Speaker 3: and superstition, a Southern plantation in the days of slavery.
• 46:15
  Speaker 3: After the death of his father in eighteen thirty seven,
• 46:19
  Speaker 3: the family was taken charge of by an aunt, the
• 46:22
  Speaker 3: Countess Alexandra Austen Sacken, and three years later by relatives
• 46:27
  Speaker 3: of his mother who lived at Kazan. In eighteen forty three,
• 46:32
  Speaker 3: Tolstoy entered the University of Kazan, where, impervious to the
• 46:37
  Speaker 3: ambitions of scholarship and research, unimpressed by the provincial aristocracy,
• 46:43
  Speaker 3: too nice to enjoy the rough revels of the students,
• 46:47
  Speaker 3: and repelled alike from aristocrats, professors and students by an
• 46:52
  Speaker 3: unsocial and what with our English emphasis on government we
• 46:56
  Speaker 3: should call an unregulated disposition. He seems to have had
• 47:00
  Speaker 3: during these two or three years, a thoroughly unhappy and
• 47:04
  Speaker 3: unprofitable experience. Footnote one. Leo Tolstoy by G. H. Paris.
• 47:13
  Speaker 3: Having left the university in eighteen forty six without graduating,
• 47:18
  Speaker 3: he returned to the old country home Yasnaya Poljana, descended
• 47:23
  Speaker 3: to Tolstoy from his mother. The estate, which covers an
• 47:27
  Speaker 3: area of some twenty five hundred acres, partly arable and
• 47:31
  Speaker 3: partly wooded, lies a hundred miles due south of Moscow.
• 47:36
  Speaker 3: It was at one time Tolstoy's intention to dispossess himself
• 47:41
  Speaker 3: entirely of his property and live as a peasant. Instead
• 47:45
  Speaker 3: of this, however, he has made over the whole of
• 47:48
  Speaker 3: the land to his wife and children, and lives in
• 47:51
  Speaker 3: the house nominally as a guest. At the entrance to
• 47:56
  Speaker 3: the park are two towers, medieval in style, which were
• 48:00
  Speaker 3: erected by Tolstoy's maternal grandfather from them. The road runs
• 48:06
  Speaker 3: through the park, rising as it approaches the house, and
• 48:09
  Speaker 3: becomes merged in a level avenue of birch trees. Glimpses
• 48:14
  Speaker 3: of a pond are caught through the dense foliage, and
• 48:18
  Speaker 3: of a square, smoothly rolled space used as a tennis ground,
• 48:22
  Speaker 3: the game being one in which Count Tolstoy participates with
• 48:26
  Speaker 3: great enjoyment. It will be noticed that in the photograph
• 48:30
  Speaker 3: on page thirty one he is holding a tennis racket
• 48:34
  Speaker 3: in his hand. The house itself is a plain, white, rectangular,
• 48:39
  Speaker 3: two storied building of stuccoed brick, and it would be
• 48:43
  Speaker 3: hard to imagine a simpler and less pretentious place than
• 48:47
  Speaker 3: the home in which Tolstoy has spent the greater part
• 48:50
  Speaker 3: of his life. It boasts neither piazzas nor towers, indeed,
• 48:55
  Speaker 3: no architectural ornaments of any kind, nor arees or other
• 49:00
  Speaker 3: creepers trained upon the flat walls to relieve their striking
• 49:05
  Speaker 3: whiteness or soften their rectangular outlines. The house was not
• 49:10
  Speaker 3: completed all at once, but was enlarged in proportion to
• 49:13
  Speaker 3: the needs of the family. On one side, devoid of windows.
• 49:18
  Speaker 3: There is a low porch, near which stands an old
• 49:22
  Speaker 3: elm tree, called the tree of the Poor. Close to
• 49:26
  Speaker 3: its trunk is a bench on which the peasants sit
• 49:29
  Speaker 3: to await the coming of Count Tolstoy. Here he listens
• 49:33
  Speaker 3: with unwearying patience to many stories of distress and difficulty,
• 49:38
  Speaker 3: and gives in return not only sympathy and advice, but
• 49:43
  Speaker 3: such material assistance as may lie at his command. It
• 49:47
  Speaker 3: was during the period following upon his university career that
• 49:52
  Speaker 3: Tolstoy threw all his energies into the task of raising
• 49:56
  Speaker 3: both the economical and moral standard of peasant life, and
• 50:01
  Speaker 3: suffered much disappointment at the hands of the peasants, who
• 50:05
  Speaker 3: refused to allow him to pull down their dilapidated hovels,
• 50:09
  Speaker 3: even that he might erect new and convenient ones at
• 50:13
  Speaker 3: his own cost. The result was that Tolstoy left yes
• 50:18
  Speaker 3: Naya Poliana for Saint Petersburg in the autumn of eighteen
• 50:22
  Speaker 3: forty seven, resolved to prosecute his studies with the intention
• 50:26
  Speaker 3: of taking a degree in law. With this choice of
• 50:30
  Speaker 3: a career, however, he was dissatisfied and returned again to
• 50:35
  Speaker 3: his estate in eighteen forty eight. For a few years
• 50:39
  Speaker 3: he lived the ordinary life of the Russian noblemen, enlisting
• 50:44
  Speaker 3: at the age of twenty three as cadet in a
• 50:47
  Speaker 3: regiment of artillery, in which his elder brother Nicholas was captain.
• 50:52
  Speaker 3: Discontented with the idle life he was leading, and out
• 50:55
  Speaker 3: of harmony with his gay surroundings, he decided to jot
• 50:59
  Speaker 3: down his head recollections of the homeland he loved so well,
• 51:03
  Speaker 3: and it was at this time that he commenced writing
• 51:07
  Speaker 3: Childhood and Youth, which however, was not published in its
• 51:11
  Speaker 3: complete form until six years later and the Cossacks Subsequently.
• 51:18
  Speaker 3: Tolstoy was appointed to a post on Prince Gorchakhov's staff
• 51:22
  Speaker 3: in Turkey, and was present in Sevastopol in eighteen fifty five,
• 51:28
  Speaker 3: having attained the rank of divisional commander. His experiences during
• 51:33
  Speaker 3: the war are pictured in his three sketches Sevastopol in
• 51:38
  Speaker 3: December eighteen fifty four, in May eighteen fifty five, and
• 51:44
  Speaker 3: in August eighteen fifty five. These were published the following
• 51:49
  Speaker 3: year and at once made his literary reputation. At the
• 51:53
  Speaker 3: end of the campaign, he left the army and visited
• 51:57
  Speaker 3: Western Europe in order to study very school systems, and
• 52:01
  Speaker 3: upon his return to Yasnaya Paulianna, he established several schools
• 52:07
  Speaker 3: of his own. In September eighteen sixty two, Tolstoy married
• 52:13
  Speaker 3: Sophia Andrivna Bers, the daughter of a military doctor. He
• 52:18
  Speaker 3: was at this time thirty four years of age, his
• 52:21
  Speaker 3: bride being sixteen years younger. Miss Bears was not only beautiful,
• 52:27
  Speaker 3: she was an exceedingly cultured girl, having passed various examinations
• 52:32
  Speaker 3: at the Moscow University. According to her brother, the manner
• 52:37
  Speaker 3: of their courtship was practically identical with that of Levin
• 52:41
  Speaker 3: and Kitty in Anna Karenina, Countess Tolstoy, at the age
• 52:46
  Speaker 3: of forty eight, is described by Serjinko in How count
• 52:51
  Speaker 3: Tolstoy Lives and Works as having an open, expressive countenance,
• 52:57
  Speaker 3: with vivacious, fearless eyes, which she cau constantly brings near
• 53:01
  Speaker 3: to the objects at which she is looking. At her
• 53:04
  Speaker 3: very first words, one feels her straightforward nature. In her manner,
• 53:09
  Speaker 3: there is not even a shadow of truckling to suit
• 53:12
  Speaker 3: the tone of any one, whomsoever. Her own individual note
• 53:17
  Speaker 3: is always audible. About the time of his marriage, Tolstoy
• 53:22
  Speaker 3: was described as a tall, wide shouldered, thin waisted man
• 53:26
  Speaker 3: with a mustache, but without a beard, with a serious,
• 53:30
  Speaker 3: even a gloomy expression of face, which, however, was softened
• 53:34
  Speaker 3: by a gleam of kindliness whenever he smiled. Living at
• 53:39
  Speaker 3: Yasnaya Pollyanna winter and summer, with but rare intervening visits
• 53:45
  Speaker 3: to Moscow, Tolstoy interested himself in all the practical details
• 53:50
  Speaker 3: of farming. Probably his own experiences of the physical labor
• 53:54
  Speaker 3: of mowing are depicted as those of Levin in Anna Karenina.
• 54:00
  Speaker 3: The work went on and on. Levin absolutely lost all
• 54:04
  Speaker 3: idea of time, and did not know whether it was
• 54:08
  Speaker 3: early or late. Though the sweat stood on his face
• 54:12
  Speaker 3: and dropped from his nose, and all his back was
• 54:15
  Speaker 3: wet as though he had been plunged in water, still
• 54:18
  Speaker 3: he felt very well. His work now seemed to him
• 54:22
  Speaker 3: full of pleasure. It was a state of unconsciousness. He
• 54:26
  Speaker 3: did not know what he was doing, or how much
• 54:28
  Speaker 3: he was doing, or how the hours and moments were flying,
• 54:33
  Speaker 3: but only felt that at this time his work was good.
• 54:37
  Speaker 3: Tolstoy was also an enthusiastic sportsman, a diversion which occasioned
• 54:43
  Speaker 3: him too serious accidents, and in addition to fulfilling the
• 54:47
  Speaker 3: duties of a justice of the peace, he set himself
• 54:51
  Speaker 3: to grapple with the novel conditions of land owning, a
• 54:54
  Speaker 3: complicated and arduous task to which he applied himself with
• 54:59
  Speaker 3: characteristic energy and shrewdness. Indeed, his interests were manifold and exacting.
• 55:06
  Speaker 3: Yet during this busy period he by no means neglected
• 55:11
  Speaker 3: his literary work. The composition of his novel War and Peace,
• 55:15
  Speaker 3: began immediately after his marriage and extended over a period
• 55:20
  Speaker 3: of eight years. His wife copied out the manuscript of
• 55:25
  Speaker 3: this work no less than seven times as he altered
• 55:29
  Speaker 3: and improved it. War and Peace was followed by Anna Karenina,
• 55:33
  Speaker 3: which was not completed until eighteen seventy six. In his
• 55:39
  Speaker 3: method of working, Tolstoy may be likened to the old painters.
• 55:44
  Speaker 3: Having settled upon a plan of work and collected a
• 55:48
  Speaker 3: large number of studies, he first makes a charcoal sketch,
• 55:52
  Speaker 3: as it were, and writes rapidly without thinking of particulars.
• 55:56
  Speaker 3: He then has a clean copy of the work made
• 56:00
  Speaker 3: by his wife or one of his daughters, and this
• 56:02
  Speaker 3: is again subjected to careful remodeling it is still in
• 56:07
  Speaker 3: the nature of a charcoal sketch. The manuscript is speedily
• 56:11
  Speaker 3: covered with erasures and interpolations, whole sentences replace others. The
• 56:17
  Speaker 3: work is then copied again, and some chapters Tallstoy writes
• 56:22
  Speaker 3: more than ten times. He usually writes on quarto sheets
• 56:26
  Speaker 3: of cheap plain paper in a large involved hand, and
• 56:30
  Speaker 3: sometimes covers as many as twenty pages in one day.
• 56:35
  Speaker 3: He regards the interval between nine o'clock and three as
• 56:39
  Speaker 3: the best time for work. His study at Yesnaya Poliana
• 56:45
  Speaker 3: is a small room with an uncarpeted floor of vaulted
• 56:49
  Speaker 3: ceiling and thick stone walls. Formerly it was a storeroom,
• 56:54
  Speaker 3: and on the ceiling are heavy black iron rings on
• 56:57
  Speaker 3: which hams used to hang and which which were used
• 57:00
  Speaker 3: later for gymnastic exercises. The study is very cool and
• 57:05
  Speaker 3: quiet and contains various implements of labor, such as a scythe,
• 57:10
  Speaker 3: a saw, pincers, tiles, et cetera. After his morning labors,
• 57:16
  Speaker 3: Tolstoy generally goes out, often riding on horseback or on
• 57:20
  Speaker 3: his bicycle according to the state of the weather. He
• 57:24
  Speaker 3: is strict vegetarian, eating only the simplest food and avoiding
• 57:29
  Speaker 3: all stimulants, he long ago ceased to smoke. Attaching great
• 57:34
  Speaker 3: importance to manual labor, he takes a share in the housework,
• 57:38
  Speaker 3: lighting his own fire and carrying water. At one time
• 57:42
  Speaker 3: he learned boot making, and it is wonderful what an
• 57:46
  Speaker 3: amount of physical exertion he was able to undergo at
• 57:50
  Speaker 3: the age of seventy in the way of heavy labor,
• 57:52
  Speaker 3: in the field of riding scores of verse on his bicycle,
• 57:57
  Speaker 3: or of playing for hours at launch nis. Tolstoy has
• 58:02
  Speaker 3: always dressed extremely simply, and when at home his costume
• 58:07
  Speaker 3: consisted of a gray flannel blouse, which in summer he
• 58:10
  Speaker 3: exchanged for a canvas one of a very original cut,
• 58:14
  Speaker 3: as may be judged from the fact that there was
• 58:17
  Speaker 3: in the whole district only one old woman who could
• 58:21
  Speaker 3: make it according to his orders. In this blouse Tolstoy
• 58:25
  Speaker 3: sought for his portrait to Krumsky and rapin the painter's
• 58:30
  Speaker 3: His overdress was composed of a kaftan and half shuba,
• 58:34
  Speaker 3: made of the simplest materials, and, like the blouse, eccentric
• 58:39
  Speaker 3: in their cut, being made evidently not for show but
• 58:43
  Speaker 3: to stand bad weather. The Honorable Ernest Howard Crosby has
• 58:48
  Speaker 3: given an interesting description of Count Tolstoy's appearance. He is
• 58:53
  Speaker 3: dressed like a peasant, in a gray white blouse of thin,
• 58:57
  Speaker 3: coarse canvas like material, with a love belt. But his
• 59:01
  Speaker 3: toilette differs from a peasance in being scrupulously clean. His
• 59:06
  Speaker 3: features are irregular and plain, and yet his figure is
• 59:10
  Speaker 3: so strong and massive that the Teuton sample is striking
• 59:14
  Speaker 3: and fine looking. His little blue eyes peer out from
• 59:18
  Speaker 3: under his bushy eyebrows with the kindliest of expressions. Count
• 59:24
  Speaker 3: and Countess Tolstoy have had fifteen children, of whom only
• 59:28
  Speaker 3: seven survived. The system of their upbringing has been fully
• 59:32
  Speaker 3: dealt with by M. C. A. Behars in his Recollections
• 59:37
  Speaker 3: of Count Leo Tolstoy. Toys and playthings were rigorously banished
• 59:42
  Speaker 3: from the nursery with the first child. The trial was
• 59:46
  Speaker 3: made to dispense altogether with a nurse, but later it
• 59:50
  Speaker 3: was thought well to yield to the requirements of their
• 59:53
  Speaker 3: social position and to the habits of contemporary life, and
• 59:58
  Speaker 3: the children were put under the care of nurses, bonn
• 1:00:01
  Speaker 3: and governesses. The parents, however, exercised a strict and unremitten
• 1:00:07
  Speaker 3: surveillance over both the children and those who had the
• 1:00:11
  Speaker 3: care of them. The greatest possible liberty was allowed to
• 1:00:15
  Speaker 3: the children, and all put in authority over them were
• 1:00:19
  Speaker 3: strictly forbidden to have resort under any pretext to violent
• 1:00:23
  Speaker 3: or severe punishments. Tolstoy believed that these principles were nowhere
• 1:00:29
  Speaker 3: so generally accepted as in England, and accordingly, from their
• 1:00:34
  Speaker 3: third to their ninth year, the children were placed under
• 1:00:37
  Speaker 3: the charge of young English governesses engaged directly from London.
• 1:00:43
  Speaker 3: Countess Tolstoy is an excellent housewife, attentive and hospitable. All
• 1:00:49
  Speaker 3: the complicated and troublesome management of the housekeeping and direction
• 1:00:54
  Speaker 3: of household affairs is under her charge. She is indefatigable
• 1:00:59
  Speaker 3: and bring her brisk energy, thriftiness and activity to bear
• 1:01:04
  Speaker 3: in every direction, and this she does without help. Her
• 1:01:09
  Speaker 3: three eldest sons live apart, each occupied with his own
• 1:01:13
  Speaker 3: business matters. Her daughters have their own interests and duties
• 1:01:17
  Speaker 3: which take up the greater part of their time. Tolstoy's
• 1:01:22
  Speaker 3: eldest daughter, Tatiana Lvovna, a girl of exceptional talent in particular,
• 1:01:28
  Speaker 3: works very hard. In addition to copying much of her
• 1:01:32
  Speaker 3: father's manuscript, she conducts his vast correspondence, consisting of an
• 1:01:37
  Speaker 3: almost incredible number of letters received in all languages from
• 1:01:42
  Speaker 3: every part of the globe. This is probably the most
• 1:01:46
  Speaker 3: striking of all the portraits of Count Tolstoy, representing him
• 1:01:51
  Speaker 3: when at the height of his popularity and power in
• 1:01:55
  Speaker 3: eighteen eighty four he was at work on the popular
• 1:01:59
  Speaker 3: tales and sketches, which sold by millions throughout Russia, and
• 1:02:03
  Speaker 3: from which we reproduce two or three illustrations viz. One
• 1:02:09
  Speaker 3: by H. R. Millar from the English edition of What
• 1:02:13
  Speaker 3: Men Live By, written in eighteen eighty one, another by
• 1:02:18
  Speaker 3: the same artist from the English edition of Where Love
• 1:02:22
  Speaker 3: Is There God Is Also, and a third showing the
• 1:02:26
  Speaker 3: cover of this tract, which was written in eighteen eighty
• 1:02:30
  Speaker 3: five and issued in rough pamphlet form at the price
• 1:02:34
  Speaker 3: of a few farthings. During the last twenty years Tolstoy
• 1:02:39
  Speaker 3: has written the following books. My Confession, a criticism of
• 1:02:44
  Speaker 3: dogmatic theology, which has never been translated, The Four Gospels,
• 1:02:49
  Speaker 3: harmonized and translated What I Believe the Gospel in brief,
• 1:02:55
  Speaker 3: What to Do on Life also called Life, the Crotzer Sonata,
• 1:03:02
  Speaker 3: the Kingdom of God is within you, the Christian teaching
• 1:03:06
  Speaker 3: What is Art, which in Tolstoy's own opinion, is the
• 1:03:10
  Speaker 3: best constructed of his books. Resurrection, his last novel, began
• 1:03:15
  Speaker 3: about eighteen ninety four, and then laid aside in favor
• 1:03:19
  Speaker 3: of what seemed more important work to be completely rewritten
• 1:03:23
  Speaker 3: and published in eighteen ninety nine for the benefit of
• 1:03:27
  Speaker 3: the Dugabours, and latterly What Is Religion and What Is
• 1:03:31
  Speaker 3: Its Essence, published in February nineteen o two. The illustrations
• 1:03:37
  Speaker 3: reproduced from Resurrection on pages nineteen twenty nine and thirty
• 1:03:43
  Speaker 3: four are from the remarkable drawings by Pasternak. Concerning these pictures,
• 1:03:48
  Speaker 3: there is an interesting note in the preface of the
• 1:03:51
  Speaker 3: French edition of the novel, from which it may be
• 1:03:54
  Speaker 3: gathered that the drawings tallied very closely with Tolstoy's own
• 1:03:59
  Speaker 3: conception of the appearance of his characters. It was the
• 1:04:03
  Speaker 3: artist's usual custom to submit each design on its completion
• 1:04:08
  Speaker 3: to the eminent novelist for his opinion. Invariably, Tolstoy showed
• 1:04:14
  Speaker 3: his approval of the clever realization of his ideas, But
• 1:04:18
  Speaker 3: when it came to the sketch of Prince Nekhludoff. Tolstoy
• 1:04:22
  Speaker 3: went so far as to inquire of Monsieur Pasternak whether
• 1:04:26
  Speaker 3: he was acquainted with the person who had served him
• 1:04:29
  Speaker 3: as a model. At this the artist showed extreme surprise.
• 1:04:34
  Speaker 3: He had not even been aware that the character was
• 1:04:37
  Speaker 3: copied from an original end of chapter four end of
• 1:04:45
  Speaker 3: Leo Tolstoy by G. K. Chesterson and others.