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Nor could he blindly trust. He must know. Nothing is more unescapable than the soul's urge toward freedom and freedom can be won only by liberation from the bondage of illusion. Tolstoi's friends and biographers agree that along about his forty-fifth year, a great moral and religious change took place.
His innate modesty and lack of self-assertion made him very slow at personal advertisement, and his dislike of Tolstoi's views prevented at first an acquaintance with the old sage. Later, however, Tolstoi, being deeply interested in him, sought him out, and the two writers became friends. At this time many Russians believed that Chekhov was the legitimate heir to Tolstoi's fame.
In the face of this sentence one cannot but help think of Tolstoi's "Power of Darkness." Only the Power of Darkness in the minds of the judges before whom Most was tried and the newspaper men, who helped in arousing public opinion against him, were responsible for the sentence inflicted upon him.
I held up my hands, then he held up his: it was hardly necessary to prove that wagon-greasing was not a delicate operation. "It's a good wholesome sign," I said, "but it'll come off. Do you happen to remember a story of Tolstoi's called Ivan the Fool'?"
The circumstances are partly true of Tolstoi's own boyhood, partly not; he purposely mixed his own and his friends' experiences. But mentally the boy is Tolstoi himself, revealed in all the awkwardness, self-consciousness, and morbidity of youth. The boy's pride, vanity, and curious mixture of timidity and conceit do not form a very attractive picture, and were not intended to.
In the summer of that year they had a friendly meeting in Russia, but Turgenev could not appreciate the importance of Tolstoi's new religious views; and that very autumn Tolstoi wrote to Fet, "He is a very disagreeable man."
After his raise he could afford to go to the theater, since he was not saving money for travel. He wrote small letters to Istra and read the books he believed she would approve a Paris Baedeker and the second volume of Tolstoi's War and Peace, which he bought at a second-hand book-stall for five cents.
Tolstoi's logic is fruitful, because it allows for human weakness, because it understands, and because to understand is, among other things, to pardon. In a word, the difference between the spirit of Tolstoi and the spirit of Mr. Shaw is the difference between the spirit of Christ and the spirit of Euclid.
There may in its absence be life, incontestably, as The Newcomes has life, as Les Trois Mousquetaires, as Tolstoi's Peace and War, have it; but what do such large, loose, baggy monsters, with their queer elements of the accidental and the arbitrary, artistically mean?
But in the new play at His Majesty's Theatre we have, in what is boldly called Tolstoi's "Resurrection," something which is not Tolstoi at all. There is M. Bataille, who is a poet of nature and a dramatist who has created a new form of drama: let him be exonerated. Mr. Morton and Mr.
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