Page:The Complete Works of Lyof N. Tolstoi - 11 (Crowell, 1899).djvu/512

488 discovered, understood, and revealed to men this suffering. And the suffering is redeemed, for, once understood by men, it will sooner or later be put an end to.

In the next novel, "Bel Ami," the question stands, not, "Why do the righteous suffer?" but, "Why do the unrighteous get wealth and fame?" and, "What are wealth and fame, and how are they obtained?" As before, the problem carries with it its own answer; that answer being the denunciation of all that is so highly prized by the crowd of men. The subject of the second novel is still serious, but the moral relation of the author to the subject he describes already weakens considerably, and whereas in the first novel, spots of sensuality which spoil it appear only here and there, in "Bel Ami" these spots multiply, and many chapters are filled with dirt alone, which seems to please the author.

In the next, "Mont-Oriol," the question: "Why, wherefore, the suffering of a worthy woman, and the success and happiness of a wild debauchee?" is no longer put; and it seems tacitly assumed that so it should be. And no longer are any moral demands perceptible; but, without the least necessity, and uncalled for by any artistic consideration, there appear dirty, sensual descriptions. As an example of this violation of artistic taste springing from the incorrect relation of the author to his subject, the minute description in this novel of the heroine in her bath is specially striking. This description has no object whatever, it is connected with neither the external nor inner purpose of the novel.

"Bubbles appear on the pink flesh."

"Well, what of that?" asks the reader.

"Nothing," answers the author. "I describe it because I like such descriptions."

In the next two novels, "Pierre et Jean" and "Fort comme la Mort," no moral attitude at all is perceptible. Both novels are constructed upon vice, deceit, and falsehood, which bring the actors into tragical situations.

In the last novel, "Notre Cœur," the position of the actors is most monstrous, wild, and immoral; and they no longer struggle with anything, but only seek