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肩書を与える: Leo Tolstoy Author: G.K. Chesterton, G.H. Perris, Edward Garnett * A 事業／計画（する） Gutenberg of Australia eBook * eBook No.: 0900621h.html Language: English Date first 地位，任命するd: December 2012 Most 最近の update: December 2012 This eBook was produced by: Roy Glashan 事業／計画（する） Gutenberg of Australia eBooks are created from printed 版s which are in the public domain in Australia, unless a copyright notice is 含むd. We do NOT keep any eBooks in 同意／服従 with a particular paper 版. Copyright 法律s are changing all over the world. Be sure to check the copyright 法律s for your country before downloading or redistributing this とじ込み／提出する. This eBook is made 利用できる at no cost and with almost no 制限s どれでも. You may copy it, give it away or re-use it under the 条件 of the 事業／計画（する） Gutenberg of Australia License which may be 見解（をとる）d online at http://gutenberg.逮捕する.au/licence.html To 接触する 事業／計画（する） Gutenberg of Australia go to http://gutenberg.逮捕する.au
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IF any one wishes to form the fullest 見積（る） of the real character and 影響（力） of the 広大な／多数の／重要な man whose 指名する is prefixed to these 発言／述べるs, he will not find it in his novels, splendid as they are, or in his 倫理的な 見解（をとる）s, 明確に and finely as they are conceived and 拡大するd. He will find it best 表明するd in the news that has recently come from Canada, that a sect of ロシアの Christian anarchists has turned all its animals loose, on the ground that it is immoral to 所有する them or 支配（する）／統制する them. About such an 出来事/事件 as this there is a 質 altogether 独立した・無所属 of the rightness or wrongness, the sanity or insanity, of the 見解（をとる）. It is first and 真っ先の a 思い出の品 that the world is still young. There are still theories of life as insanely reasonable as those which were 論争d under the （疑いを）晴らす blue skies of Athens. There are still examples of a 約束 as 猛烈な／残忍な and practical as that of the Mahometans, who swept across Africa and Europe, shouting a 選び出す／独身 word. To the languid 同時代の 政治家，政治屋 and philosopher it seems doubtless like something out of a dream, that in this アイロンをかける-bound, homogeneous, and clockwork age, a company of European men in boots and waistcoats should begin to 主張する on taking the horse out of the 軸s of the omnibus, and 解除する the pig out of his pig-sty, and the dog out of his kennel, because of a moral scruple or theory. It is like a page from some fairy farce to imagine the Dukhobor solemnly 護衛するing a 女／おっせかい屋 to the door of the yard and bidding it a benevolent 別れの（言葉，会） as it 始める，決めるs out on its travels. All this, as I say, seems mere muddle-長，率いるd absurdity to the typical leader of human society in this １０年間, to a man like Mr. Balfour, or Mr. Wyndham.
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But there is にもかかわらず a その上の thing to be said, and that is that, if Mr. Balfour could be 変えるd to a 宗教 which taught him that he was morally bound to walk into the House of ありふれたs on his 手渡すs, and he did walk on his 手渡すs, if Mr. Wyndham could 受託する a creed which taught that he せねばならない dye his hair blue, and he did dye his hair blue, they would both of them be, almost beyond description, better and happier men than they are. For there is only one happiness possible or 考えられる under the sun, and that is enthusiasm—that strange and splendid word that has passed through so many vicissitudes, which meant, in the eighteenth century the 条件 of a lunatic, and in 古代の Greece the presence of a god.
This 広大な／多数の／重要な 行為／法令／行動する of heroic consistency which has taken place in Canada is the best example of the work of Tolstoy. It is true (as I believe) that the Dukhobors have an origin やめる 独立した・無所属 of the 広大な／多数の／重要な ロシアの moralist, but there can surely be little 疑問 that their 出現 into importance and the growth and mental distinction of their sect, is 予定 to his admirable 要約 and justification of their 計画／陰謀 of 倫理学. Tolstoy, besides 存在 a magnificent 小説家, is one of the very few men alive who have a real, solid, and serious 見解（をとる） of life. He is a カトリック教徒 church, of which he is the only member, the somewhat arrogant ローマ法王 and the somewhat submissive layman. He is one of the two or three men in Europe, who have an 態度 に向かって things so 完全に their own, that we could 供給（する） their 必然的な 見解（をとる） on anything—a silk hat, a Home 支配する 法案, an Indian poem, or a 続けざまに猛撃する of タバコ. There are three men in 存在 who have such an 態度: Tolstoy, Mr. Bernard Shaw, and my friend Mr. Hilaire Belloc. They are all diametrically …に反対するd to each other, but they all have this 必須の resemblance, that, given their basis of thought, their 国／地域 of 有罪の判決, their opinions on every earthly 支配する grow there 自然に, like flowers in a field. There are 確かな 見解（をとる）s of 確かな things that they must take; they do not form opinions, the opinions form themselves. Take, for instance, in the 事例／患者 of Tolstoy, the mere 名簿（に載せる）／表（にあげる） of miscellaneous 反対するs which I wrote 負かす／撃墜する at 無作為の above, a silk hat, a Home 支配する 法案, an Indian poem, and a 続けざまに猛撃する of タバコ. Tolstoy would say: "I believe in the 最大の possible simplification of life; therefore, this silk hat is a 黒人／ボイコット abortion." He would say: "I believe in the 最大の possible simplification of life; therefore, this Home 支配する 法案 is a mere peddling 妥協; it is no good to break up a centralised empire into nations, you must break the nation up into individuals." He would say: "I believe in the 最大の possible simplification of life; therefore, I am 利益／興味d in this Indian poem, for Eastern 倫理学, under all their 明らかな gorgeousness, are far simpler and more Tolstoyan than Western." He would say: "I believe in the 最大の possible simplification of life; therefore, this 続けざまに猛撃する of タバコ is a thing of evil; take it away." Everything in the world, from the Bible to a bootjack, can be, and is, 減ずるd by Tolstoy to this 広大な／多数の／重要な 根底となる Tolstoyan 原則, the simplification of life. When we を取り引きする a 団体／死体 of opinion like this we are 取引，協定ing with an 出来事/事件 in the history of Europe infinitely more important than the 外見 of Napoleon Buonaparte.
This 出現 of Tolstoy, with his awful and simple 倫理学, is important in more ways than one. の中で other things it is a very 利益／興味ing commentary on an 態度 which has been taken up for the 事柄 of half a century by all the avowed 対抗者s of 宗教. The secularist and the sceptic have 公然と非難するd Christianity first and 真っ先の, because of its 激励 of fanaticism; because 宗教的な excitement led men to 燃やす their 隣人s and to dance naked 負かす／撃墜する the street. How queer it all sounds now. 宗教 can be swept out of the 事柄 altogether, and still there are philosophical and 倫理的な theories which can produce fanaticism enough to fill the world. Fanaticism has nothing at all to do with 宗教. There are 墓／厳粛／彫る／重大な 科学の theories which, if carried out 論理（学）上, would result in the same 解雇する／砲火／射撃s in the market-place and the same nakedness in the street. There are modern aesthetes who would expose themselves like the Adamites if they could do it in elegant 態度s. There are modern 科学の moralists who would 燃やす their 対抗者s alive, and would be やめる contented if they were burnt by some new 化学製品 過程. And if any one 疑問s this proposition—that fanaticism has nothing to do with 宗教, but has only to do with human nature—let him take this 事例／患者 of Tolstoy and the Dukhobors. A sect of men start with no theology at all, but with the simple doctrine that we せねばならない love our 隣人 and use no 軍隊 against him, and they end in thinking it wicked to carry a leather handbag, or to ride in a cart.
A 広大な／多数の／重要な modern writer who erases theology altogether, 否定するs the 有効性，効力 of the Scriptures and the Churches alike, forms a 純粋に 倫理的な theory that love should be the 器具 of 改革（する）, and ends by 持続するing that we have no 権利 to strike a man if he is 拷問ing a child before our 注目する，もくろむs. He goes on, he develops a theory of the mind and the emotions, which might be held by the most rigid atheist, and he ends by 持続するing that the 性の relation out of which all humanity has come, is not only not moral, but is 前向きに／確かに not natural. This is fanaticism as it has been and as it will always be. Destroy the last copy of he Bible, and 迫害 and insane orgies will be 設立するd on Mr. Herbert Spencer's "Synthetic Philosophy." Some of the broadest thinkers of the Middle Ages believed in faggots, and some of the broadest thinkers in the nineteenth century believe in dynamite.
The truth is that Tolstoy, with his 巨大な genius, with his colossal 約束, with his 広大な fearlessness and 広大な knowledge of life, is deficient in one faculty and one faculty alone. He is not a mystic: and therefore he has a 傾向 to go mad. Men talk of the extravagances and frenzies that have been produced by mysticism: they are a mere 減少（する） in the bucket. In the main, and from the beginning of time, mysticism has kept men sane. The thing that has driven them mad was logic. It is 重要な that, with all that has been said about the excitability of poets, only one English poet ever went mad, and he went mad from a 論理（学）の system of theology. He was Cowper, and his poetry retarded his insanity for many years. So poetry, in which Tolstoy is deficient, has always been a tonic and sanative thing. The only thing that has kept the race of men from the mad extremes of the convent and the 著作権侵害者-galley, the night-club and the lethal 議会, has been mysticism—the belief that logic is 誤って導くing, and that things are not what they seem.
HALF the ignorance or 誤解 of this greatest living 人物／姿／数字 in literature comes of the 試みる／企てる to 裁判官 him as we 裁判官 the specialised Western 小説家—an utterly futile method of approach. He is a ロシアの, in the first place. Had he come to Paris with Turgenev, he might have been 類似して re-nationalised, might かもしれない have developed into a writer pure and simple; the world might so have 伸び（る）d a few 広大な／多数の／重要な romances—it would have lost infinitely in other directions. Turgenev wished it so. "My friend," he wrote to Tolstoy from his deathbed, "return to literature! 反映する that that gift comes to you whence everything comes to us. Ah! how happy I should be if I could think that my 祈りs could 影響（力） you...My friend, 広大な／多数の／重要な writer of our ロシアの land, hear my entreaty!" For once, the second greatest of modern ロシアのs took a 狭くする 見解（をとる） of character and 運命. Genius must work itself out on its own lines. Tolstoy remained a ロシアの from tip to toe—that is one of his 最高の values for us; and he remained an indivisible personality. The artist and the moralist are inseparable in his 作品. "We are not to take 'Anna Karenina' as a work of art," said Matthew Arnold; "we are to take it as a piece of life." The distinction is not very satisfactorily 明言する／公表するd, but the meaning is （疑いを）晴らす.
So, too, W. D. Howells, in his introduction to an American 版 of the "Sebastopol Sketches": "I do not know how it is with others to whom these 調書をとる／予約するs of Tolstoy's have come, but for my part I cannot think of them as literature in the artistic sense at all. Some people complain to me when I 賞賛する them that they are too long, too diffuse, too 混乱させるd, that the characters' 指名するs are hard to pronounce, and that the life they portray is very sad and not amusing. In the presence of these 批評s I can only say that I find them nothing of the 肉親，親類d, but that each history of Tolstoy's is as （疑いを）晴らす, as 整然とした, as 簡潔な／要約する, as something I have lived through myself....
I cannot think of any service which imaginative literature has done the race so 広大な／多数の／重要な as that which Tolstoy has done in his conception of Karenina at that 決定的な moment when the cruelly 乱暴／暴力を加えるd man sees that he cannot be good with dignity. This leaves all tricks of fancy, all 影響s of art, immeasurably behind." So much 存在 said, however, we may be 許すd to 強調 in this 質s and 業績／成就s of Tolstoy as artist, rather than the 解説，博覧会s of Christian 無政府主義 and the social philippics under which those 業績／成就s have been somewhat hidden in 最近の years.
Morbid introspectiveness and the spirit of 反乱 必然的に colour what is best in nineteenth-century Russia. Born at Yasnaya Polyana ("（疑いを）晴らす Field"), Tula, in 1828, and 早期に 孤児d, Tolstoy's 青年 synchronised with the period of reaction that brought the Empire to the humiliating 災害s of the Crimean War. No hope was left in the thin 層 of society lying between the two mill-石／投石するs of the 法廷，裁判所 and the serfs; 非，不，無 in the little sphere of art where Byronic romanticism was ready to 満了する／死ぬ. The boy saw from the first the rottenness of the patriarchal aristocracy in which his lot seemed to be cast. Precocious, abnormally 極度の慎重さを要する and observant, impatient of discipline and formal learning, ぎこちない and bashful, always brooding, not a little conceited, he was a sceptic at fifteen, and left the University of Kazan in disgust at the stupid 条約s of the time and place, without taking his degree.
"Childhood, Boyhood, and 青年"—which appeared in three sections between 1852 and 1857—tells the story of this period, though the 人物／姿／数字 of Irtenev is probably a 発射／推定 rather than a portrait of himself, to whom he is always いっそう少なく fair, not to say 慈悲の, than to others. This 調書をとる／予約する is a most uncompromising 演習 in self-分析. It of 広大な／多数の／重要な length, there is no 陰謀（を企てる）, and few outer events are 記録，記録的な／記録するd. The realism is 一般に morbid, but is 変化させるd by some passages of 広大な／多数の／重要な descriptive 力／強力にする, such as the account of the 嵐／襲撃する, and occasionally with tender pathos, as in the story of the 兵士's death, 同様に as by grimly vivid pages, such as the narrative of the mother's death. In this earliest work will be 設立する the seeds both of Tolstoy's artistic genius and of his 倫理的な gospel.
After five years of mildly benevolent 成果／努力s の中で his serfs at Yasnaya Polyana (the 失望s of which he 関係のある a few years later in "A Landlord's Morning," ーするつもりであるd to have been part of a 十分な novel called "A ロシアの Proprietor"), his 年上の brother Nicholas 説得するd him to join the army, and in 1851 he was 草案d to the Caucasus as an 大砲 officer. On this favourite 行う／開催する／段階 of ロシアの romance, where for the first time he saw the 非常に高い mountains and the 熱帯の sun, and met the rugged adventurous highlanders, Tolstoy felt his imagination stirred as Byron の中で the 小島s of Greece, and his 早期に revulsion against city life 確認するd as Wordsworth まっただ中に the Lakes, as Thoreau at Walden, by a direct call from Nature to his own heart. The largest result of this experience was "The Cossacks" (1852). Turgenev 述べるd this 罰金 prose epic of the 接触する of civilised and savage man as "the best novel written in our language." "The （警察の）手入れ，急襲" (or "The Invaders," as Mr. 施し物's translation is する権利を与えるd), same year, "The 支持を得ようと努めるd-Cutting 探検隊／遠征隊" (1855), "会合 an Old 知識" (1856), and "A 囚人 in the Caucasus" (1862) are also drawn from recollections of this sojourn, and show the same descriptive and romantic 力／強力にする. Upon the 突発／発生 of the Crimean War the Count was called to Sebastopol, where he had 命令（する） of a 殴打／砲列, and took part in the defence of the citadel. The 即座の 製品 of these dark months of 流血／虐殺 was the thrilling 一連の impressions reprinted from one of the 主要な ロシアの reviews as "Sebastopol Sketches" (1856). From that day onward Tolstoy knew and hateful truth about war and the thoughtless pseudo-patriotism which hurries nations into fratricidal 虐殺（する）. From that there was expunged from his mind all the cheap romanticism which depends upon the glorification of the savage nature. These wonderful pictures of the 決まりきった仕事 of the 戦場 設立するd his position in Russia as a writer, and later on created in Western countries an impression like that of the canvases of Vereshchagin.
For a 簡潔な／要約する time Tolstoy became a 人物／姿／数字 in the old and new 資本／首都s of Russia by 権利 of talent 同様に as birth. His very chequered friendship with Turgenev, one of the oddest 一時期／支部s in literary history, can only be について言及するd here.
In 1857 he travelled in Germany, フラン, and Italy. It was of these years that he 宣言するd in "My 自白" that he could not think of them without horror, disgust, and 苦痛 of heart.
The 目録 of 罪，犯罪 which he 告発（する），告訴（する）／料金d against himself in his salvationist 危機 of twenty years later must not be taken literally; but that there was some ground for it we may guess from the scenic and incidental realism of the "Recollections of a Billiard Marker" (1856), and of many a later page. Several other powerful short novels date from about this time, 含むing "Albert" and "Lucerne," both of which remind us of the Count's susceptibility to music; "Polikushka," a tale of 小作農民 life; and "Family Happiness," the story of a marriage that failed, a most （疑いを）晴らす, 一貫した, 強烈な, and in parts beautiful piece of work, 心配するing in 必須のs "The Kreutzer Sonata" that was to scandalise the world thirty years afterward.
After all, it was family happiness that saved Leo Tolstoy. For the third time the 手渡す of death had snatched away one of the nearest to him—his brother Nicholas. Two years later, in 1862, he married 行方不明になる Behrs, daughter of the army 外科医 in Tula—the most fortunate thing that has happened to him in his whole life, I should think. Family 責任／義務s, those novel and daring 実験s in 小作農民 education which are 記録，記録的な／記録するd in several 容積／容量s of the highest 利益／興味, the 監督 of the 広い地所, magisterial work, and last, but not least, the 長引かせるd 労働s upon "War and Peace" and "Anna Karenina" fill up the next fifteen years. "War and Peace" (1864-9) is a 抱擁する panorama of the Napoleonic （選挙などの）運動をする of 1812, with 先行する and 後継するing episodes in ロシアの society. These four 容積／容量s 陳列する，発揮する in their superlative degree Tolstoy's 無関心／冷淡 to 陰謀（を企てる） and his absorption in individual character; they are rather a 一連の scenes threaded upon the fortunes of several families than a 始める，決める novel; but they 含む／封じ込める passages of 侵入するing psychology and vivid description, 同様に as a 確かな 量 of anarchist theorising. Of this work, by which its author became known in the West, Flaubert (how the 指名する carries us backward!) wrote: "It is of the first order. What a painter and what a psychologist! The two first 容積／容量s are sublime, but the third drags frightfully. There are some やめる Shakespearean things in it." The artist's 手渡す was now 強化するing for his highest attainment. In 1876 appeared "Anna Karenina," his greatest, and as he ーするつもりであるd at the time (but Art is not so easily jilted), his last novel. The 罰金 質s of this 調書をとる／予約する, which, though long, is 劇的な 統一するd and vitally coherent, have been so fully recognised that I need not 試みる／企てる to 述べる them. Mr. George Meredith has 述べるd Anna as "the most perfectly 描写するd 女性（の） character in all fiction," which, from the author of "Diana," is 賞賛する indeed. 平行の with the main 支配する of the illicit love of Anna and Vronsky there is a minor 支配する in the fortunes of Levin and Kitty, wherein the reader will discover many of Tolstoy's own experiences.
Matthew Arnold complained that the 調書をとる／予約する 含む／封じ込めるd too many characters and a burdensome multiplicity of 活動／戦闘s, but 賞賛するd its author's extraordinarily 罰金 perception and no いっそう少なく 驚くべき／特命の／臨時の truthfulness, and 率直に revelled in Anna's "large, fresh, rich, generous, delightful nature." "When I had ended my work 'Anna Karenina,'" said Tolstoy in "My 自白" (1879-82), "my despair reached such a 高さ that I could do nothing but think of the horrible 条件 in which I 設立する myself...I saw only one thing—Death. Everything else was a 嘘（をつく）."
Of that spiritual 危機 nothing need be said here except that it only 強めるd, and did not really, as it seemed to do, vitally change, 原則s and instincts which had 所有するd Tolstoy from the beginning. His その後の 倫理的な and 宗教的な 開発 may be traced in a long 一連の 調書をとる／予約するs and 小冊子s, of which the most important are "The Gospels Translated, Compared, and Harmonised" (1880-2), "What I Believe" ["My 宗教"], produced abroad in 1884, "What is to be Done?" (1884-5), "Life" (1887), "Work" (1888), "The Kingdom of God is Within You" (1893), "非，不，無-活動／戦闘" (1894), "Patriotism and Christianity" (1896)—crusade, in the foreign and the 内密の 圧力（をかける）s at least, against all 皇室の 当局 and social maladjustments. Mr. Chertkov, Mr. Aylmer Maude, the "Brotherhood Publishing Co.," and the "解放する／自由な Age 圧力（をかける）" deserve 賞賛する for their 成果／努力s to popularise these and other 作品 of the Count in 完全に good translations. In "What is Art?" (1898), not content with the 明らかにする utilitarian argument that it is 単に a means of social union, he 開始する，打ち上げるd a jehad against all modern ideas of Art which rely upon a conception of beauty and all ideas of beauty into which 楽しみ enters as a 主要な 選挙権を持つ／選挙人. A short but luminous essay on "Guy de Maupassant and the Art of Fiction" is a scathing attack upon 軍国主義 in general and the フランス系カナダ人-ロシアの 同盟 in particular—"The Christian Teaching" (1898), and "The Slavery of our Times" (1900). さまざまな letters on the 連続する 飢饉s and on the 宗教的な 迫害s in Russia deserve separate について言及する; they remind us that since the 失敗 of the 革命の movement miscalled "Nihilism" Tolstoy has 徐々に risen to the position of the one man who can continue with impunity a public more 満足な 出資／貢献 to the 支配する.
It is more to our 目的 to 公式文書，認める that in this 火山の and fecund if fundamentally simple personality the artist has dogged the steps of the evangelist to the last. "Master and Man" (1895) is one of the most exquisite short stories ever written. "The Death of Ivan Ilyich" (1884) and "Resurrection" (1899) are in some ways the most powerful of all his 作品. The much 非難するd "Dominion of 不明瞭" (1886) and "Kreutzer Sonata" (1889) will be more 公正に／かなり 裁判官d when the 普通の／平均（する） Englishman has learned the 最高の 長所 of that uncompromising truthfulness which gives nobility to every line the grand ロシアの ever wrote.
To 服従させる／提出する a work like "Resurrection" to the 要約 治療 which the ordinary novel receives and 長所s is absurd. It is a large picture of the 落ちる and rise of man done by the swift and restless 手渡す of a master who stands in a 部類 apart, with an 注目する，もくろむ that sees 外部のs and 必須のs with like 正確 and rapidity. Because the 劇の 質 of these living pictures lies, not in their organisation into a 慣例的に 限られた／立憲的な 陰謀（を企てる）, but first in the challenging idea upon which they are 設立するd, then the inexorable 開発 of individual characters, and ever and anon in the 支配する of particular episodes, the little critics scoff.
The idea, the characters, the episodes are all too real and precious British self-complacency. The grandmotherly Athenaeum 許すs some person to 述べる this Promethean 人物／姿／数字 as "a precious vase that has been broken," and can now only be pieced together to make "the ornament of a museum,"—which reminds me that I heard a lecturer before a 井戸／弁護士席-known literary society in London 述べる him lately as a "scavenger," and that a city bookseller 保証するd me the other day that there was something almost 量ing to a ボイコット（する） against his fiction in the shops. The publisher who is 準備するing a 完全にする 版 of Tolstoy—enormous work!—knows better, knows that Tolstoy is one of the world—spirits whose 前進する out of the obscurity of a benighted land into the largest 同時代の 循環／発行部数 is but a foretaste of an 影響（力） that will soon be co-広範囲にわたる with the 連邦／共和国 of thinking men and women.
His service to literature is 正確に the same as his service to
morals. Like Bunyan and 燃やすs, Dickens and Whitman, he throws 負かす／撃墜する in a
world of decadent 条約s the 計器 of the democratic ideal. As he
calls the 政治家，政治屋 and the social 改革者 支援する to the land and the
ありふれた people, so he calls the artist 支援する to the elemental 軍隊s ever at
work beneath the surface-show of nature and humanity.
With an 驚くべき／特命の／臨時の 侵入／浸透 into the hidden 休会s of character, he joins a terrible truthfulness, and that 絶対の 簡単 of manner which we 一般に associate with genius. He is a realist, not 単に of the outer, but more 特に of the inner life.
There is no staginess, no sentimentality, in his work. He has no heroes in our Western sense, 非，不，無, even, of those sensational types of personality which glorify the 指名する of his Northern 同時代の, Ibsen. His style is always natural, direct, irresistible as a physical 過程. He has rarely 逸脱するd beyond the channel of his own experience, and the reader who prefers breadth to depth of knowledge must 捜し出す どこかよそで. He has little humour, but a grimly satiric 公式文書，認める has いつかs crept into his 令状ing, as Archdeacon Farrar will remember. Of artifice designed for vulgar entertainment he knows nothing; in the world of true art, which is the ワイン-圧力（をかける） of the soul of man, he stands, a princely 人物／姿／数字. Theories, prescriptions, and discussions are forgotten, and we think only with love and reverence of this modern patriarch, so lonely まっただ中に the daily 大きくするing congregation of the hearts he has awakened to a sense of the mystery, the terror, the joy, the splendour of human 運命s.
THE justness of the word 広大な／多数の／重要な 適用するd to a nation's writers is perhaps best 実験（する）d by 簡単に taking each writer in turn from out his Age, and seeing how far our conception of his Age remains 影響を受けない.
We may take away hundreds of clever writers, 得点する／非難する／２０s of distinguished creators, and the Age remains before our 注目する，もくろむs, solidly 影響を受けない by their absence; but touch one or two central 人物／姿／数字s, and lo! the whole 枠組み of the Age gives in your 手渡すs, and you realise that the World's insight into, and understanding of that Age's life has been 供給（する）d us by the special 解釈／通訳 申し込む／申し出d by two or three 広大な／多数の／重要な minds. In fact, every Age seems dwarfed, 大混乱／混沌とした, 十分な of 混乱させるd 傾向s and general contradiction till the few 広大な／多数の／重要な men have arisen, and symbolised in themselves what their nation's growth or 争い signifies. How many dumb ages are there in which no 広大な／多数の／重要な writer has appeared, ages to whose inner life in consequence we have no 重要な!
Tolstoy's significance as the 広大な／多数の／重要な writer of modern Russia can scarcely be augmented in ロシアの 注目する，もくろむs by his 越えるing significance to Europe as symbolising the spiritual 不安 of the modern world. Yet so 必然的に must the main stream of each age's 傾向 and the main movement of the world's thought be discovered for us by the 広大な／多数の／重要な writers, whenever they appear, that Russia can no more keep Tolstoy's significance to herself than could Germany keep Goethe's to herself. True it is that Tolstoy, as 広大な／多数の／重要な 小説家, has been 吸収するd in mirroring the peculiar world of half-封建的, modern Russia, a world strange to Western Europe, but the spirit of 分析 with which the creator of Anna Karenina and War and Peace has 直面するd the modern world is more truly 代表者／国会議員 of our Age's 見通し than is the spirit of any other of his 広大な／多数の／重要な 同時代のs. Between the days of "Wilhelm Meister" and of "Resurrection" what an 驚くべき／特命の／臨時の 容積／容量 of the 急ぐing tide of modern life has swept by! A century of that "解放 of modern Europe from the old 決まりきった仕事" has passed since Goethe stood 前へ／外へ for "the awakening of the modern spirit."
A century of emancipation, of Science, of unbelief, of incessant shock, change, and 進歩 all over the 直面する of Europe, and even as Goethe a hundred years ago typified the 勝利 of the new 知能 of Europe over the shackles of its old 会・原則s, 決まりきった仕事, and dogma (as Matthew Arnold 断言するs), so Tolstoy today stands for the 勝利 of the European soul against civilisation's 決まりきった仕事 and dogma.
The peculiar modernness of Tolstoy's 態度, however, as we shall presently show, is that he is 奮起させるd 大部分は by the modern 科学の spirit in his searching 分析 of modern life. 明らかに at war with Science and 進歩, his 驚くべき／特命の／臨時の fascination for the mind of Europe lies in the fact that he of all 広大な／多数の／重要な 同時代の writers has come nearest to 論証するing, to realising what the life of the modern man is. He of all the 分析家s of the civilised man's thoughts, emotions, and 活動／戦闘s has least idealized, least beautified, and least distorted the コンビナート／複合体 daily life of the European world. With a 示すd moral bias, driven onward in his search for truth by his 熱烈な 宗教的な temperament, Tolstoy, in his pictures of life, has 建設するd a truer whole, a human world いっそう少なく bounded by the artist's individual 制限s, more mysteriously living in its 広大な flux and flow than is the world of any writer of the century. War and Peace and Anna Karenina, those 広大な／多数の／重要な worlds where the physical 環境, mental 見通し, emotional aspiration, and moral code of the whole community of Russia are 再生するd by his art, as some mighty cunning phantasmagoria of changing life, are superior in the sense of 含む／封じ込めるing a whole nation's life, to the world of Goethe, Byron, Scott, 勝利者 Hugo, Balzac, Dickens, Thackeray, Maupassant, or any latter day creator we can 指名する. And not only so, but Tolstoy's 分析 of life throws more light on the main 現在のs of thought in our Age, raises deeper problems, and 調査するs more untouched 領土s of the mind than does any corresponding 分析 by his European 同時代のs.
It is by Tolstoy's 熱烈な 捜し出すing of the life of the soul that the 広大な／多数の／重要な ロシアの writer towers above the men of our day, and it is because his hunger for spiritual truth has led him to 調査（する） 同時代の life, to 診察する all modern 決まり文句／製法s and 外見s, to 侵入する into the secret thought and emotion of men of all grades in our コンビナート／複合体 society, that his work is 告発（する），告訴（する）／料金d with the essence of nearly all that modernity thinks and feels, believes and 苦しむs, hopes and 恐れるs as it 発展させるs in more and more コンビナート／複合体 forms of our terribly コンビナート／複合体 civilisation. The soul of humanity is, however, always the 控訴，上告 of men from the life that 近郊, moulds, and 重荷（を負わせる）s them, to instincts that go beyond and transcend their 現在の life. Tolstoy is the 控訴，上告 of the modern world, the cry of the modern 良心 against the blinded 運命／宿命 of its own 進歩. To the 注目する，もくろむ of science everything is possible in human life, the sacrifice of the innocent for the sake of the 進歩 of the 有罪の, the 鎮圧するing and deforming of the weak so that the strong may 勝利 over them, the 進化 of new serf classes at the dictates of a 判決，裁定 class. All this the nineteenth century has seen 遂行するd, and not seen alone in Russia. It is Tolstoy's distinction to have 連合させるd in his life-work more than any other 広大な／多数の／重要な artist two main 相反する points of 見解（をとる）. He has fused by his art the science that defines the way Humanity is 軍隊d 今後 blindly and irresponsibly from century to century by the mere 圧力 of events, he has fused with this science of our modern world the soul's 抗議する against the earthly 運命／宿命 of man which leads the 世代s into taking the ceaseless roads of evil which every age unwinds.
Let us 特記する／引用する Tolstoy's 治療 of War as an instance of how this 広大な／多数の／重要な artist symbolises the Age for us and so 示すs the 前進する in self-consciousness of the modern mind, and as a nearer approximation to a realisation of what life is. We have only got to compare Tolstoy's "Sebastopol" (1856) with any other 文書 on war by other European writers to perceive that Tolstoy alone の中で artists has realised war, his fellows have idealised it. To 引用する a passage from a former article let us say that: "Sebastopol" gives us war under all 面s—war as a squalid, honourable, daily 事件／事情／状勢 of mud and glory, of vanity, 病気, hard work, stupidity, patriotism, and 残忍な agony. Tolstoy gets the コンビナート／複合体 影響s of "Sebastopol" by 熱心に analysing the 影響 of the sights and sounds, dangers and 楽しみs, of war on the brains of a variety of typical men, and by placing a special valuation of his own on these men's 活動／戦闘s, thoughts, and emotions, on their courage, altruism, and show of 無関心／冷淡 in the 直面する of death.
He 解除するs up, in fact, the 隠す of 外見s 慣例的に drawn by society over the actualities of the glorious 貿易（する） of 殺人，大当り men, and he does this 主として by analysing 熱心に the insensitiveness and 無関心／冷淡 of the 普通の／平均（する） mind, which says of the worst of war's realities, "I felt so and so, and did so and so: but as to what those other thousands may have felt in their agony, that I did not enter into at all." "Sebastopol," therefore, though an exceedingly short and exceedingly simple narrative, is a psychological 文書 on modern war of 驚くべき／特命の／臨時の value, for it 簡単に relegates to the 板材-room, as unlife-like and hopelessly 限られた／立憲的な, all those theatrical glorifications of war which men of letters, romantic poets, and 墓／厳粛／彫る／重大な historians alike have been busily piling up on humanity's 棚上げにするs from 世代 to 世代. And more: we feel that in "Sebastopol" we have at last the skeptical modern spirit, 吸収するd in actual life, 論証するing what war is, and 表明するing at length the 混乱させるd sensations of countless men, who have heretofore, recognising this man Tolstoy as the most 前進するd 製品 of our civilisation, and に例えるing him to a 広大な／多数の／重要な 外科医, who, not deceived by the world's 贈呈 of its own life, 侵入するs into the 必須の joy and 苦しむing, health and 病気 of multitudes of men; a 外科医 who, 直面する to 直面する with the strangest of Nature's 法律s in the 憲法 of human society, puzzled by all the illusions, fatuities, and 条約s of the human mind, resolutely 始める，決めるs himself to lay 明らかにする the roots of all its passions, appetites, and incentives in the struggle for life, so that at least human 推論する／理由 may 前進する さらに先に along the path of self-knowledge in 前進するing に向かって a general sociological 熟考する／考慮する of man.
Tolstoy's place in nineteenth-century literature is, therefore, in our 見解（をとる）, no いっそう少なく 直す／買収する，八百長をするd and 確かな than is Voltaire's place in the eighteenth century. Both of these writers 焦点（を合わせる） for us in a marvelously 完全にする manner the 各々の methods of analysing life by which the rationalism of the seventeenth and eighteenth centuries, and the science and humanitarianism of the nineteenth century have moulded for us the modern world. All the movements, all the problems, all the 憶測, all the agitations of the world of today in contrast with the 巨大な materialistic civilisation that science has あわてて built up for us in three or four 世代s, all the spirit of modern life is condensed in the pages of Tolstoy's writings, because, as we have said, he typifies the soul of the modern man gazing, now undaunted, and now in alarm, at the formidable array of the newly-一覧表にするd 原因（となる） and 影響 of humanity's 進歩, at the appalling cheapness and waste of human life in Nature's 手渡すs. Tolstoy thus stands for the modern soul's alarm in 接触する with science. And just as science's work after its first 破壊 of the past ages' formalism, superstition, and dogma is directed more and more to the examination and amelioration of human life, so Tolstoy's work has been throughout 奮起させるd by a 熱烈な love of humanity, and by his ceaseless struggle against 従来の 宗教, dogmatic science, and society's mechanical 影響（力） on the minds of its members. To make man more conscious of his 行為／法令／行動するs, to show society its real 動機s and what it is feeling, and not cry out in 賞賛 at what it pretends to feel—this has been the 広大な／多数の／重要な 小説家's 目的（とする） in his delineation of Russia's life. Ever 捜し出すing the one truth—to arrive at men's thoughts and sensations under the daily 圧力 of life—never flinching from his 探検 of the dark world of man's animalism and incessant self-deception, Tolstoy's realism in art is symbolical of our absorption in the world of fact, in the modern 熟考する／考慮する of natural 法律, a 熟考する／考慮する of 最終的に without loss of spirituality, nay, resulting in 巨大な 伸び（る） to the spiritual life. The realism of the 広大な／多数の／重要な ロシアの's novels is, therefore, more in line with the modern 傾向 and 見通し than is the general 傾向 of other schools of 大陸の literature. And Tolstoy must be finally looked on, not 単に as the 良心 of the ロシアの world 反乱ing against the too 激しい 重荷（を負わせる） which the ロシアの people have now to 耐える in 宗教上の Russia's onward march に向かって the building-up of her 広大な／多数の／重要な Asiatic Empire, but also as the soul of the modern world 捜し出すing to 取って代わる in its love of humanity the life of those old 宗教s which science is destroying day by day. In this sense Tolstoy will stand in European literature as the 良心 of the modern world.
Lev Nikolayevich Tolstoy was born at Yasnaya Polyana on August 28th (September 9th new style), 1828. His father, Count Nicholas Tolstoy, was a member of the old ロシアの nobility. In 1813, after the 包囲 of Erfurt, he was taken 囚人 by the French and afterwards retired from the army 持つ／拘留するing the 階級 of 中尉／大尉／警部補-陸軍大佐. Having assumed the 重荷（を負わせる） of many family 負債s, he 後継するd in 支払う／賃金ing his creditors in 十分な, thus 伸び（る）ing a 評判 for unfailing perseverance. Tolstoy has 述べるd his character in "Childhood and 青年." "He was a man of the last century," he wrote, "and, like all his 同時代のs, he had in him something chivalrous, 企業ing, self-所有するd, amiable, a passion for 楽しみ...His life was so 十分な of all 肉親，親類d of impulse that he had no time to think about 有罪の判決s; and besides, he had been so happy all his life that he did not feel it necessary to do so." His father died before Tolstoy reached the age of ten years, seven years after the death of his mother, of whom he wrote: "When I try to 解任する to mind my mother as she was then, only her brown 注目する，もくろむs arise before me, always the same look of love and 親切 in them. If during the most trying moments of my life I could have caught a glimpse of her smile, I should not have known what grief is."
Tolstoy in his Student days/Yasnaya Polyana
Tolstoy's 早期に years were passed in the country on the old- fashioned ロシアの 広い地所, which 似ているd somewhat in patriarchal habits, aristocratic manners, democratic familiarity, shiftlessness, and superstition, a Southern 農園 in the days of slavery. After the death of his father in 1837 the family was taken 告発（する），告訴（する）／料金 of by an aunt, the Countess Alexandra Osten-Saken, and three years later by 親族s of his mother who lived at Kazan. In 1843 Tolstoy entered the University of Kazan, where "Impervious to the ambitions of scholarship and 研究, unimpressed by the 地方の aristocracy, too nice to enjoy the rough revels of the students, and repelled alike from aristocrats, professors, and students by an unsocial and what, with our English 強調 on 政府, we should call an unregulated disposition, he seems to have had during these two or three years a 完全に unhappy and 無益な experience."* Having left the University in 1896 without 卒業生（する）ing he returned to the old country home. Yasnaya Polyana descended to Tolstoy from his mother. The 広い地所, which covers an area of some 2,500 acres, partly arable and partly wooded, lies a hundred miles 予定 south of Moscow. It was at one time Tolstoy's 意向 to dispossess himself 完全に of his 所有物／資産／財産 and live as a 小作農民. Instead of this, however, he has made over the whole of the land to his wife and children, and lives in the house 名目上 as a guest.
[* "Leo Tolstoy," by G. H. Perris. ]
Tolstoy as an Officer see page 1
For a few years he lived the ordinary life of the ロシアの nobleman, enlisting at the age of 28 as cadet in a 連隊 of 大砲 in which his 年上の brother Nicholas was captain. Discontented with the idle life he was 主要な and out of harmony with his gay surroundings, he decided to 手早く書き留める 負かす／撃墜する his recollections of the 母国 he loved so 井戸／弁護士席, and it was at this time that he 開始するd 令状ing "Childhood and 青年" (which, however, was not published in its 完全にする form until six years later) and "The Cossacks."
Subsequently Tolstoy was 任命するd to a 地位，任命する on Prince Gorchakov's staff in Turkey, and was 現在の at Sebastopol in 1855, having 達成するd the 階級 of divisional 指揮官. His experiences during the war are pictured in his three sketches, "Sebastopol in December 1854," "In May 1855," and "In August 1855." These were published the に引き続いて year and at once made his literary 評判. At the end of the （選挙などの）運動をする he left the army and visited Western Europe, ーするために 熟考する／考慮する さまざまな school systems, and upon his return to Yasnaya Polyana he 設立するd several schools of his own.
The Gateway to Yasnaya Polyana/
The Approach to the Park/
"The Tree Of the Poor" (Derevo bednyakov)
At the 入り口 to the park are two towers, 中世 in style, which were 築くd by Tolstoy's maternal grandfather. From them the road runs through the park, rising as it approaches the house, and becomes 合併するd in a level avenue of birch trees. Glimpses of a pond are caught through the dense foliage and of a square 滑らかに rolled space used as a tennis-ground, the game 存在 one in which Count Tolstoy 参加するs with 広大な／多数の／重要な enjoyment. It will be noticed that in the photograph of Count Tolstoy and his Family, below, he is 持つ／拘留するing a tennis ゆすり in his 手渡す.
The house itself is a plain white rectangular two-storied building of stuccoed brick, and it would he hard to imagine a simpler and いっそう少なく pretentious place than the home in which Tolstoy has spent the greater part of his life. It 誇るs neither piazzas nor towers; indeed, no architectural ornaments of any 肉親，親類d, nor are vines or other creepers trained upon the flat 塀で囲むs to relieve their striking whiteness or 軟化する their rectangular 輪郭（を描く）s. The house was not 完全にするd all at once, but was 大きくするd in 割合 to the needs of the family. On one 味方する, devoid of windows, there is a low porch, 近づく which stands an old elm tree, called "The Tree of the Poor." の近くに to its trunk is a （法廷の）裁判 on which the 小作農民s sit to を待つ the coming of Count Tolstoy. Here he listens with unwearying patience to many stories of 苦しめる and difficulty, and gives in return, not only sympathy and advice, but such 構成要素 援助 as may 嘘（をつく） at his 命令（する）.
It was during the period に引き続いて upon his University career that Tolstoy threw all his energies into the 仕事 of raising both the economical and moral 基準 of 小作農民 life, and 苦しむd much 失望 at the 手渡すs of the 小作農民s, who 辞退するd to 許す him to pull 負かす／撃墜する their dilapidated hovels even that he might 築く new and convenient ones at his own cost. The result was that Tolstoy left Yasnaya Polyana for St. Petersburg in the autumn of 1847, 解決するd to 起訴する his 熟考する／考慮するs with the 意向 of taking a degree in 法律. With this choice of a career, however, he was 不満な, and returned again to his 広い地所 in 1848.
In September 1862 Tolstoy married Sophia Andreevna Behrs, the daughter of a 軍の doctor. He was at this time thirty-four years of age, his bride 存在 sixteen years younger. 行方不明になる Behrs was not only beautiful, she was an exceedingly cultured girl, having passed さまざまな examinations at the Moscow University. によれば her brother, the manner of their courtship was 事実上 同一の with that of Levin and Kitty in "Anna Karenina." Countess Tolstoy at the age of forty-eight is 述べるd by Sergeyenko in "How Count Tolstoy Lives and 作品," as having "An open, expressive countenance, with vivacious, fearless 注目する，もくろむs, which she 絶えず brings 近づく to the 反対するs at which she is looking. At her very first words one feels her straightforward nature. In her manner there is not even a 影をつくる／尾行する of truckling to 控訴 the トン of any one whomsoever; her own individual 公式文書，認める is always audible."
About the time of his marriage, Tolstoy was 述べるd as "a tall, wide-shouldered thin-waisted man, with a moustache, but without a 耐えるd, with a serious, even a 暗い／優うつな 表現 of 直面する, which, however, was 軟化するd by a gleam of kindliness whenever he smiled."
Count Tolstoy at work in the fields
Living at Yasnaya Polyana winter and summer, with but rare 介入するing visits to Moscow, Tolstoy 利益／興味d himself in all the practical 詳細（に述べる）s of farming. Probably his own experiences of the physical 労働 of mowing are 描写するd as those of Levin in "Anna Karenina." "The work went on and on. Levin 絶対 lost all idea of time, and did not know whether it was 早期に or late, though the sweat stood on his 直面する, and dropped from his nose, and all his 支援する was wet as though he had been 急落（する），激減（する）d in water, still he felt very 井戸／弁護士席. His work now seemed to him 十分な of 楽しみ. It was a 明言する／公表する of unconsciousness: he did not know what he was doing, or how much he was doing, or how the hours and moments were 飛行機で行くing, but only felt that at this time his work was good."
Tolstoy was also an enthusiastic sportsman—a 転換 which occasioned him two serious 事故s—and, in 新規加入 to 実行するing the 義務s of a 司法（官） of the Peace, he 始める，決める himself to grapple with the novel 条件s of land-owning, a 複雑にするd and arduous 仕事 to which he 適用するd himself with characteristic energy and shrewdness. Indeed, his 利益／興味s were manifold and exacting. Yet during this busy period he by no means neglected his literary work. The composition of his novel "War and Peace" began すぐに after his marriage, and 延長するd over a period of eight years. His wife copied out the manuscript of this work no いっそう少なく than seven times as he altered and 改善するd it. "War and Peace" was followed by "Anna Karenina," which was not 完全にするd until 1876.
Facsimile of a 部分 of a Tolstoy manuscript.
In his method of working, Tolstoy may be に例えるd to the old painters. Having settled upon a 計画（する） of work, and collected a large number of 熟考する／考慮するs, he first makes a charcoal sketch, as it were, and 令状s 速く without thinking of particulars. He then has a clean copy of the work made by his wife or one of his daughters, and this is again 支配するd to careful remodelling. It is still in the nature of a charcoal sketch. The MS. is speedily covered with erasures and interpolations. Whole 宣告，判決s 取って代わる others. The work is then copied again, and some 一時期／支部s Tolstoy 令状s more than ten times. He usually 令状s on quarto sheets of cheap plain paper in a large 伴う／関わるd 手渡す, and いつかs covers as many as twenty pages in one day. He regards the interval between nine o'clock and three as the best time for work.
Tolstoy at work in his 熟考する／考慮する at Yasnaya Polyana
His 熟考する／考慮する at Yasnaya Polyana is a small room with an uncarpeted 床に打ち倒す, a 丸天井d 天井, and 厚い 石／投石する 塀で囲むs. 以前は it was a 蓄える／店-room, and on the 天井 are 激しい 黒人／ボイコット アイロンをかける （犯罪の）一味s, on which hams used to hang and which were used later for 体操の 演習s. The 熟考する／考慮する is very 冷静な／正味の and 静かな, and 含む／封じ込めるs さまざまな 器具／実施するs of 労働, such as a scythe, a saw, pincers, とじ込み／提出するs, etc.
After his morning 労働s, Tolstoy 一般に goes out, often riding on horseback or on his bicycle, によれば the 明言する／公表する of the 天候. He is a strict vegetarian, eating only the simplest food and 避けるing all 興奮剤s. He long ago 中止するd to smoke. 大（公）使館員ing 広大な／多数の／重要な importance to 手動式の 労働, he takes a 株 in the 家事, lighting his own 解雇する／砲火／射撃 and carrying water. At one time he learned boot-making, and it is wonderful what an 量 of physical exertion he was able to を受ける at the age of seventy in the way of 激しい 労働 in the field, of riding 得点する／非難する／２０s of versts on his bicycle, or of playing for hours at lawn tennis.
A portrait of Tolstoy/Tolstoy in the grounds of Yasnaya Polyana
Tolstoy has always dressed 極端に 簡単に, and when at home his 衣装 consisted of a grey flannel blouse, which in summer he 交流d for a canvas one of a very 初めの 削減（する）, as may be 裁判官d from the fact that there was in the whole 地区 only one old woman who could make it によれば his orders. In this blouse Tolstoy sat for his portrait to Kramsky and Repin, the painters. His over-dress was composed of a caftan and half-shuba, made of the simplest 構成要素s, and, like the blouse, eccentric in their 削減（する）, 存在 made evidently not for show but to stand bad 天候. The Hon. Ernest Howard Crosby has given an 利益／興味ing description of Count Tolstoy's 外見. "He is dressed like a 小作農民 in a grey-white blouse of thin, coarse, canvas-like 構成要素, with a leather belt; but his 洗面所 異なるs from a 小作農民's in 存在 scrupulously clean. His features are 不規律な and plain, and yet his 人物／姿／数字 is so strong and 大規模な that the tout ensemble is striking and 罰金-looking. His little blue 注目する，もくろむs peer out from under his bushy eyebrows with the kindliest of 表現s."
Count and Countess Tolstoy have had fifteen children of whom only seven 生き残るd. The system of their しつけ has been fully dealt with by M. C. A. Behrs in his "Recollections of Count Leo Tolstoy." Toys and playthings were rigorously banished from the nursery. With the first child the 裁判，公判 was made to dispense altogether with a nurse. But later it was thought 井戸／弁護士席 to 産する／生じる to the 必要物／必要条件s of their social position and to the habits of 同時代の life, and the children were put under the care of nurses, bonnes, and governesses. The parents, however, 演習d a strict and unremittent 監視 over both the children and those who had the care of them.
The greatest possible liberty was 許すd to the children, and all put in 当局 over them were 厳密に forbidden to have 訴える手段／行楽地 under any pretext to violent or 厳しい 罰s.
Tolstoy believed that these 原則s were nowhere so 一般に 受託するd as in England, and, accordingly, from their third to their ninth year, the children were placed under the 告発（する），告訴（する）／料金 of young English governesses engaged 直接／まっすぐに from London.
Countess Tolstoy is an excellent housewife, attentive and hospitable. All the 複雑にするd and troublesome 管理／経営 of the housekeeping and direction of 世帯 事件／事情／状勢s is under her 告発（する），告訴（する）／料金. She is indefatigable, and brings her きびきびした energy, thriftiness, and activity to 耐える in every direction, and this she does without help. Her three eldest sons live apart, each 占領するd with his own 商売／仕事 事柄s. Her daughters have their own 利益／興味s and 義務s, which （問題を）取り上げる the greater part of their time.
Tolstoy's eldest daughter, Tatyana Lvovna, a girl of exceptional talent, in particular 作品 very hard. In 新規加入 to copying much of her father's manuscript, she 行為／行うs his 広大な correspondence, consisting of an almost incredible number of letters received in all languages from every part of the globe.
Leo Tolstoy, from a portrait painted in 1884
This is probably the most striking of all the portraits of Count Tolstoy, 代表するing him when at the 高さ of his 人気 and 力／強力にする. In 1884 he was at work on the Popular Tales and Sketches which sold by millions throughout Russia, and from which we 再生する two or three illustrations—viz., one by H. R. Millar from the English 版 of "What Men Live By," written in 1881; another by the same artist from the English 版 of "Where Love is there God is also," and a third showing the cover of this tract, which was written in 1885, and 問題／発行するd in rough 小冊子 form at the price of a few farthings.
During the last twenty years Tolstoy has written the に引き続いて 調書をとる／予約するs:— "My 自白," "A 批評 of Dogmatic Theology," which has never been translated, "The Four Gospels, 調和させるd and Translated," "What I Believe," "The Gospel in 簡潔な／要約する," "What to Do," "On Life" (also called "Life"), "The Kreutzer Sonata," "The Kingdom of God is Within You," "The Christian Teaching," "What is Art?" which in Tolstoy's own opinion is the best 建設するd of his 調書をとる／予約するs, "Resurrection," his last novel, begun about 1894, and then laid aside in favour of what seemed more important work to be 完全に rewritten and published in 1899 for the 利益 of the Dukhobors, and latterly "What is 宗教 and what is Its Essence," published in February 1902.
Pasternak's illustrations to "Resurrection"
The illustrations 再生するd from "Resurrection" are from the remarkable 製図／抽選s by Leonid Pasternak. 関心ing these pictures there is an 利益／興味ing 公式文書，認める in the preface of the French 版 of the novel from which it may be gathered that the 製図／抽選s 一致するd very closely with Tolstoy's own conception of the 外見 of his characters. It was the artist's usual custom to 服従させる／提出する each design on its 完成 to the 著名な 小説家 for his opinion. Invariably Tolstoy showed his 是認 of the clever realisation of his ideas. But when it （機の）カム to the sketch of Prince Nekhludov, Tolstoy went so far as to enquire of M. Pasternak whether he was 熟知させるd with the person who had served him as a model. At this the artist showed extreme surprise—he had not even been aware that the character was copied from an 初めの.
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