The Forged Coupon and Other Stories Part 2

Shortly afterwards a young man came to see Tolstoy in private. He begged him to refrain from publis.h.i.+ng "The Man who was dead," as it was the history of his mother's life, and would distress her gravely, besides possibly occasioning further police intervention. Tolstoy promptly consented, and the play remained, as it now appears, in an unfinished condition. He had already felt doubtful whether "it was a thing G.o.d would approve," Art for Art's sake having in his eyes no right to existence. For this reason a didactic tendency is increasingly evident in these later stories. "After the Ball" gives a painful picture of Russian military cruelty; "The Forged Coupon" traces the cancerous growth of evil, and demonstrates with dramatic force the c.u.mulative misery resulting from one apparently trivial act of wrongdoing.

Of the three plays included in these volumes, "The Light that s.h.i.+nes in Darkness" has a special claim to our attention as an example of autobiography in the guise of drama. It is a specimen of Tolstoy's gift of seeing himself as others saw him, and viewing a question in all its bearings. It presents not actions but ideas, giving with entire impartiality the opinions of his home circle, of his friends, of the Church and of the State, in regard to his altruistic propaganda and to the anarchism of which he has been accused. The scene of the renunciation of the estates of the hero may be taken as a literal version of what actually took place in regard to Tolstoy himself, while the dialogues by which the piece is carried forward are more like verbatim records than imaginary conversations.

This play was, in addition, a medium by which Tolstoy emphasised his abhorrence of military service, and probably for this reason its production is absolutely forbidden in Russia. A word may be said here on Tolstoy's so-called Anarchy, a term admitting of grave misconstruction.

In that he denied the benefit of existing governments to the people over whom they ruled, and in that he stigmatised standing armies as "collections of disciplined murderers," Tolstoy was an Anarchist; but in that he reprobated the methods of violence, no matter how righteous the cause at stake, and upheld by word and deed the gospel of Love and submission, he cannot be judged guilty of Anarchism in its full significance. He could not, however, suppress the sympathy which he felt with those whose resistance to oppression brought them into deadly conflict with autocracy. He found in the Caucasian chieftain, Hadji Murat, a subject full of human interest and dramatic possibilities; and though some eight years pa.s.sed before he corrected the ma.n.u.script for the last time (in 1903), it is evident from the numbers of entries in his diary that it had greatly occupied his thoughts so far back even as the period which he spent in Tiflis prior to the Crimean war. It was then that the final subjugation of the Caucasus took place, and Shamil and his devoted band made their last struggle for freedom. After the lapse of half a century, Tolstoy gave vent in "Hadji Murat" to the resentment which the military despotism of Nicholas I. had roused in his sensitive and fearless spirit.

Courage was the dominant note in Tolstoy's character, and none have excelled him in portraying brave men. His own fearlessness was of the rarest, in that it was both physical and moral. The mettle tried and proved at Sebastopol sustained him when he had drawn on himself the bitter animosity of "Holy Synod" and the relentless anger of Czardom.

In spite of his nonresistance doctrine, Tolstoy's courage was not of the pa.s.sive order. It was his natural bent to rouse his foes to combat, rather than wait for their attack, to put on the defensive every falsehood and every wrong of which he was cognisant. Truth in himself and in others was what he most desired, and that to which he strove at all costs to attain. He was his own severest critic, weighing his own actions, a.n.a.lysing his own thoughts, and baring himself to the eyes of the world with unflinching candour. Greatest of autobiographers, he extenuates nothing: you see the whole man with his worst faults and best qualities; weaknesses accentuated by the energy with which they are charactered, apparent waste of mental forces bent on solving the insoluble, inherited tastes and prejudices, altruistic impulses and virile pa.s.sions, egoism and idealism, all strangely mingled and continually warring against each other, until from the death-throes of spiritual conflict issued a new birth and a new life. In the ancient Scripture "G.o.d is love" Tolstoy discerned fresh meaning, and strove with superhuman energy to bring home that meaning to the world at large. His doctrine in fact appears less as a new light in the darkness than as a revival of the pure flame of "the Mystic of the Galilean hills," whose teaching he accepted while denying His divinity.

Of Tolstoy's beliefs in regard to the Christian religion it may be said that with advancing years he became more and more disposed to regard religious truth as one continuous stream of spiritual thought flowing through the ages of man's history, emanating princ.i.p.ally from the inspired prophets and seers of Israel, India, and China. Finally, in 1909, in a letter to a friend he summed up his conviction in the following words:--"For me the doctrine of Jesus is simply one of those beautiful religious doctrines which we have received from Egyptian, Jewish, Hindoo, Chinese, and Greek antiquity. The two great principles of Jesus: love of G.o.d--in a word absolute perfection--and love of one's neighbour, that is to say, love of all men without distinction, have been preached by all the sages of the world--Krishna, Buddha, Lao-tse, Confucius, Socrates, Plato, Epictetus, Marcus Aurelius, and among the moderns, Rousseau, Pascal, Kant, Emerson, Channing, and many others.

Religious and moral truth is everywhere and always the same. I have no predilection whatever for Christianity. If I have been particularly interested in the doctrine of Jesus it is, firstly, because I was born in that religion and have lived among Christians; secondly, because I have found a great spiritual joy in freeing the doctrine in its purity from the astounding falsifications wrought by the Churches."

Tolstoy's life-work was indeed a splendid striving to free truth from falsehood, to simplify the complexities of civilisation and demonstrate their futility. Realists as gifted have come and gone and left but little trace. It is conceivable that the great trilogy of "Anna Karenina," "War and Peace," and "Resurrection" may one day be forgotten, but Tolstoy's teaching stands on firmer foundations, and has stirred the hearts of thousands who are indifferent to the finest display of psychic a.n.a.lysis. He has taught men to venture beyond the limits set by reason, to rise above the actual and to find the meaning of life in love. It was his mission to probe our moral ulcers to the roots and to raise moribund ideals from the dust, breathing his own vitality into them, till they rose before our eyes as living aspirations. The spiritual joy of which he wrote was no rhetorical hyperbole; it was manifest in the man himself, and was the fount of the lofty idealism which made him not only "the Conscience of Russia" but of the civilised world.

Idealism is one of those large abstractions which are invested by various minds with varying shades of meaning, and which find expression in an infinite number of forms. Ideals bred and fostered in the heart of man receive at birth an impress from the life that engenders them, and when that life is tempest-tossed the thought that springs from it must bear a birth-mark of the storm. That birth-mark is stamped on all Tolstoy's utterances, the simplest and the most metaphysical. But though he did not pa.s.s scathless through the purging fires, nor escape with eyes undimmed from the mystic light which flooded his soul, his ideal is not thereby invalidated. It was, he admitted, unattainable, but none the less a state of perfection to which we must continually aspire, undaunted by partial failure.

"There is nothing wrong in not living up to the ideal which you have made for yourself, but what is wrong is, if on looking back, you cannot see that you have made the least step nearer to your ideal."

How far Tolstoy's doctrines may influence succeeding generations it is impossible to foretell; but when time has extinguished what is merely personal or racial, the divine spark which he received from his great spiritual forerunners in other times and countries will undoubtedly be found alight. His universality enabled him to unite himself closely with them in mental sympathy; sometimes so closely, as in the case of J. J.

Rousseau, as to raise a.n.a.logies and comparisons designed to show that he merely followed in a well-worn pathway. Yet the similarity of Tolstoy's ideas to those of the author of the "Contrat Social" hardly goes beyond a mutual distrust of Art and Science as aids to human happiness and virtue, and a desire to establish among mankind a true sense of brotherhood. For the rest, the appeals which they individually made to Humanity were as dissimilar as the currents of their lives, and equally dissimilar in effect.

The magic flute of Rousseau's eloquence breathed fanaticism into his disciples, and a desire to ma.s.s themselves against the foes of liberty.

Tolstoy's trumpet-call sounds a deeper note. It pierces the heart, summoning each man to the inquisition of his own conscience, and to justify his existence by labour, that he may thereafter sleep the sleep of peace.

The exaltation which he awakens owes nothing to rhythmical language nor to subtle interpretations of sensuous emotion; it proceeds from a perception of eternal truth, the truth that has love, faith, courage, and self-sacrifice for the cornerstones of its enduring edifice.

NOTE--Owing to circ.u.mstances entirely outside the control of the editor some of these translations have been done in haste and there has not been sufficient time for revision.

The translators were chosen by an agent of the executor and not by the editor.

LIST OF POSTHUMOUS WORKS, GIVING DATE WHEN EACH WAS FINISHED OR LENGTH OF TIME OCCUPIED IN WRITING.

Father Serge. 1890-98.

Introduction to the History of a Mother. 1894.

Memoirs of a Mother. 1894.

The Young Czar. 1894.

Diary of a Lunatic. 1896.

Hadji Murat. 1896-1904.

The Light that s.h.i.+nes in Darkness. 1898-1901.

The Man who was dead. 1900.

After the Ball. 1903.

The Forged Coupon. 1904.

Alexis. 1905.

Diary of Alexander I. 1905.

The Dream. 1906.

Father Va.s.sily. 1906.

There are no Guilty People. 1909.

The Wisdom of Children. 1909.

The Cause of it All. 1910.

Chodynko. 1910.

Two Travellers. Date uncertain.

THE FORGED COUPON

PART FIRST

I

FEDOR MIHAILOVICH SMOKOVNIKOV, the president of the local Income Tax Department, a man of unswerving honesty--and proud of it, too--a gloomy Liberal, a free-thinker, and an enemy to every manifestation of religious feeling, which he thought a relic of superst.i.tion, came home from his office feeling very much annoyed. The Governor of the province had sent him an extraordinarily stupid minute, almost a.s.suming that his dealings had been dishonest.

Fedor Mihailovich felt embittered, and wrote at once a sharp answer. On his return home everything seemed to go contrary to his wishes.

It was five minutes to five, and he expected the dinner to be served at once, but he was told it was not ready. He banged the door and went to his study. Somebody knocked at the door. "Who the devil is that?" he thought; and shouted,--"Who is there?"

The door opened and a boy of fifteen came in, the son of Fedor Mihailovich, a pupil of the fifth cla.s.s of the local school.

"What do you want?"

"It is the first of the month to-day, father."

"Well! You want your money?"

It had been arranged that the father should pay his son a monthly allowance of three roubles as pocket money. Fedor Mihailovich frowned, took out of his pocket-book a coupon of two roubles fifty kopeks which he found among the bank-notes, and added to it fifty kopeks in silver out of the loose change in his purse. The boy kept silent, and did not take the money his father proffered him.

"Father, please give me some more in advance."

"What?"

"I would not ask for it, but I have borrowed a small sum from a friend, and promised upon my word of honour to pay it off. My honour is dear to me, and that is why I want another three roubles. I don't like asking you; but, please, father, give me another three roubles."

"I have told you--"

"I know, father, but just for once."

"You have an allowance of three roubles and you ought to be content. I had not fifty kopeks when I was your age."

"Now, all my comrades have much more. Petrov and Ivanitsky have fifty roubles a month."

"And I tell you that if you behave like them you will be a scoundrel.

Mind that."