Chapter I: REMEMBER my father writing his alphabet and reading-book in 1871 and

1872, but I cannot at all remember his beginning "Anna Karenina." I probably knew nothing about it at the time. What did it matter to a boy of seven what his father was writing? It was only later, when one kept hearing the name again and again, and bundles of proofs kept arriving, and were sent off almost every day, that I understood that "Anna Karenina" was the name of the novel on which my father and mother were both at work.

My mother's work seemed much harder than my father's, because we actually saw her at it, and she worked much longer hours than he did. She used to sit in the sitting-room off the zala, at her little writing-table, and spend all her free time writing.

Leaning over the manuscript and trying to decipher my father's scrawl with her short-sighted eyes, she used to spend whole evenings over it, and often sat up late at night after everybody else had gone to bed. Sometimes, when anything was written quite illegibly, she would go to my father's study and ask him what it meant. But this was very rare, because my mother did not like to disturb him.

When it happened, my father used to take the manuscript in his hand, and ask with some annoyance, "What on earth is the difficulty?" and would begin to read it out aloud. When he came to the difficult place he would mumble and hesitate, and sometimes had the greatest difficulty in making out, or, rather, in guessing, what he had written. He had a very bad handwriting, and a terrible habit of writing in whole sentences between the lines, or in the corners of the page, or sometimes right across it.

My mother often discovered gross grammatical errors, and pointed them out to my father, and corrected them.

When "Anna Karenina" began to come out in the "Russky Vyestnik," [10] long galley-proofs were posted to my father, and he looked them through and corrected them.

At first the margins would be marked with the ordinary typographical signs, letters omitted, marks of punctuation, etc.; then individual words would be changed, and then whole sentences, till in the end the proof-sheet would be reduced to a mass of patches quite black in places, and it was quite impossible to send it back as it stood, because no one but my mother could make head or tail of the tangle of conventional signs, transpositions, and erasures.

My mother would sit up all night copying the whole thing out afresh.

In the morning there would lie the pages on her table, neatly piled together, covered all over with her fine, clear handwriting, and everything ready so that when "Lyovotchka" got up he could send the proof-sheets off by post.

My father carried them off to his study to have "just one last look," and by the evening it would be just as bad again, the whole thing having been rewritten and messed up.

"Sonya my dear, I am very sorry, but I've spoiled all your work again; I promise I won't do it any more," he would say, showing her the passages he had inked over with a guilty air. "We'll send them off to-morrow without fail." But this to-morrow was often put off day by day for weeks or months together.

"There's just one bit I want to look through again," my father would say; but he would get carried away and recast the whole thing afresh.

There were even occasions when, after posting the proofs, he would remember some particular words next day, and correct them by telegraph. Several times, in consequence of these rewritings, the printing of the novel in the "Russky Vyestnik" was interrupted, and sometimes it did not come out for months together.

In the last part of "Anna Karenina" my father, in describing the end of VRONSKY'S career, showed his disapproval of the volunteer movement and the Panslavonic committees, and this led to a quarrel with Katkof.

I can remember how angry my father was when Katkof refused to print those chapters as they stood, and asked him either to leave out part of them or to soften them down, and finally returned the manuscript, and printed a short note in his paper to say that after the death of the heroine the novel was strictly speaking at an end; but that the author had added an epilogue of two printed sheets, in which he related such and such facts, and he would very likely "develop these chapters for the separate edition of his novel."

In concluding, I wish to say a few words about my father's own opinion of "Anna Karenina."

In 1875 he wrote to N. N. Strakhof:

"I must confess that I was delighted by the success of the last piece of 'Anna Karenina.' I had by no means expected it, and to tell you the truth, I am surprised that people are so pleased with such ordinary and EMPTY stuff."

The same year he wrote to Fet:

"It is two months since I have defiled my hands with ink or my heart with thoughts. But now I am setting to work again on my TEDIOUS, VULGAR 'ANNA KARENINA,' with only one wish, to clear it out of the way as soon as possible and give myself leisure for other occupations, but not schoolmastering, which I am fond of, but wish to give up; it takes up too much time."

In 1878, when the novel was nearing its end, he wrote again to Strakhof:

"I am frightened by the feeling that I am getting into my summer mood again. I LOATHE what I have written. The proof-sheets for the April number [of "Anna Karenina" in the "Russky Vyestnik"] now lie on my table, and I am afraid that I have not the heart to correct them. EVERYTHING in them is BEASTLY, and the whole thing ought to be rewritten,--all that has been printed, too,--scrapped and melted down, thrown away, renounced. I ought to say, 'I am sorry; I will not do it any more,' and try to write something fresh instead of all this incoherent, neither-fish-nor-flesh-nor-fowlish stuff."

That was how my father felt toward his novel while he was writing it. Afterward I often heard him say much harsher things about it.

"What difficulty is there in writing about how an officer fell in love with a married woman?" he used to say. "There's no difficulty in it, and above all no good in it."

I am quite convinced that if my father could have done so, he long ago would have destroyed this novel, which he never liked and always wanted to disown.

(To be continued)

REMINISCENCES OF TOLSTOY (Part II.)

BY HIS SON, COUNT ILYA TOLSTOY

TRANSLATED BY GEORGE CALDERON

IN the summer, when both families were together at Yasnaya, our own and the Kuzminsky's, when both the house and the annex were full of the family and their guests, we used our letter-box.

It originated long before, when I was still small and had only just learned to write, and it continued with intervals till the middle of the eighties.

It hung on the landing at the top of the stairs beside the grandfather's clock; and every one dropped his compositions into it, the verses, articles, or stories that he had written on topical subjects in the course of the week.

On Sundays we would all collect at the round table in the zala, the box would be solemnly opened, and one of the grown-ups, often my father himself, would read the contents aloud.

All the papers were unsigned, and it was a point of honor not to peep at the handwriting; but, despite this, we almost always guessed the author, either by the style, by his self-consciousness, or else by the strained indifference of his expression.

When I was a boy, and for the first time wrote a set of French verses for the letter-box, I was so shy when they were read that I hid under the table, and sat there the whole evening until I was pulled out by force.

For a long time after, I wrote no more, and was always fonder of hearing other people's compositions read than my own.

All the events of our life at Yasnaya Polyana found their echo in one way or another in the letter-box, and no one was spared, not even the grown-ups.

All our secrets, all our love-affairs, all the incidents of our complicated life were revealed in the letter-box, and both household and visitors were good-humoredly made fun of.

Unfortunately, much of the correspondence has been lost, but bits of it have been preserved by some of us in copies or in memory. I cannot recall everything interesting that there was in it, but here are a few of the more interesting things from the period of the eighties.

THE LETTER-BOX

THE old fogy continues his questions. Why, when women or old men enter the room, does every well-bred person not only offer them a seat, but give them up his own?

Why do they make Ushakof or some Servian officer who comes to pay a visit necessarily stay to tea or dinner?

Why is it considered wrong to let an older person or a woman help you on with your overcoat?

And why are all these charming rules considered obligatory toward others, when every day ordinary people come, and we not only do not ask them to sit down or to stop to dinner or spend the night or render them any service, but would look on it as the height of impropriety?

Where do those people end to whom we are under these obligations? By what characteristics are the one sort distinguished from the others? And are not all these rules of politeness bad, if they do not extend to all sorts of people? And is not what we call politeness an illusion, and a very ugly illusion?

LYOFF TOLSTOY.

Question: Which is the most "beastly plague," a cattle-plague case for a farmer, or the ablative case for a school-boy?

LYOFF TOLSTOY.

Answers are requested to the following questions:

Why do Ustyusha, Masha, Alyona, Peter, etc., have to bake, boil, sweep, empty slops, wait at table, while the gentry have only to eat, gobble, quarrel, make slops, and eat again?

LYOFF TOLSTOY.

My Aunt Tanya, when she was in a bad temper because the coffee-pot had been spilt or because she had been beaten at croquet, was in the habit of sending every one to the devil. My father wrote the following story, "Susoitchik," about it.

The devil, not the chief devil, but one of the rank and file, the one charged with the management of social affairs, Susoitchik by name, was greatly perturbed on the 6th of August, 1884. From the early morning onward, people kept arriving who had been sent him by Tatyana Kuzminsky.

The first to arrive was Alexander Mikhailovitch Kuzminsky; the second was Misha Islavin; the third was Vyatcheslaf; the fourth was Seryozha Tolstoy, and last of all came old Lyoff Tolstoy, senior, accompanied by Prince Urusof. The first visitor, Alexander Mikhailovitch, caused Susoitchik no surprise, as he often paid Susoitchik visits in obedience to the behests of his wife.

"What, has your wife sent you again?"

"Yes," replied the presiding judge of the district-court, shyly, not knowing what explanation he could give of the cause of his visit.

"You come here very often. What do you want?"

"Oh, nothing in particular; she just sent her compliments," murmured Alexander Mikhailovitch, departing from the exact truth with some effort.

"Very good, very good; come whenever you like; she is one of my best workers."

Before Susoitchik had time to show the judge out, in came all the children, laughing and jostling, and hiding one behind the other.

"What brought you here, youngsters? Did my little Tanyitchka send you? That's right; no harm in coming. Give my compliments to Tanya, and tell her that I am always at her service. Come whenever you like. Old Susoitchik may be of use to you."

No sooner had the young folk made their bow than old Lyoff Tolstoy appeared with Prince Urusof.

"Aha! so it's the old boy! Many thanks to Tanyitchka. It's a long time since I have seen you, old chap. Well and hearty? And what can I do for you?"

Lyoff Tolstoy shuffled about, rather abashed.

Prince Urusof, mindful of the etiquette of diplomatic receptions, stepped forward and explained Tolstoy's appearance by his wish to make acquaintance with Tatyana Andreyevna's oldest and most faithful friend.

"Les amis des nos amis sont nos amis."

"Ha! ha! ha! quite so!" said Susoitchik. "I must reward her for to-day's work. Be so kind, Prince, as to hand her the marks of my good-will."

And he handed over the insignia of an order in a morocco case. The insignia consisted of a necklace of imp's tails to be worn about the throat, and two toads, one to be worn on the bosom and the other on the bustle.

LYOFF TOLSTOY, SENIOR.

SERGEI NIKOLAYEVITCH TOLSTOY