第5章 INTRODUCTION(5)

This spirit of patriotism which Tolstoy repudi-ated is none the less the animating power of the noble epic, "War and Peace," and of his peasant-tales, of his rare gift of reproducing the expressive Slav vernacular, and of his magical art of infusing his pictures of Russian scenery not merely with beauty, but with spiritual significance. I can think of no prose writer, unless it be Thoreau, so wholly under the spell of Nature as Tolstoy; and while Thoreau was preoccupied with the normal phenomena of plant and animal life, Tolstoy, coming near to Pantheism, found responses to his moods in trees, and gained spiritual expansion from the illimitable skies and plains. He fre-quently brings his heroes into touch with Nature, and endows them with all the innate mysticism of his own temperament, for to him Nature was "a guide to God " So in the two-fold incident of Prince Andre and the oak tree ("War and Peace") the Prince, though a man of action rather than of sentiment and habitually cynical, is ready to find in the aged oak by the roadside, in early spring, an animate embodiment of his own despondency.

"'Springtime, love, happiness?--are you still cherishing those deceptive illusions?' the old oak seemed to say. 'Isn't it the same fiction ever?

There is neither spring, nor love, nor happiness!

Look at those poor weather-beaten firs, always the same . . . look at the knotty arms issuing from all up my poor mutilated trunk--here I am, such as they have made me, and I do not be-lieve either in your hopes or in your illusions.'"

And after thus exercising his imagination, Prince Andre still casts backward glances as he passes by, "but the oak maintained its obstinate and sullen immovability in the midst of the flowers and grass growing at its feet. 'Yes, that oak is right, right a thousand times over. One must leave illusions to youth. But the rest of us know what life is worth; it has nothing left to offer us.'"

Six weeks later he returns homeward the same way, roused from his melancholy torpor by his recent meeting with Natasha.

"The day was hot, there was storm in the air; a slight shower watered the dust on the road and the grass in the ditch; the left side of the wood remained in the shade; the right side, lightly stirred by the wind, glittered all wet in the sun; everything was in flower, and from near and far the nightingales poured forth their song. 'I fancy there was an oak here that understood me,' said Prince Andre to himself, looking to the left and attracted unawares by the beauty of the very tree he sought. The transformed old oak spread out in a dome of deep, luxuriant, blooming ver-dure, which swayed in a light breeze in the rays of the setting sun. There were no longer cloven branches nor rents to be seen; its former aspect of bitter defiance and sullen grief had disap-peared; there were only the young leaves, full of sap that had pierced through the centenarian bark, making the beholder question with surprise if this patriarch had really given birth to them.

'Yes, it is he, indeed!' cried Prince Andre, and he felt his heart suffused by the intense joy which the springtime and this new life gave him . . .

'No, my life cannot end at thirty-one! . . .

It is not enough myself to feel what is within me, others must know it too! Pierre and that "slip" of a girl, who would have fled into cloudland, must learn to know me! My life must colour theirs, and their lives must mingle with mine!'"

In letters to his wife, to intimate friends, and in his diary, Tolstoy's love of Nature is often-times expressed. The hair shirt of the ascetic and the prophet's mantle fall from his shoulders, and all the poet in him wakes when, "with a feel-ing akin to ecstasy," he looks up from his smooth-running sledge at "the enchanting, starry winter sky overhead," or in early spring feels on a ramble "intoxicated by the beauty of the morn-ing," while he notes that the buds are swelling on the lilacs, and "the birds no longer sing at ran-dom," but have begun to converse.

But though such allusions abound in his diary and private correspondence, we must turn to "The Cossacks," and "Conjugal Happiness" for the exquisitely elaborated rural studies, which give those early romances their fresh idyllic charm.

What is interesting to note is that this artistic freshness and joy in Nature coexisted with acute intermittent attacks of spiritual lassitude. In "The Cossacks," the doubts, the mental gropings of Olenine--whose personality but thinly veils that of Tolstoy--haunt him betimes even among the delights of the Caucasian woodland; Serge, the fatalistic hero of "Conjugal Happiness," calmly acquiesces in the inevitableness of "love's sad satiety " amid the scent of roses and the songs of nightingales.

Doubt and despondency, increased by the vexa-tions and failures attending his philanthropic en-deavours, at length obsessed Tolstoy to the verge of suicide.

"The disputes over arbitration had become so painful to me, the schoolwork so vague, my doubts arising from the wish to teach others, while dis-sembling my own ignorance of what should be taught, were so heartrending that I fell ill. I might then have reached the despair to which I all but succumbed fifteen years later, if there had not been a side of life as yet unknown to me which promised me salvation: this was family life" ("My Confession").