I had intimate interactions with Tolstoy by reading his biography and scrapes of non-fiction. There used to be saying that in his time, there were two tsars in Russia, one was him and the other, the real tsar, such was his fame from literary works. His early works figured human experiences like love, hope, marriage, death, etc. with fiction and in his late forties as he was grapping with human frailties, idiosyncrasies and ironies and addressing them was his pre-occupation which led to essays and works that attempted to answer them in his style and substance. Countless people have been inspired by his non-fiction writing including Gandhi, whose understanding and practice of non-violence, civil dis-obedience, self-industriousness, simplicity stems from Leo and they had had an active letter communication. Tolstoy’s reading, I suppose should have been varied and perhaps might have had a penchant for eastern thoughts as his later year’s non-fiction emphasized brotherhood, humanism and love. Recently had a chance to read ‘Leo Tolstoy – A Very Short Introduction’ by Liza Knapp, a perfect companion for those who want to delve deeper into Tolstoy’s works and to understand him more. Some short excerpts that I want to capture to highlight his thoughts on Love and his literary devices from this very short introduction.
Love – through his experiences and writings:
Tolstoy’s brothers took him to a brothel soon after his fourteenth birthday. After he ‘committed the act’, he ‘stood by the woman’s bedside and wept’. From this loss of virginity, through love affairs and marriage, through the birth of over a dozen children, through advocacy of chastity later in life (before the birth of his youngest children), to acrimony between him and his wife that ended in him leaving home right before his death, Tolstoy’s love life has been extensively documented and debated. Tolstoy himself addressed all this directly in letters, in diaries, and in frank conversation with memoirists; others involved, including his wife, also left their own accounts.
Tolstoy’s major fiction, known for its autobiographical and ‘autopsychological’ elements, roughly follows the trajectory of Tolstoy’s life and loves. Tolstoy begins with the yearnings of the motherless child for love and the myths of happy Russian gentry childhood in Childhood, Boyhood, Youth. He celebrates Russian marriage and family life (and tames sexual desire) in War and Peace. He then explores adulterous passion, the tender joys of conjugal love, and family unhappiness in Anna Karenina. Ile excoriates sex, marriage, and family life in ‘The Kreutzer Sonata’. In his late love fiction, Tolstoy favors quests to expiate sexual guilt or else parables of love and death among simple folk.
In his depictions of loving families and of romantic passion, conjugal or adulterous, Tolstoy includes reminders of the call to love God and neighbor, as he, along his characters, asks whether it’s possible somehow to combine, balance, or reconcile these loves. Or do certain forms of love, by their very nature, exclude others? Tolstoy’s heroes often have insights that look ahead to Sigmund Freud’s questions about loving your neighbor: doesn’t it conflict with one’s duty to ‘one’s own people’? Tolstoy himself came to see both sex and family life as service of the self rather than of God. Tolstoyan heroes are often haunted by the Ant Brothers’ dream of love and happiness for all. It may be an insurmountable obstacle on their course toward family happiness or sexual bliss.
As Tolstoy put it in his Confession, marriage and family life seemed to bring him happiness and give meaning to his life, until he began to regard them, like all worldly activities, as a diversion from what really mattered, which was faith. He needed to find ‘meaning in life that inevitable death awaiting [him] would not destroy’ (5, 24). Leaving children or Anna Karenina behind after death was not a consolation to him. Nor were they enough to divert him any longer. But even fiction written before this realization reveals Tolstoy’s anxieties about loving and being loved in the face of death.
Literature – devices employed
Realism
As Dmitry Merezhkovsky saw it, ‘there is simply no writer equal to Tolstoy in depicting the human body’. Tolstoy is a ‘seer of the flesh’ while Dostoevsky is a ‘seer of the spirit’. When compared to Victorian novelists writing at the same time, Tolstoy does much more with the flesh. Tolstoy is often praised for his childbirth scenes, notably the one that tracks Levin as Kitty gives birth in Anna Karenina.
Tolstoy has also been accused of excessive ‘naturalism’, that is, for his excessive interest in human bodies. For example, the epilogue of War and Peace dwells on the transformation of Natasha, now married and the mother of four, into nothing but a maternal body, whose face is bereft of its former animation and whose soul is said to be not even ‘visible’ (Epilogue 1:10, 1242). Tolstoy’s view of motherhood as the end-all and be-all of women’s existence has disappointed and infuriated many readers. Still, his respect for motherhood was genuine. In War and Peace, he presents it as much more meaningful than the struggle for glory on the battlefield or for power in the empire.
Defamiliarization, or ‘looking at things afresh’
In his 1917 essay ‘Art as Technique’ (sometimes translated ‘Art as Device’), the Russian critic Viktor Shklovsky heralded Tolstoy a.s a master, although not the sole practitioner, of an artistic technique that he called defamiliarization. The technique consists of de-automatizing perception by presenting what is already familiar to the reader in a new way that makes it seem unfamiliar and strange. Rather than naming something, the artist will describe it.
Before it was christened ‘defamiliarization’, Tolstoy’s technique had already attention. In Tolstoy and his Message (1904), Ernest Crosby, an American follower of Tolstoy, took special note of Tolstoy’s ‘habit of looking at things afresh as if no one had ever considered them before’. The Russian literary critic Vinokenty Veresaev, writing in 1911, described what he saw as ‘an extremely unique at work in Tolstoy’s writings: ‘it is as if an attentive, all-noticing child looked at a phenomenon and described it, not to convention, but simply the way it is, such that all the habitual, hypnotizing conventions fall away from the phenomenon so that it appears in all its bare absurdity.’
Another example: : ‘And then, one after another, living men are pushed off the benches which are from under their feet, and by their own weight suddenly tighten the nooses round their necks and are painfully strangled. Men, alive a minute before, become corpses dangling from a rope, at first swinging slowly and then resting motionless’ (395-6). This is a classic example of Tolstoy’s technique of defamiliarization. here, Tolstoy uses it to denounce and to expose, as as to ‘prick at our conscience.’
This technique of defamiliarizing lends itself quite naturally to the critique of culture and convention that is embedded in Tolstoy’s fiction and made overt in his non-fiction. Through defamiliarization, Tolstoy attacks assumptions taken as axiomatic. He subjects all to analysis and takes nothing on faith.
Depicting inner life
When Tolstoy first broke into print with Childhood and the Sevastopol tales, Russian reviewers noticed something special in the way Tolstoy depicted the inner life of his characters. He even caught, in the words of Dmitry Pisarev, ‘the mysterious, unclear movements of the soul that have not reached consciousness and are not completely understood even by the person who experiences them’. As his fiction became more widely known outside of Russia in the early 20th century, Tolstoy’s powers for rendering consciousness continued to astound. Virginia Woolf wrote, ‘Tolstoy seems able to read the minds of different people as certainly as we count the buttons on their coats.’ Although Tolstoy gravitates to the interiority of some characters more than others, he gives us at least fleeting access to a large number of different form of consciousnesses. For Tolstoy, a glimpse is often enough to reveal a whole soul.
Throughout his career, Tolstoy developed his techniques for presenting consciousness, moving from rendering what goes on in the mind of a young officer facing his first bombardment at Sevastopol, to what is often hailed as the prototype of ‘stream of consciousness’ (a technique dear to Woolf and fellow Modernists) in Anna Karenina’s final moments. Tolstoy moves in and out of Anna’s consciousness in the last four chapters of Part 7, capturing those mysterious movements of her soul as she becomes more and more unstrung. In this respect, they recall her disjointed ramblings out loud as she lay dying after giving birth in Part 4. Those ravings, which contained more meaning and more truth than her normal speech, brought Vronsky, Karenin, and herself together in love and forgiveness in the face of death.
Time & Plot
Tolstoy consciously and willfully deviated from conventions of genre and expectations about unity, form, and plot. In a draft of a foreword to the first part of 11tzr and Peace, Tolstoy declared that he was not writing the kind of conventional novel culminating in ‘a happy or unhappy denouement’—like marriage or death—that would ‘destroy the interest of the narrative’. The interest of his narratives transcends these conventional endings. Tolstoy seemed to foresee the accusations of artlessness that would later be made against him. But Tolstoy was determined to ‘be true to [his] own practices and [his] own powers’ instead of following the norms of the novel. Tolstoy’s desire to capture human experience in its natural rhythms is reflected in his early habit of naming his works after units of time, such as mornings and years. Thus, when the first part of War and Peace was conceived and published, it wms called simply The Year 1805′. Tolstoy was following what was already a pattern for him. For example, his first attempt at fiction was called ‘A History of Yesterday’ and his first attempt at a novel was the trilogy Childhood, Boyhood, Youth. What was to be the final part published in aborted form as ‘Landowner’s Morning’. And the titles of his early war stories, ‘Sevastopol in December’, ‘Sevastopol in May, and ‘Sevastopol in August, 1855’, all favor time over plot. Instead a chronicle of a given time period, Tolstoy describes selected moments that capture its essence. Thus, in Childhood, Boyhood, Youth, Tolstoy avoids the more continuous Sequential plot of Dickens’s David Copperfield (1850), a novel that in so many respects was one of his key inspirations. Dickens begins with a chapter called ‘I Was Born’ and carries on to the novel’s denouement in (re)marriage.
Simile and the power of comparison
George Steiner has suggested that whereas novels recall tragedies, Tolstoy’s recall epics. One device Tolstoy borrows from the epic is the simile, a comparison, often long, that (in English) usually begins with ‘like’ or ‘as’ This device marks a given point in the action, then carries the focus elsewhere to the realm of the comparison, and brings that elsewhere to bear on the point in the action that prompted the simile. A simile involves an associative or intuitive leap. Homer used similes to draw the different realms of his epic universe together and to include all aspects of life in it. Tolstoy would do the same.
Tolstoy also often compared humans to animals or to other aspects of the natural world. A simile that recalls one that Virgil used for Carthage in the Aeneid likens Moscow, emptied out as Napoleon arrives, to a queenless beehive—and develops the analogy for a whole chapter (3.3:20, 938—40). At other points, the novel compares the troops marching to the forces at play in the natural world, in order to prepare the reader for Tolstoy’s theorizing about human agency and God’s role in the universe. The simile invites us to wonder: do the same forces govern both the natural and the human realms?
In his Lectures on Russian Literature, Vladimir Nabokov remarked on a whole class of Tolstoyan similes that follows the formula: someone felt ‘like a person who.. .’. Thus, in Anna Karenina, Karenin, on discovering the emotional distance that o has arisen between him and Anna as a result of her passion for Vronsky, experiences ‘a sensation’ ‘like that which might be experienced by someone who has returned home and found his house locked’ (2:9, 148). These similes make the particular experience of a character accessible and suggest that this experience reveals something about human experience.
Similes are a special case of Tolstoy’s general fascination with comparisons. Within the action of his works, Tolstoy shows his characters engaging in the mental act of making comparisons. For example, Anna Karenina depicts Kitty comparing Levin and Vronsky, her two suitors, imagining each on his own and then ‘both together’ (1:13; 49). Hadji Murat describes Tsar Nicholas thinking about the frightened look of the young woman he has just seduced, and ‘now of the full, powerful shoulders of his established mistress, Nelidova’, and then ‘comparing the two’ (15, 421).
As a young man, Tolstoy had already recognized the making comparisons as to the of the In a notebook he kept during the spring of 1847 (as he was dropping out of Kazan University), as Tolstoy set forth a program for self-improvement on various fronts, he identified ‘five main mental faculties.’ They are: ‘the faculty of conceptualization, the faculty of memory, the faculty of comparison, the faculty of drawing conclusions from these comparisons. and finally the faculty of putting these conclusions in order (46:271). From the rest of the diary entry, it’s clear that Tolstoy was especially interested in comparisons. Mental operations for him were not just on a linear axis, with one thing connecting directly to another. He was aware that the human mind works by leaps and bounds and he muted to harness these his art.
Hidden symmetries
The young Tolstoy also composed a ‘philosophical treatise’ on Symmetry, a foundational concept in aesthetics that hinges On similarity and opposition. The manuscript didn’t survive.However, in Boyhood. the hero Nikolai is seen musing, with chalk in hand, about symmetry, wondering whether it is an inborn feeling, and wanting to know if human life is governed by it. When Tolstoy turned to writing. he made use of mental operations, aesthetic principles, and artistic based in comparisons, opposition, and symmetry —the concepts that he identified and described in his philosophical and aesthetic enquiries of younger years.