by Leo Tolstoy
But the book of all others which might have suggested to Shakespeare that there was more in the claims of the lower classes than was dreamt of in his philosophy was More's "Utopia," which in its English form was already a classic. More, the richest and most powerful man in England after the king, not only believed in the workingman, but knew that he suffered from unjust social conditions. He could never have represented the down-trodden followers of Cade-Tyler nor the hungry mob in "Coriolanus" with the utter lack of sympathy which Shakespeare manifests. "What justice is there in this," asks the great Lord Chancellor, whose character stood the test of death--"what justice is there in this, that a nobleman, a goldsmith, a banker, or any other man, that either does nothing at all or at best is employed in things that are of no use to the public, should live in great luxury and splendor upon what is so ill acquired; and a mean man, a carter, a smith, a plowman, that works harder even than the beasts themselves, and is employed on labors so necessary that no commonwealth could hold out a year without them, can only earn so poor a livelihood, and must lead so miserable a life, that the condition of the beasts is much better than theirs?"
How different from this is Shakespeare's conception of the place of the workingman in society! After a full and candid survey of his plays, Bottom, the weaver with the ass's head, remains his type of the artizan and the "mutable, rank-scented many," his type of the masses. Is it unfair to take the misshapen "servant-monster" Caliban as his last word on the subject?
"Prospero. We'll visit Caliban my slave who never Yields us kind answer.
Miranda. 'Tis a villain, sir, I do not love to look on.
Prospero. But as 'tis, We can not miss him! he does make our fire, Fetch in our wood, and serve in offices That profit us." (Tempest, Act 1, Sc. 2.)
To which I would fain reply in the words of Edward Carpenter:
"Who art thou ... With thy faint sneer for him who wins thee bread And him who clothes thee, and for him who toils Day-long and night-long dark in the earth for thee?"
LETTER FROM MR. G. BERNARD SHAW
(Extracts)
As you know, I have striven hard to open English eyes to the emptiness of Shakespeare's philosophy, to the superficiality and second-handedness of his morality, to his weakness and incoherence as a thinker, to his snobbery, his vulgar prejudices, his ignorance, his disqualifications of all sorts for the philosophic eminence claimed for him.... The preface to my "Three Plays for Puritans" contains a section headed "Better than Shakespeare?" which is, I think, the only utterance of mine on the subject to be found in a book.... There is at present in the press a new preface to an old novel of mine called "The Irrational Knot." In that preface I define the first order in Literature as consisting of those works in which the author, instead of accepting the current morality and religion ready-made without any question as to their validity, writes from an original moral standpoint of his own, thereby making his book an original contribution to morals, religion, and sociology, as well as to belles letters. I place Shakespeare with Dickens, Scott, Dumas père, etc., in the second order, because, tho they are enormously entertaining, their morality is ready-made; and I point out that the one play, "Hamlet," in which Shakespeare made an attempt to give as a hero one who was dissatisfied with the ready-made morality, is the one which has given the highest impression of his genius, altho Hamlet's revolt is unskillfully and inconclusively suggested and not worked out with any philosophic competence.[4]
May I suggest that you should be careful not to imply that Tolstoy's great Shakespearian heresy has no other support than mine. The preface of Nicholas Rowe to his edition of Shakespeare, and the various prefaces of Dr. Johnson contain, on Rowe's part, an apology for him as a writer with obvious and admitted shortcomings (very ridiculously ascribed by Rowe to his working by "a mere light of nature"), and, on Johnson's, a good deal of downright hard-hitting criticism. You should also look up the history of the Ireland forgeries, unless, as is very probable, Tolstoy has anticipated you in this. Among nineteenth-century poets Byron and William Morris saw clearly that Shakespeare was enormously overrated intellectually. A French book, which has been translated into English, has appeared within the last ten years, giving Napoleon's opinions of the drama. His insistence on the superiority of Corneille to Shakespeare on the ground of Corneille's power of grasping a political situation, and of seeing men in their relation to the state, is interesting.
Of course you know about Voltaire's criticisms, which are the more noteworthy because Voltaire began with an extravagant admiration for Shakespeare, and got more and more bitter against him as he grew older and less disposed to accept artistic merit as a cover for philosophic deficiencies.
Finally, I, for one, shall value Tolstoy's criticism all the more because it is criticism of a foreigner who can not possibly be enchanted by the mere word-music which makes Shakespeare so irresistible in England.[5] In Tolstoy's estimation, Shakespeare must fall or stand as a thinker, in which capacity I do not think he will stand a moment's examination from so tremendously keen a critic and religious realist. Unfortunately, the English worship their great artists quite indiscriminately and abjectly; so that is quite impossible to make them understand that Shakespeare's extraordinary literary power, his fun, his mimicry, and the endearing qualities that earned him the title of "the gentle Shakespeare"--all of which, whatever Tolstoy may say, are quite unquestionable facts--do not stand or fall with his absurd reputation as a thinker. Tolstoy will certainly treat that side of his reputation with the severity it deserves; and you will find that the English press will instantly announce that Tolstoy considers his own works greater than Shakespeare's (which in some respects they most certainly are, by the way), and that he has attempted to stigmatize our greatest poet as a liar, a thief, a forger, a murderer, an incendiary, a drunkard, a libertine, a fool, a madman, a coward, a vagabond, and even a man of questionable gentility. You must not be surprised or indignant at this: it is what is called "dramatic criticism" in England and America. Only a few of the best of our journalist-critics will say anything worth reading on the subject.
Yours faithfully, G. BERNARD SHAW.
FOOTNOTES:
[4] Besides the prefaces here referred to, Mr. G. Bernard Shaw has at various times written other articles on the subject.--(V. T.)
[5] It should be borne in mind that this letter was written before Mr. G. B. Shaw had seen the essay in question, by Tolstoy, now published in this volume.--(V. T.)
War and Peace
Table of Contents:
Book 1
Book 2
Book 3
Book 4
Epilogue 1
Epilogue 2
BOOK ONE:
1805
CHAPTER I
"Well, Prince, so Genoa and Lucca are now just family estates of the Buonapartes. But I warn you, if you don't tell me that this means war, if you still try to defend the infamies and horrors perpetrated by that Antichrist--I really believe he is Antichrist--I will have nothing more to do with you and you are no longer my friend, no longer my 'faithful slave,' as you call yourself! But how do you do? I see I have frightened you--sit down and tell me all the news."
It was in July, 1805, and the speaker was the well-known Anna Pavlovna Scherer, maid of honor and favorite of the Empress Marya Fedorovna. With these words she greeted Prince Vasili Kuragin, a man of high rank and importance, who was the first to arrive at her reception. Anna Pavlovna had had a cough for some days. She was, as she said, suffering from la grippe; grippe being then a new word in St. Petersburg, used only by the elite.
All her invitations without exception, written in French, and delivered by a scarlet-liveried footman that morning, ran as follows:
"If you have nothing better to do, Count [or Prince], and if the prospect of spending an evening with a poor invalid is not too terrible, I shall be very charmed to see you tonight between 7 and 10- Annette Scherer."
"Heavens! what a virulent attack!" replied the prince, not in the leas
t disconcerted by this reception. He had just entered, wearing an embroidered court uniform, knee breeches, and shoes, and had stars on his breast and a serene expression on his flat face. He spoke in that refined French in which our grandfathers not only spoke but thought, and with the gentle, patronizing intonation natural to a man of importance who had grown old in society and at court. He went up to Anna Pavlovna, kissed her hand, presenting to her his bald, scented, and shining head, and complacently seated himself on the sofa.
"First of all, dear friend, tell me how you are. Set your friend's mind at rest," said he without altering his tone, beneath the politeness and affected sympathy of which indifference and even irony could be discerned.
"Can one be well while suffering morally? Can one be calm in times like these if one has any feeling?" said Anna Pavlovna. "You are staying the whole evening, I hope?"
"And the fete at the English ambassador's? Today is Wednesday. I must put in an appearance there," said the prince. "My daughter is coming for me to take me there."
"I thought today's fete had been canceled. I confess all these festivities and fireworks are becoming wearisome."
"If they had known that you wished it, the entertainment would have been put off," said the prince, who, like a wound-up clock, by force of habit said things he did not even wish to be believed.
"Don't tease! Well, and what has been decided about Novosiltsev's dispatch? You know everything."
"What can one say about it?" replied the prince in a cold, listless tone. "What has been decided? They have decided that Buonaparte has burnt his boats, and I believe that we are ready to burn ours."
Prince Vasili always spoke languidly, like an actor repeating a stale part. Anna Pavlovna Scherer on the contrary, despite her forty years, overflowed with animation and impulsiveness. To be an enthusiast had become her social vocation and, sometimes even when she did not feel like it, she became enthusiastic in order not to disappoint the expectations of those who knew her. The subdued smile which, though it did not suit her faded features, always played round her lips expressed, as in a spoiled child, a continual consciousness of her charming defect, which she neither wished, nor could, nor considered it necessary, to correct.
In the midst of a conversation on political matters Anna Pavlovna burst out:
"Oh, don't speak to me of Austria. Perhaps I don't understand things, but Austria never has wished, and does not wish, for war. She is betraying us! Russia alone must save Europe. Our gracious sovereign recognizes his high vocation and will be true to it. That is the one thing I have faith in! Our good and wonderful sovereign has to perform the noblest role on earth, and he is so virtuous and noble that God will not forsake him. He will fulfill his vocation and crush the hydra of revolution, which has become more terrible than ever in the person of this murderer and villain! We alone must avenge the blood of the just one.... Whom, I ask you, can we rely on?... England with her commercial spirit will not and cannot understand the Emperor Alexander's loftiness of soul. She has refused to evacuate Malta. She wanted to find, and still seeks, some secret motive in our actions. What answer did Novosiltsev get? None. The English have not understood and cannot understand the self-abnegation of our Emperor who wants nothing for himself, but only desires the good of mankind. And what have they promised? Nothing! And what little they have promised they will not perform! Prussia has always declared that Buonaparte is invincible, and that all Europe is powerless before him.... And I don't believe a word that Hardenburg says, or Haugwitz either. This famous Prussian neutrality is just a trap. I have faith only in God and the lofty destiny of our adored monarch. He will save Europe!"
She suddenly paused, smiling at her own impetuosity.
"I think," said the prince with a smile, "that if you had been sent instead of our dear Wintzingerode you would have captured the King of Prussia's consent by assault. You are so eloquent. Will you give me a cup of tea?"
"In a moment. A propos," she added, becoming calm again, "I am expecting two very interesting men tonight, le Vicomte de Mortemart, who is connected with the Montmorencys through the Rohans, one of the best French families. He is one of the genuine emigres, the good ones. And also the Abbe Morio. Do you know that profound thinker? He has been received by the Emperor. Had you heard?"
"I shall be delighted to meet them," said the prince. "But tell me," he added with studied carelessness as if it had only just occurred to him, though the question he was about to ask was the chief motive of his visit, "is it true that the Dowager Empress wants Baron Funke to be appointed first secretary at Vienna? The baron by all accounts is a poor creature."
Prince Vasili wished to obtain this post for his son, but others were trying through the Dowager Empress Marya Fedorovna to secure it for the baron.
Anna Pavlovna almost closed her eyes to indicate that neither she nor anyone else had a right to criticize what the Empress desired or was pleased with.
"Baron Funke has been recommended to the Dowager Empress by her sister," was all she said, in a dry and mournful tone.
As she named the Empress, Anna Pavlovna's face suddenly assumed an expression of profound and sincere devotion and respect mingled with sadness, and this occurred every time she mentioned her illustrious patroness. She added that Her Majesty had deigned to show Baron Funke beaucoup d'estime, and again her face clouded over with sadness.
The prince was silent and looked indifferent. But, with the womanly and courtierlike quickness and tact habitual to her, Anna Pavlovna wished both to rebuke him (for daring to speak he had done of a man recommended to the Empress) and at the same time to console him, so she said:
"Now about your family. Do you know that since your daughter came out everyone has been enraptured by her? They say she is amazingly beautiful."
The prince bowed to signify his respect and gratitude.
"I often think," she continued after a short pause, drawing nearer to the prince and smiling amiably at him as if to show that political and social topics were ended and the time had come for intimate conversation--"I often think how unfairly sometimes the joys of life are distributed. Why has fate given you two such splendid children? I don't speak of Anatole, your youngest. I don't like him," she added in a tone admitting of no rejoinder and raising her eyebrows. "Two such charming children. And really you appreciate them less than anyone, and so you don't deserve to have them."
And she smiled her ecstatic smile.
"I can't help it," said the prince. "Lavater would have said I lack the bump of paternity."
"Don't joke; I mean to have a serious talk with you. Do you know I am dissatisfied with your younger son? Between ourselves" (and her face assumed its melancholy expression), "he was mentioned at Her Majesty's and you were pitied...."
The prince answered nothing, but she looked at him significantly, awaiting a reply. He frowned.
"What would you have me do?" he said at last. "You know I did all a father could for their education, and they have both turned out fools. Hippolyte is at least a quiet fool, but Anatole is an active one. That is the only difference between them." He said this smiling in a way more natural and animated than usual, so that the wrinkles round his mouth very clearly revealed something unexpectedly coarse and unpleasant.
"And why are children born to such men as you? If you were not a father there would be nothing I could reproach you with," said Anna Pavlovna, looking up pensively.
"I am your faithful slave and to you alone I can confess that my children are the bane of my life. It is the cross I have to bear. That is how I explain it to myself. It can't be helped!"
He said no more, but expressed his resignation to cruel fate by a gesture. Anna Pavlovna meditated.
"Have you never thought of marrying your prodigal son Anatole?" she asked. "They say old maids have a mania for matchmaking, and though I don't feel that weakness in myself as yet, I know a little person who is very unhappy with her father. She is a relation of yours, Princess Mary Bolkonskaya."
Prin
ce Vasili did not reply, though, with the quickness of memory and perception befitting a man of the world, he indicated by a movement of the head that he was considering this information.
