Chapter LVI: Appendix: Darling (2)

[120] An apparatus exists by means of which a very sensitive arrow, in dependence on the tension of a muscle of the arm, will indicate the physiological action of music on the nerves and muscles.--L. T.

[121] There is in Moscow a magnificent “Cathedral of our Saviour,” erected to commemorate the defeat of the French in the war of 1812.--A. M.

[122] “That they may be one; even as thou, Father, art in me, and I in Thee, that they also may be in us.”

[123] In this picture the spectators in the Roman Amphitheatre are turning down their thumbs to show that they wish the vanquished gladiator to be killed.--A. M.

[124] While offering as examples of art those that seem to me the best, I attach no special importance to my selection; for, besides being insufficiently informed in all branches of art, I belong to the class of people whose taste has, by false training, been perverted. And therefore my old, inured habits may cause me to err, and I may mistake for absolute merit the impression a work produced on me in my youth. My only purpose in mentioning examples of works of this or that class is to make my meaning clearer, and to show how, with my present views, I understand excellence in art in relation to its subject-matter. I must moreover mention that I consign my own artistic productions to the category of bad art, excepting the story _God sees the Truth but Waits_, which seeks a place in the first class, and _The Prisoner of the Caucasus_, which belongs to the second.--L. T.

(Both the stories mentioned are included in _Twenty-Three Tales_ in the Maude Tolstoy “World’s Classics” series.--A. M.)

[125] In Russian it is customary to make a distinction between literate and illiterate people, that is, between those who can and those who cannot read. _Literate_ in this sense does not imply that the man would speak or write correctly.--A. M.

[126] Sténka Rázin was by origin a common Cossack. His brother was hanged for a breach of military discipline, and to this event Sténka Rázin’s hatred of the governing classes has been attributed. He formed a robber band, and subsequently headed a formidable rebellion, declaring himself in favour of freedom for the serfs, religious toleration, and the abolition of taxes. Like the Government he opposed, he relied on force, and though he used it largely in defence of the poor against the rich he still held to

“The good old rule, the simple plan,
That they should take who have the power,
And they should keep who can.”

Like Robin Hood he is favourably treated in popular legends.--A. M.

[127] Robert Macaire is a modern type of adroit and audacious rascality. He was the hero of a popular play produced in Paris in 1834, and of one written by R. L. Stevenson and W. E. Henley, 1897.--A. M.

[128] Tolstoy’s doctrine of Non-Resistance to “him that is evil” by any use of physical force has caused much perplexity and is accepted in its completeness by but few people in the Western world. In this passage however he states it in a form to which it would be hard to raise any objection. Never before had the doctrine of Non-Resistance been put so briefly, persuasively, and attractively.--A. M.

[129] The translation in Appendices I, II and IV are by my wife, Louise Maude. The aim of these renderings has been to keep as close to the originals as the obscurity of meaning allowed. The sense (or absence of sense) has therefore been more considered than the form of the verses.--A. M.

[130] The existence of such editions was a factor in inducing one hundred and twenty very distinguished English and American writers, dramatists, critics, and publicists, to endorse a letter written by G. Bernard Shaw to the press, in 1922, asking the public to support the “Maude Tolstoys,” in the Oxford University Press edition, and thus make commercially possible the completion of a reliable and satisfactory rendering of Tolstoy’s works in English.

[131] Written soon after the Rowntrees had been attacked by a patriotic mob, whose feelings were harrowed by an attempt to hold a peace-meeting.

[132] _Essays and Letters_, “World’s Classics” series.

[133] _Essays and Letters_, “World’s Classics” series.

[134] _The Function of Criticism at the Present Time_, in _Essays in Criticism_.

[135] E. H. Crosby was for some time a member of the New York State Legislature; subsequently he went to Egypt as a judge in the Mixed Tribunals. While there he began reading the works of Tolstoy, which had a great influence upon him. He visited Tolstoy, and afterwards co-operated with him in various ways. In a remarkable essay on “Shakespeare and the Working Classes” E. H. Crosby drew attention to the consistently anti-democratic tendency of that poet’s plays. It is to this essay that Tolstoy here refers.--A. M.

[136] Tolstoy was born in 1828. This essay appeared in 1906, so that Tolstoy began his re-reading of Shakespeare three years before he published the article.

[137] “Lear is the occasion for Cordelia. The daughter’s maternity towards the father; profound subject; maternity venerable among all other maternities, so admirably rendered by the legend of that Roman girl, nurse, in the depths of a prison, of her old father. The young breast near the white beard, there is no spectacle more holy. That filial breast is Cordelia.

“Once this figure was dreamed and found Shakespeare created his drama.... Shakespeare carrying Cordelia in his thoughts, created that tragedy as a god, who having an aurora to place makes a world expressly for it.”

[138] “A Declaration of egregious popish impostures, etc.,” by Dr. Samuel Harsnet, London 1603, which contains almost all that Edgar says in his feigned madness.--A. M.

[139] “One sees the intention and one is put off.”

[140] This and the quotations in English that follow are taken from _Shakespeare’s Commentaries_, by Dr. G. G. Gervinus, translated by F. G. Bennett, London, 1877.

[141] _Shakespeare_, Von G. G. Gervinus, Leipzig, 1872. Vol. II, pp. 550–51.

[142] Tolstoy’s essay _Non-acting_ (see _Essays and Letters_ in the “World’s Classics” series) deals with a controversy that occurred in 1893 between Zola and Dumas. In it Tolstoy controverts the opinion that activity in itself, lacking moral guidance, is beneficial.

[143] _William Shakespeare_, by Georges Brandes, translated by William Archer and Miss Morison. London, 1898, p. 921.

[144] A Russian poet of much delicacy of feeling, for many years a great friend of Tolstoy’s. He is frequently referred to in my _Life of Tolstoy_.--A. M.

INDEX

Academy, Royal, of 1897, 271.

_Albert_, a story by Tolstoy, 8

Alison, _Essay on the Nature and Principles of Taste_, 157–8

American publications, 385

Amiel’s _Journal_, 18, 38–42

Andre, Père, _Essai sur le Beau_, 146

“Animal of unspoilt scent,” 268

Appraisement of feelings made by religious perception, 278

Approval, a matter of degree, 113

Aristotle, 141, 184

Arnold, Matthew, _The Function of Criticism_, 382

Art
artisans of, 237
basis of action of, 171
blind alley, 313
“can evoke reverence for the dignity of every man,” 332
canon of, 164
Christian, 285, 288, 293–4
a. Religious, 296
b. Universal, 296, 333
of Church Christianity, 179
“comprehensible to men less educated than our labourers,” 226
content of, 85
definition of, 80–1, 171, 173, 362–3
experimental, 169
physiological evolutionary, 169, 170
metaphysical, 169, 170
destiny of, 333
dramatic form, qualifications needed to produce in, 239
effect on children, 198
empty and vicious, 283
essence of, 237
essential organ, 298
for art’s sake, 77, 87
for enjoyment, first esteemed by whom, 182
future, 313, 318, 320, 368
good of two kinds, 286
impoverishment of subject-matter of, 199
indestructible spiritual organ, 309
indispensable means of communication, 175
infection by, 171
influence of, 287
limited sphere of our, 193
means of intercourse, 170
means of union, 173
and Science: the difference, 225
of Middle Ages, 179–81
neo-esthetic theories of, 170
organ of human progress, 297
organ transmitting man’s reasonable perceptions into feelings, 331
patriotic, 285
productions that were “a temporary pastime,” 195
prostitute of our circle, 311
realistic, 87
recognized by early Christians, 178
should cause violence to be set aside, 331
simple feelings, 318
subject matter of, 197, 287
task to make feeling of brotherhood customary, 332
tendencious, 87
vehicle to draw men towards perfection, 320
which has left no trace, 166
“will lay in the souls of men the rails along which their actions
will naturally pass,” 333
will be an organ co-equally important with science for the life
of mankind, 331

Artist of the future, 318, 368

Artistic impression, when produced, 231
productions that are “as unintelligible as Sanskrit,” 194
sects exclude one another, 130

Bach, J. S., 269, 292

Ballet-dancers receive more honour than the Saints, 301

Barge with kedge-anchors, 322

Bastien-Lepage, 310

Batteux, 146

Baudelaire, P. C., 207–214, 334–6
_Duellum_, 208, 334–5
_Fleur du mal_, 207, 302, 334
_La Soupe et les nuages_, 209, 335–6
_Le Galant Tireur_, 210, 336
_L’étranger_, 209, 335
_Petits poemes en prose_, 204, 335

Baumgarten, A. G., 143, 187–8

Bayreuth, performances at, 260, 262

Bazin, Réné, _La Terre qui meurt_, 380

Beauty, 83–5, 143, 148–163, 166–8, 182, 186–7, 189–90, 196, 293,
303, 361, 369
definition of, 163–4
furnishes no criterion of art, 112
is “that which pleases,” 163
Truth and Goodness, 143–7, 156, 189–90

Beecher-Stowe, Harriet, _Uncle Tom’s Cabin_, 373

Beethoven, L. von, 14, 245–6, 292
Ninth Symphony, 294–5
Opus 101, 269

Benard’s, _L’esthétique d’Aristote_, 142, 185, 187

Bergmann, J., _Ueber das Schöne_, 154

Boccaccio, 201

Bodkin Art Gallery (Moscow), 92

Booby Trap, 17, 18

Books for the people, 6

Brandes, Georges, 396, 444

Brevity, clearness and simplicity, 314, 320

Bryulov, K. P., “Art begins where the wee bit begins,” 247

Burke, Edmund: _The Sublime and Beautiful_, 146

_Büttnerbauer, Der_, by W. von Polenz, 18, 378–87

Byron, 201

Caine, Hall, _The Christian_, 384–5

Caricatures, 293

Cathedral of Victory, 284

_Cause of it All, The_, by Tolstoy, 7

Cervantes, _Don Quixote_, 290

Chamber music, 294

Chékhov, A. P., 18–19
_Darling_, 18, 388–92, 474–89.

Cherbuliez, C. V., 156

Children perverted in service of art, 298

Choir of peasant women, 268

Chopin, F. F., 269
_Nocturne in E flat major_, 292

Christianity, a turning point, 284

Christ, the teaching of, 308

Church music and ritual, 91

Classification (usually accepted) of writers is harmful, 386

Cloudy conceptions “usually presented with _aplomb_,” 137, 361

Coins that “resemble real money,” 234

Cold-drawn works of art, 238

Comte, Auguste, 450–1

Condemnation of new art unjust, 222

Conditions of production of art, 238
counterfeit art, 237–40
tragedy, 420

Cone of art, the, 228

_Confession_, Tolstoy’s, 8–12

Confusion of religious cult with religious perception, 280

Corruption of class nourished by false art, 192

Coster, G. H. de, 156

Counterfeits of art, how manufactured, 237–240
caused by:
a) Professionalism ⎫
b) Art Criticism ⎬ 241–6
c) Schools of Art ⎭

Cousin, Victor, 154

Criticism, 382, 386–7
great importance of, 387

Critics, 242

Crosby, Ernest H., _Shakespeare on the Working Classes_, 393

Dancer, 248

Dante, 296

_Darling_, by A. P. Chekhov, 18, 388–92, 474–89.

Darwin, Charles, 169, 450–1
_Descent of Man_, 158

Darwin, Erasmus, 158

Dealers in the temple of art, 316

Decadent art, 233

Decadents, 207, 214, 217, 221–2, 228

Definition of art, 80–81, 171, 173, 362–3
needed, of art, 133
of any human activity, 166

Diamonds differ from paste, 267
selecting by touch, 455

Dickens, Charles, 7, 288, 310, 385
_Christmas Carol_, 7, 107
_David Copperfield_, 290
_Pickwick Papers_, 290

Diderot, D., 146

Dostoevski, F. M., 288–9, 310
_Memoirs from the House of Death_, 289

Doumic, René, _Les Jeunes_, 201, 206–7

Dragon, the, in _Siegfried_, 257–8

Drama, 219, 232, 247, 452–5
physiological effects in, 235

Dreyfus affair, 449–450

Druzhínin, A. V., 46

Durand-Ruel, art gallery, 218

Elementary Schools, 314–5

Eliot, George, 385
_Adam Bede_, 289

Emerson, Ralph Waldo, 385

Erections of lies obstruct study of life, 324

_Essays and Letters_, Tolstoy’s, 8

Essence of art: “that simple feeling compelling us to mingle souls
with another,” 273

Esthetic theory, the, of indifference of art to good or evil,
456–7, 460

Euphuism, 203, 438

Exclusive art, 365

Fairy-tale, lullaby, riddle, jest, or sketch, 318

Falstaff, 431–2

Fashionable art depends on the slavery of the masses, 194

Feelings, the highest, 367
conveyed, quality of feelings, 107
simple, 362
three, the subject-matter of upper-class art, 200

Fichte, J. G., 148–9

_First Distiller, The_, by Tolstoy, 7

Folgeldt, on art, 165

Folk-art and children’s art, 7, 318

Food, 223–4, 369
for body and mind, 93
question, the, 166–7

Form of art, 364–5

Fourier, F. M. C., phalansteries, 450–1

Francis of Assisi, 181, 183

French drama, 454

Gárshin, V. M., 46

Gautier, Théophile, 204

Gay, N. N., _The Last Supper_, 17, 29–32
_What is Truth?_, 36–7
_Judgment_, 289

_Genesis_, “the epic of,” 224

George, Henry, 104

Gérôme, Leon, _Pollice Verso_, 290

Gervinus, Dr. G. G., 438–444

Gevaert, Fierens, _Essay sur l’art contemporain_, 157

Goethe, J. W., 296, 455, 458, 461
_Wilhelm Meister_, 165
_Faust_, 234

Goncharev, I. A., 199

“Good art pleases everyone,” 224

Gospel parables, 224, 226

Gourmont, Rémy de, _Les Chevaux de Diomède_, 202

Grant Allen, 169
_Physiological Æsthetics_, 159

Greeks, ancient, 184, 187, 279–80, 367
a small, semi-savage, slaveholding people, 188

Grot, Professor, 117, 118

Guyau, _Les Problèmes de l’esthétique contemporaine_, 136, 156

Habituation to bad art, 224, 366

Hallam, Henry, 395

Hamlet, 272, 394, 432–5, 444
lack of character, 432–4

Harsnet, Dr. Samuel, 409

Hartmann, Edward von, 153

Hauptmann, G., _Hanneles Himmelfahrt_, 235
_Die versunkene Glocke_, 220

Hauser, Kaspar, 174

Hazlitt, William, 395

Hebrew art, 280
prophets, 198, 203

Hegel, G. W. F., 150–1, 450–1

Heine, Heinrich, 201

Helmholz, H. von, 154

Hemsterhuis, Frans, 147

Herbart, J. F., 152

Herder, J. G. von, 144

Hero, with hat _à la Guillaume Tell_, 230, 257

Home, Henry (Lord Kames), 146

Homer, 102, 198, 438–9
_Iliad_ and _Odyssey_, 226
and Shakespeare, 438

_How to Read the Gospels_, 376

Hugo, Victor, 50, 310, 288, 396
_Les Misérables_, 50, 310, 396
_Les Pauvres Gens_, 288

Human life filled with art, 363

Humboldt, W., 148

Hungarian _csárdäs_, 269

Huret, Jules, 206

Hutcheson, Francis, _Inquiry into the Original of our Ideas of
Beauty and Virtue_, 145

Huysmans, J. K., _Là-Bas_, 221

Hypnotic and epidemic suggestions, 263, 448–51, 453–9

Ibsen, Henrik: _The Master Builder_ and _Little Eyolf_, 219–220

Imitation art, methods of producing:
a. Borrowing ⎫
b. Imitating ⎪
c. Action on nerves ⎬ 230–6, 261
d. Interesting ⎭

Important what feelings spread, 366–7

Impressionist and Neo-impressionist art, 218–9

Infectiousness of art, 364–8

Injurious effect of security and luxury on artist, 316

Internal test of art, 365

Japanese art, 365

Jest, riddle, fairy-tale, lullaby, or sketch, 318

Johnson, Dr. Samuel, 395

Joseph, the story of, 225, 290

Jouffroy, T. S., 154–5

Jungmann, J., 154

Kant, I., 145, 147–8

Karr, Alphonse, 220

Ker, W. P., _Essay on the Philosophy of Art_, 159

_King Lear_, 394 et seq.

_King Leir_, superior to Shakespeare’s _King Lear_, 424–429

Kipling, Rudyard, 221, 270, 385

Kirchmann, Julius von, 153–4

Knight, Wm., _Philosophy of the Beautiful_, 159–160, 185

Knight, R., _An Analytical Enquiry into the Principles of Taste_,
158

Kralik, R., _Weltschönheit_, 134–6, 140

Kramskoy, I. N., 289

Krause, K. C. F., 150

_Krasota_ (Russian word)--how used, 138

_Kreutzer Sonata_, 14–16

Labour, enormous, expended on art, 125 et seq.

La Bruyère, Jean de, 466

Lachelier, J., 155

Langley, W., 272, 289

Language of art understood by all, 225

La Rochefoucauld, F., Duc de, 466

Latin grammar, 299

Lear’s inappropriate talk with fool, 401
unnatural credulity and distrust, 399, 420
verbose absurdities, 405–6

Leopardi, J., 201

Lepage, Bastien, 310

Lérmontov, M. Yu., 384

Lessing, G. E., 144

Lévêque, C., 138, 140, 154–5

Lhermitte, Léon, 310

Life, understanding of, 176

Loss of capacity to be infected by art, 298

Lowell, J. R., 385

_Lucern_, by Tolstoy, 8

Lullaby, fairy-tale, riddle, jest, or sketch, 318

Lyric poetry, 251–2

_Macbeth_, 394

Maeterlinck, Maurice, 214
_Les Aveügles_, 220

Mallarmé, S., 205–6, 214–5
_Devagations_, 215

Malthus, T. R., 188

“Man sieht die Absicht und man wird verstimmt,” 422

Marcus Aurelius, 66

Marx, Karl, 188

Materialism, 109

Maupassant, Guy de, 17, 46–71, 290
_Bel-ami_, 52, 54, 55, 57, 59, 64
_Fort comme le mort_, 55–8
_Histoire d’une fille de ferme_, 48, 50
_Horla_, 67
_La Femme de Paul_, 48, 50
_La Maison Tellier_, 46
_La Petite Roque_, 66
_L’armoire_, 66
_Le champ d’oliviers_, 66
_Le papa de Simon_, 50
_L’ermite_, 66
_Miss Harriet_, 66
_Monsieur Parent_, 66
_Mont Oriol_, 54–5, 58
_Notre cœur_, 55–6, 58, 65
_Pierre et Jean_, 55, 58, 60
_Solitude_, 67
_Sur l’eau_, 50, 66
_Un cas de divorce_, 66
_Une vie_, 50–2, 54, 57, 64
_Une partie de campagne_, 48, 50
_Yvette_, 58–9, 65

Mayer, von Liesen, _Signing the Death Warrant_, 289

Melody, 291–2

Men seldom recognise truth that exposes falsity of their pet
beliefs, 265

Mendelssohn, 144

Middle Ages, 86, 198

Millet, Jean Francois, 310
_The Man with a Hoe_, 289

Mithalter, Julius, _Rätsel des Schönen_, 137

Molière, 290

Montaigne, M. E. de, 466

Montesquieu, C. de S., Baron de la Brèda, et de, 466

Montesquiou-Fezensac, le comte Robert de, 207, 217, 350–2

Moralities (plays), 452

Morality regarded as “an antiquated affair,” 303

Morality and art, 364, 371–2

Morel, E., _Terre Promise_, 221

Morris, William, 94–6

Moscow, performance of _Siegfried_, 253–60

Mozart, W. A. C., 269, 292
_Magic Flute_, 250

Müller, Adam, 149

Muratori, L. A., 147

Music, 6, 13, 14–16, 17, 220, 232–3, 235–6, 245, 247–8, 291–2, 294–5

Musical art, qualifications needed to produce, 239

Muther, Richard, _The History of Art in the Nineteenth Century_, 165

Mysteries (plays), 452

Mysticism, 109

Mythological allusions, 203

Nadson, S. Ya., 385

Natasha Rostova (in _War and Peace_), 8

Negro melodies, 102

Nekrásov, N. A., 385

Nicholas Rostov, (in _War and Peace_), 8, 16

Nietzsche, F. W., 206, 303, 385, 451

Obscurity in art esteemed, 203–4

_On Art_, 75–90

“One touch of nature,” 362

Opera, rehearsal of an, 125–9
_Siegfried_, 253–60

Orators, 362, 370–1

Ornaments, 293

Ostróvski, A. N., 461
_Minin_, 244

_Othello_, 429–31
powerful movement of feeling in, 430

Pagano, F. M. S. A. C. P., 147

Painting, 232, 244, 292
and sculpture, qualifications necessary to produce, 239, 293

Paris exhibitions, 218

Parnassians, 205–6, 213

Pascal, Blaise, 40, 190, 466

Pastime for the idle crowd of rich, some art merely a, 366

Patti, Adelina, 302

Peasant art, 277
labourers, 105

Péladan, Joséphin, 157, 207

Perplexity of plain folk, 300

Peter of Chelczic, 183

Petersburg, 9

Pleasure of art, 82

_Pickwick Papers, The_, 435

Pictet, Adolph, 155

Pierre Louÿs, _Aphrodite_, 202

Pilate, Pontius, 36–7

Pilo, Mario, _La Psychologie du Beau et de l’Art_, 156–7

Pissarro, Camille, 218

Plato, 92, 141, 183–7
_The Republic_, 175, 307

Poems, qualifications needed to write, 238

Poetic, “means borrowed,” 234
subjects, 261

Polenz, W. von, _Der Büttnerbauer_, 18, 378 et seq.

Popularity, 103

Pózdnyshev (in _The Kreutzer Sonata_), 12–15

Predetermination (an author’s) evokes distrust, 259

Prévost, Marcel, 201

Printed matter a vast obstacle to enlightenment, 383
the necessity of, 73

Printing, 383

Purpose of art, the, 278

Pushkin, 301–2, 384, 461
_Tales_, 290, 384, 461
_Borís Godunóv_, 244
_Evgéni Onégin_, 244
_The Gipsies_, 244

Puvis de Chavannes, P. C., 218

Qualities, Three--of works of art
a) Content ⎫
b) Beauty ⎬ 445–6
c) Sincerity ⎭

Ragnar Redbeard, 303

Raphael, 296

Ravaisson, F., _La Philosophie en France_, 155

Realism in art, 77–8, 234

Re-appraisement of knowledge needed, 330

Reformers’ objection to art, 91

Reid, Thomas, 157

_Religion and Morality_, by Tolstoy, 375

Religious art, 310

Religious perception, 108, 176–8, 197–200, 278, 281–5, 310, 317,
322, 367, 372, 374–5
lack of, 182
the consciousness of the brotherhood of man, 331

Renaissance, The, 182, 200, 282, 453, 460

Renan, Ernest, _Marc Aurèle_, 61, 62, 134
_L’Abbesse de Jouarre_, 62

_Resurrection_, by Tolstoy, 111

Riddle, fairy-tale, lullaby, jest, or sketch, 318

Rider Haggard, 385

Romanticists, 221

_Romeo and Juliet_, 394

Rossi, Ernesto, 272

Royal Academy of 1897, 271

Ruge, Arnold, 151

Ruskin, John, 94–5, 378

Russian poetry, 384

_St. Anthony, The Temptation of_, 271

Sand, George, 49, 450–1
_La petite Fadette_, 49
_La mère aux diables_, 49

Schasler, M., _Kritische Geschichte der Aesthetik_, 140–1, 186–7

Schelling, F. W. J., 149, 150

Schiller, J. C. F. von, 148, 169, 288, 295

Schlegel, F., 149

Schnaase, Karl, _Geschichte der bildenden Künste_, 153

Schopenhauer, A., 153, 246

Science, 30, 321–29
and art closely united, 322
for science’s sake, 324
inventions in natural, 324
of esthetics has failed, The, 361
purpose of real and pretended, 325–6

Sexual relations, 305

Shaftesbury, A. A. C., third Earl of, 145

Sketch, fairy-tale, lullaby, riddle, jest, 318

Shakespeare, William, 18, 19, 393–463
devoid of sense of proportion, 437
his apt use of gestures, 435
his characters are borrowed from earlier works, 424
do not accord with their period or place, 421
lack individuality of language, 422
talk as real people never could talk, 423
his delineation of character, 422
effect on the young of laudation of Shakespeare, 462–3
his exaggeration, 438
his fame: first cause of, 456
_King Lear_, 394–429, 436–7
Albany’s unnatural speech, 410
Edgar and Kent not recognized by people who knew them well, 406
Gloucester’s unnatural credulity, 400, 403, 412
his Kings, 399, 423
his masterly development of scenes, 455
movement of feeling powerfully expressed by, 435
not an artist, 438
his patriotism, 445
his practical mastery of stage-craft, 19
_Romeo and Juliet_, 165
“The end justifies the means,” 445
Thoughts arising from sound of words, 409

Shaw, Bernard, 17

Shelley, P. B., 395

“Sick send the hale to bed, the,” 227

Simple direct artistic impression, 455

Sincerity in Art, 84–5

Socrates, 141, 184, 186, 190

Solger, K. W. F., _Vorlesungen über Æsthetik_, 150

Spaletti, _Saggio sopra la bellessa_, 147

Spectrum Analysis of Milky Way, lecture on, 318

Speech, 170, 173–4, 224, 297

Spencer, Herbert, 158, 169

Spiritual Censor (Russian), 119

Spiritualists, 262

Stead, W. T., 7

Sténka Rázin, 304

Story of an Easter Cake, 270

Story or novel, qualifications needed to write, 238

Subject, and subject-matter, 369

Subject-matter of art, 364

Sue, Eugène, 450–1

Sully, James, _Sensation and Intuition_, 160, 169, 170

Sulzer, George, 144

“Supremacy of Artistic Element in Literature,” 4

Swinburne, A. C., 396

Symbolic pictures, 294

Symbolists, 207, 218, 219

Taglioni, Maria, 302

Taine, Henri, 156

Tasso, Torquato, _Jerusalem Delivered_, 296

Tatiana Lvóvna (Mme. Sukhotin), 218

“Tendencious art,” 77

Test of great philosophy, 369

Thackeray, W. M., 385

Three religions, 375

“To be or not to be,” 433

Todhunter, John, _Theory of the Beautiful_, 158–9

Tolstoy’s final conclusions on art, 377
fitness to deal with the problem, 97, 98, 373
lecture on literature, 4
view of life, 367

Tolstoy, Alexey, 385, 461
_Tsar Borís_, 244

Truth, 190

Turgénev, K. S., _The Quail_, 271
_A Sportsman’s Notebook_, 199

_Twenty-three Tales_, by Tolstoy, 7, 8

“Two live leaves cannot be exactly alike,” 251

Tyútchev, Th. I., 384

_Uncle Tom’s Cabin_, 288, 373

“Understand the error we are involved in,” 307

Understood by men less educated than our labourers, art was, 226,
365

Unintelligible art, 223

Union with men of the past and the future, through art, 287

Universal art, 106, 229, 310, 365

Vasnetsov, V. M., 271

Vauvenargues, Marquis de, 466

Vedas, hymns of the, 226

Verbal art, 232

Verlaine, Paul, 207, 210–4, 302, 336–7
_Ariettes oubliées_, 211, 212
_La Sagesse_, 212, 213

Veron, _L’esthétique_, 157, 169, 170

Versifiers, with broken tongues, 253

Villiers de l’Isle Adam, _Contes Cruels_, _L’Annonciateur_, 221

View of life, 9

View of life unconsciously permeating artistic work, 457

Vischer, Theodor, 152

Vogüé, C. J. M. Marquis de, 394

Vogul play, 272

Voltaire, F. M. A. de, 147, 227

Wagner, Richard, 206, 233, 250–64
“a limited self-opinionated German of bad taste,” 259
explanation of his success, 260–262
his great ability, 261
his “model work of counterfeit art,” 253

Walkley, A. B., 18

Walter, _Geschichte der Æsthetik im Altertum_, 142
on Plato, 187

_War and Peace_, 8, 16

Weisse, C. H., 151

Welfare lies in union, 309

_What is Art_, 1, 91–377
premature publication of in Paris, 3

_What Then Must We Do?_, 12

Whittier, J. G., 385

Wilde, Oscar, 303

Winckelmann, J. J., 144

Wolf, encounter with a, 172

Yakútsk ornaments, 293

Yásnaya Polyána, 4, 21

Yawning, 171

Zola, Émile, 270
_La Terre_, 49

Concerning the Proposed Centenary Edition of Tolstoy’s Works

In February 1922, Mr. Bernard Shaw addressed the following letter to the Press and it appeared in _The Times_, _Daily Telegraph_, _Manchester Guardian_ and many other papers, receiving, then and subsequently, the endorsement of the numerous distinguished people, here and in America, whose signatures are appended.

10 ADELPHI TERRACE,
W.C.2.
_28 February 1922._
SIR,

We desire to call public attention, especially in circles
interested in literature and in general cultural questions,
to the lack of a complete edition of the works of Leo Tolstoy
in the English language. Unfortunately the means adopted by
Tolstoy to secure the widest possible circulation for his
books had just the opposite effect. He invited all publishers
in all countries to take the fullest advantage of the
absence of international copyright between Russia and other
countries by publishing his writings in such translations
as they could procure without any reference to his moral or
legal rights. In the case of any less famous author this
step would have prevented his works being translated at all,
as it is practically impossible to engage modern capital in
publishing, or any other enterprise, without property rights.
In Tolstoy’s case it led to the appearance of a great number
of translations, including some very incompetent ones, of a
few of his books which were considered specially interesting
as stories, or were capable of being turned to account for
propaganda. These few books have consequently become more or
less well known; but the profits of their publication have
been so divided that they have in no instance been able to
carry a complete edition on their backs. Accordingly, no
complete edition has yet appeared; and the one projected for
the Tolstoy Centenary of 1928 by the Oxford University Press,
translated by Aylmer Maude, whose competence and acceptance
by Tolstoy himself are unquestionable, may prove commercially
impossible unless the public, by spontaneously giving it the
privileges of a copyright edition, both by subscribing for
complete sets and specifying this edition in their purchases
of separate volumes, makes up for the absence of legal rights
and for the miscarriage of Tolstoy’s public-spirited intention
in the matter.

The Oxford Press translation will be complete and unique,
and certain to remain so, as it is not now possible for any
new English writer to bring to a translation of Tolstoy’s
works the personal knowledge of the author, and the peculiar
experience of Russian life and of the Tolstoyan social
experiments that followed the first publication of his
writings, enjoyed by Mr. Aylmer Maude and his wife and
collaborator, who is a native of Russia. We feel that its
failure to appear would be a grave loss to our national
literary equipment; and we earnestly hope that the opportunity
of completing the nineteenth-century bookshelf both of our
public and private libraries by a complete edition of his
works in English will not be missed.

Yours truly,
G. BERNARD SHAW.

LIST OF SIGNATORIES TO SHAW’S LETTER.

Henry Ainley (Fedya of _Reparation_)
Meggie Albanesi (Alexandra of _Reparation_)
Rev. Cyril Alington, D.D., Head Master of Eton
William Archer
Lena Ashwell (Katusha of _Resurrection_)
J. F. Baddeley
John Bailey
Hon. Maurice Baring, O.B.E.
Dr. Ernest Barker, Principal, King’s College
Sir Alfred Bateman, K.C.M.G.
H. Wansey Bayly, M.R.C.S.
Ian Hay Beith, C.B.E.
Marie Belloc-Lowndes
Arnold Bennett
J. D. Beresford
Rt. Hon. Sir Geo. W. Buchanan, P.C., G.C.B., C.V.O., formerly
Ambassador, Petrograd
Rt. Hon. Lord Carnock, P.C., G.C.B., K.C.V.O., formerly
Ambassador, Petrograd
Sir Hall Caine, K.B.E.
Edward Carpenter
Clementine S. Churchill (Mrs. Winston Churchill)
A. Clutton Brock, B.A.
W. L. Courtney, L.L.D., Editor of _Fortnightly Review_
A. Emil Davies, L.C.C.
H. Walford Davies, F.R.C.O.
Brig.-Gen. Guy Payan Dawnay, C.M.G., M.V.O., D.S.O.
James Douglas, Editor of _Sunday Express_
J. D. Duff, Fellow of Trinity College, Cambridge
Sir Arthur Conan Doyle, LL.D.
Havelock Ellis, L.S.H.
Nevill Forbes, Ph.D., Reader in Russian, Oxford
J. L. Garvin, Editor of _Observer_
G. P. Gooch, D.Litt.
L. Haden Guest, M.R.C.S., M.P.
Cicely Hamilton
Austin Harrison
Sir Anthony Hope Hawkins
John H. Hobson, M.A.
Silas K. Hocking
E. A. Brayley Hodgetts, Chairman of Russian Section, London Chamber
of Commerce
Sonia E. Howe, Authoress of _A Thousand Years of Russian History_
W. W. Jacobs
Edgar Jepson, B.A.
Jerome K. Jerome
Henry Arthur Jones
Commander Oliver Locker-Lampson, C.M.G., D.S.O., M.P.
Sir Oliver Lodge, F.R.S., D.Sc.
Lady Constance Lytton
Sir Lynden Macassey
Justin Huntly MᶜCarthy
Miles Malleson
Hugh Macnaughten, Vice-Provost of Eton
W. Somerset Maugham, M.R.C.S.
Dorothy Massingham
H. W. Massingham
Cyril Maude
W. B. Maxwell
P. E. Meadon
Baron A. Meyendorff
Eustace Miles, M.A.
Gilbert Murray, D.Litt., Regius Professor, Oxford
Cathleen Nesbitt
Henry W. Nevinson
Sir Sidney Olivier
Sir Bernard Pares, K.C.B., Professor of Russian History, University
of London
Rt. Hon. Sir Gilbert Parker, P.C., D.S.L.
Geo. Paston
Edw. R. Pease
John Pollock, M.A.
H. Hesketh Prichard, D.S.O.
Sir Henry Penson, K.B.E.
Arthur Rackham
Rt. Hon. Lady Rhondda
Rt. Hon. G. H. Roberts, J.P.
Sir E. Denison Ross, Ph.D.
Hon. Bertrand Russell, F.R.S.
St. John Ervine
May Sinclair
Rt. Hon. Lady Sybil Smith
A. B. Stodart, Hon. Sec. British Russia Club
Marie C. Stopes, D.Sc., Ph.D.
Lord Treowen, C.M.G.
Mrs. Alec-Tweedie, F.R.G.S.
Leslie Urquhart
Sir Paul Vinogradoff, Professor of Jurisprudence, Oxford
Graham Wallas
A. B. Walkley, F.R.S.L., Dramatic Critic of _The Times_
Hugh Walpole
Lt.-Col. John Ward, C.B., M.P.
Rt. Hon. Lord Weardale
H. G. Wells
Rebecca West
Rt. Hon. J. H. Whitley, P.C.
Norman Wilks
Harold Williams
C. Hagberg Wright, LL.D., Librarian, London Library

AMERICAN

Jane Addams
James Lane Allen
Sherwood Anderson
James Branch Cabell
George W. Cable
Theodore Dreiser
Horace Howard Furness
Hamlin Garland
Ellen Glasgow
Robert Underwood Johnson
Robert Morse Lovett
Edwin Markham
H. L. Mencken
Harriet Monroe
Eugene O’Neill
William Lyon Phelps
Chas. Ed. Russell
Booth Tarkington
Lucy E. Textor
Hon. Henry Vandyck
Owen Wister

Beside those who have signed Shaw’s letter, Thomas Hardy wrote:--

‘Although I have no first-hand knowledge of the details mentioned in Mr. Bernard Shaw’s letter on translations of Tolstoy, I agree with the opinion that a good rendering of his works into English--so far as that is possible--should be made practicable by the concentration of effort on one production; and I believe that Mr. Aylmer Maude’s competence for the task is special and trustworthy.’

Sir Edmund Gosse wrote to Mr. Aylmer Maude:--

‘I wish to express my appreciation of your admirable labours
and those of Mrs. Maude.’

Mr. Joseph Hergesheimer wrote:--

‘I fully agree with contents of the letter.’

Professor Gilbert Murray wrote:--

‘I am in the most cordial agreement with Shaw’s letter and
will most gladly sign it. It is a great public service that
you and the Oxford Press between you are undertaking. The
wonder to me has always been how Tolstoy contrived to make
such a tremendous and characteristic impression through such
an opaque and distorting medium as the average Anglo-American
translation.’

* * * * *

A score of letters containing Tolstoy’s very emphatic authorization and endorsement of the Maude versions of his work (such as he gave to no other translator) have been deposited with the Oxford University Press. These expressions of approval begin in 1897, when Mr. Maude translated _What is Art_, and were continued till 1910, the year of Tolstoy’s death. The following are a few extracts from these letters of Tolstoy’s:

5 Sept. 1897. ‘I have written to Tchertkoff asking him to leave it to you to do the translation. That will give me more satisfaction.’

18 Oct. 1897. ‘You have filled in correctly the word omitted on p. 31. In general I see that you are doing the translation with great care, for which I am very grateful. I am almost certain I shall be in accord with all your comments, but still send them to me. I, too, will examine them carefully.’

Nov. 1897. ‘I will begin to reply in sequence to your admirable remarks, which are of great use to the undertaking.... With all the rest of your remarks I quite agree, and prompted by them I have made alterations in my (Russian) text. Please make more such.’

Dec. 1897. ‘I yesterday received both your letters, dear friend, and hasten to answer them. I also received the translation. I have gone through it and have not found anything that held me up, except the words “admirable book of Verm” (p. 22). It should be “very good” and not “admirable”. The translation seems to me to be very good.’

Dec. 1898. ‘I have received your letter, dear friend Maude, and am very glad that you are again in England and wish to work at translating my writings. I do not desire a better translator, both on account of your knowledge of the two languages and of your strictness with yourself in everything.’

Jan. 1899. ‘I am very glad that your dear wife is doing the translation of _Resurrection_.’

May 1900. ‘Your translations are very good because you have an admirable mastery of both the languages, and besides that, to my great pleasure, you love the thoughts you transmit.’

Sept. 1900. ‘To lose such translators as you and your wife would be very, very unpleasant. Better translators, both in your knowledge of both languages and in your penetration into the very meaning of the matter translated, could not be invented.’

Feb. 1901. ‘I think that your and your wife’s splendid translation of what has previously been published and badly translated should find a publisher.’

Nov. 1901. (From a letter written by the Countess Olga Tolstoy.) ‘I am writing instead of Leo Nikolaevich, who sends many excuses for not having sooner replied to your two letters, and about the fine book, _Sevastopol_, you have sent. All this time Leo Nikolaevich has been very unwell.... He asks me to convey to you his great gratitude for the letters and for _Sevastopol_. He finds both the translation and the edition excellent, and that one could not desire anything better.’

23 Dec. 1901. ‘I think I have already written you how unusually pleased I was with the first volume of your edition. All is excellent--the edition, the notes, and chiefly the translation, and even more the conscientiousness with which all this has been done. I opened it accidentally at the _Two Hussars_ and read on to the end just as if it were something new and had been written in English.’

6 Oct. 1903. _A common friend in replying to an inquiry Mr. Maude made concerning his re-translation of a work, the previously published (Free Age Press) edition of which appeared faulty._ ‘L. N. (Tolstoy) asks me to reply to your inquiry about the exactness of your translation of _What is Religion?_ that your translation expresses his meaning more exactly, and he is quite satisfied.’

11 Dec. 1903. ‘Thank your kind friend Maude for sending me the volume of _Essays and Letters_ (World’s Classics series). The edition is very good.’

1 Aug. 1909. ‘I am always glad to hear news of you and of your occupation, so closely connected with me, on excellent translations of my writings. Your loving Leo Tolstoy.’

18 Jan. 1910. ‘I am better now and add a line to say a few words, namely that the edition of your translations of my writings can only give me pleasure, because your translations are very good and I do not desire better ones.... My approval of your translations in my letters, you can, of course, publish.’

* * * * *

The Tolstoy Centenary occurs in 1928, and the form the projected complete Maude-Tolstoy Centenary Edition may take has not yet been decided, but the material for it is being prepared and a pocket edition of as much of it as is quite ready is appearing in the World’s Classics series, which already contains the following twelve volumes.

THE ‘MAUDE’ TOLSTOY

THE ‘WORLD’S CLASSICS’ SERIES

Pocket size, 6 by 4 inches. On thin opaque paper. Cloth, 2s. net;
sultan-red leather, 3s. 6d. net.

=The Cossacks= _and_ =Tales of the Caucasus.=

Including: _The Raid_, _The Wood-Felling_ and _Meeting a Moscow Acquaintance in the Detachment_.

‘The best story that has been written in our
language.’--_Turgenev._

=War and Peace= (3 vols.).

‘We feel that we were ourselves there; that we knew those
people; that they are a part of our very own past.’--_Maurice
Baring._

‘It is among the greatest works ever made by man, and the
country is under a debt to Louise and Aylmer Maude for
rendering it into English.’--_New Labour Leader._

=Anna Karénina= (2 vols.).

‘Anna Karénina as an artistic production is perfection ...
a thing to which European literature of our epoch offers no
equal.’--_Dostoevski._

=Confession _and_ What I Believe= (1 vol.).

One of the sincerest and most remarkable confessions in all
literature.

=Twenty-Three Tales.=

Containing: _God Sees the Truth_, _A Prisoner in the Caucasus_, _What Men Live By_, _Two Old Men_, _Where God is Love is_, _Ivan the Fool_, _The Three Hermits_, _The Imp and the Crust_, _How Much Land does a Man Need?_ _The Empty Drum_, _Too Dear_, etc.

‘I regard them as the most perfect tales ever
written.’--_Carmen Sylva, Queen of Roumania._

=The Kreutzer Sonata, Family Happiness, _and_ Polikushka= (1 vol.).

The first full translation, giving the passages suppressed by the censor. It is the most powerful and the most widely discussed of Tolstoy’s shorter novels.

=Plays.=

A complete edition (including the posthumous plays): _The First Distiller_, _The Power of Darkness_, _The Fruits of Enlightenment_, _The Live Corpse_, _The Cause of it All_, _The Light Shines in Darkness_.

‘Nothing in the whole range of drama fascinated me more than
the old soldier in _The Power of Darkness_.’--_Bernard Shaw._

=Essays and Letters.=

Including: _Why Do Men Stupefy Themselves? Afterword to the Kreutzer Sonata_, _The First Step_, _Non-Acting_, _Religion and Morality_, _Shame!_, _Letters to Verigin_, _Non-Resistance_, _How to Read the Gospels_, _Letters on Henry George_, _Modern Science_, _Patriotism and Government_, ‘_Thou Shalt Not Kill_’, _Reply to Synod’s Excommunication_, _What is Religion? An Appeal to the Clergy_, and fifteen other articles.

‘Gives an excellent idea of the vast range of Tolstoy’s
intellectual activities.’--_Daily News._

=Resurrection.=

‘Undoubtedly the most important novel that has appeared in
Europe for many years.’--_Edward Garnett._

_Ready Shortly._

=What then must we do?=

Tolstoy’s remarkable study of social conditions.

_Other Volumes in Preparation_

* * * * *

WHAT IS ART?

(Now included in the volume, _Tolstoy on Art_.)

‘This book is a most effective booby trap. It is written
with so utter a contempt for the objections which a
routine critic is sure to allege against it, that many a
dilettantist reviewer has already accepted it as a butt set
up by Providence.... Whoever is really conversant with Art,
recognizes in it the voice of the master.’--_G. Bernard Shaw_
in _The Daily Chronicle_.

‘This calmly and cogently reasoned effort to put Art on a new
basis is a literary event of the first importance.... I have
never come across anything so good in its way as Mr. Maude’s
version of Tolstoy. The translation reads like an original:
you feel that Tolstoy has lost nothing in transit. And what a
wonderful artist in prose this Tolstoy is! How vigorous and
succinct! How persuasive!’--_A. B. Walkley._

‘Tolstoy’s book is the most important essay in pure
criticism of recent years, and it is destined to become a
classic.’--_Star._

‘The powerful personality of the author, the startling
originality of his views, grips the reader, and carry him,
though his deepest convictions be outraged, protesting through
the book.’--_Pall Mall Gazette._

‘Mr. Aylmer Maude’s translation is admirable--a better piece
of work has rarely been performed; and Mrs. Maude’s English
renderings of the French poems, whether as to meaning, spirit
or rhythm, are so felicitous that they amount to a _tour de
force_.’--_M. H. Spielmann_ in _Literature_.

Oxford University Press, Amen House, London, E.C.4.

THE LIFE OF TOLSTOY.

=First Fifty Years.= By AYLMER MAUDE. Seventh Edition. 8 Illustrations. Demy 8vo. 12s. 6d. net.

‘Will stand, I think, among the big biographies of our
literature.’--_G. Bernard Shaw._

‘The book is no sooner opened than it begins to
exercise a sort of charm from which it is impossible to
escape.’--_Westminster Gazette._

(The Second Volume: LATER YEARS is out of print, and will be revised.)

THE ‘MAUDE’ TOLSTOY.

=Resurrection.= With 14 Illustrations by Pasternak. 7s. 6d. net.

‘A special word of praise must be given to the illustrations.
They illustrate the author with a sympathy and an insight
which Tolstoy has never before enjoyed.’--_Glasgow Herald._

=Plays.= (Complete Edition. Six Plays.) 7 Illustrations. 7s. 6d. net.

‘A vivid picture of life, full of light and colour and
contrast; full, too, of wisdom and the wit that knows just
where to hold its hand.’--_The Times_ on ‘Fruits of Culture.’

=Sevastopol and Other Stories= (including TWO HUSSARS, etc.). Photogravure Portrait and Map. 1s. 6d. net.

‘In these thrilling “Letters from the Front” Tolstoy
realizes war ... as no other writer has ever done before or
since.’--_Contemporary Review._

Constable and Co., 10 Orange Street, W.C.2.

* * * * *

=Leo Tolstoy.= By AYLMER MAUDE. 8vo. 7 Illustrations. 6s. net.

A complete biography, with an account of Tolstoy’s home-leaving and death, and an explanation of what led to it.

‘Mr. Maude is our best English authority on Tolstoy, not
alone because he knew Tolstoy intimately, but because,
whilst admiring and loving him for his genius and his
sincerity, he judges calmly, and is not carried away by
hero-worship.’--_Yorkshire Post._

Methuen and Co., 36 Essex Street, London, W.C.2.

* * * * *

=The Life of Marie C. Stopes.= By AYLMER MAUDE. With 14 Illustrations. 5s. net.

An authorized biography giving, for the first time, the story of her childhood, academic life, marriage, writings, opponents and inner life.

Williams and Norgate, 14 Henrietta Street, W.C.2.

Transcriber’s Note:

Words and phrases in italics are surrounded by underscores, _like this_. Those in bold are surrounded by equal signs, =like this=. Words may have multiple spelling variations or inconsistent hyphenation in the text. These have been left unchanged, as were obsolete and alternative spellings. Obvious printing errors, such as backwards, upside down, or partially printed letters and punctuation, were corrected. Final stops missing at the end of sentences and abbreviations were added. One excess semi-colon was deleted.

Use of accents on Russian names is inconsistent. Diacriticals in French were corrected.

In the index, surnames were added to ‘Darwin, Erasmus’ and ‘Knight, R.’ Accents missing on words and names in the index were adjusted to agree with related text.

Footnotes were renumbered sequentially and were moved to the end of the book. There are four anchors for footnote [2].

The following were changed:

‘hynotist’ to ‘hypnotist’
‘divisons’ to ‘divisions’
‘auszudrückendem’ to ‘auszudrückenden’
‘Wohlegefallen’ to ‘Wohlgefallen’
‘Asthetisches’ to ‘Aesthetisches’
‘-ziet’ to ‘-zeit’ (several instances)
‘Kunsc’ to ‘Kunst’
‘letztgenamten’ to ‘letztgenannten’
‘einer’ to ‘einem’
‘benfit’ to ‘benefit’
‘Rémy de Gourment’ to ‘Remy de Gourmont’
‘Le soir’ to ‘Le sais’
‘Himmelfaht’ to ‘Himmelfahrt’
‘Byulóv’ to ‘Bryulóv’
‘staking’ to ‘shaking’
‘abnominably’ to ‘abominably’
‘infectuous’ to ‘infectious’
‘Lontainement’ to ‘Lointainement’
‘Hagan’ to ‘Hagen’ (twice)
‘indued’ to ‘imbued’
‘enlightment’ to ‘enlightenment’
‘transcendant’ to ‘transcendent’
‘make’ to ‘makes’
‘maligant’ to ‘malignant”
‘Schonheit’s’ to ‘Schönheit’s’
‘thatfräftigen’ to ‘thatkräftigen’
‘Trojons’ to ‘Trojans’
‘Shakepeare’ to ‘Shakespeare’
‘Turgéney’ to ‘Turgénev’
‘accidently’ to ‘accidentally’
‘irrefragible’ to ‘irrefragable’
‘unbashed’ to ‘unabashed’
‘Sanscrit’ to ‘Sanskrit’
‘Pissaro’ to ‘Pissarro’
‘Tyúchev’ to ‘Tyútchev’
‘Geschicht’ to ‘Geschichte’
‘Olgo’ to ‘Olga’