The Complete Works of Leo Tolstoy (25+ Works with active table of contents) (841 page)

My range of pieces was the usual one--waltzes, galops, "romances," "arrangements," etcetera; all of them of the class of delightful compositions of which any one with a little healthy taste could point out a selection among the better class works contained in any volume of music and say, "These are what you ought NOT to play, seeing that anything worse, less tasteful, and more silly has never yet been included in any collection of music,"--but which (probably for that very reason) are to be found on the piano of every Russian lady. True, we also possessed an unfortunate volume which contained Beethoven's "Sonate Pathetique" and the C minor Sonata (a volume lamed for life by the ladies--more especially by Lubotshka, who used to discourse music from it in memory of Mamma), as well as certain other good pieces which her teacher in Moscow had given her; but among that collection there were likewise compositions of the teacher's own, in the shape of clumsy marches and galops--and these too Lubotshka used to play! Katenka and I cared nothing for serious works, but preferred, above all things, "Le Fou" and "The Nightingale"--the latter of which Katenka would play until her fingers almost became invisible, and which I too was beginning to execute with much vigour and some continuity. I had adopted the gestures of the young man of whom I have spoken, and frequently regretted that there were no strangers present to see me play. Soon, however, I began to realise that Liszt and Kalkbrenner were beyond me, and that I should never overtake Katenka. Accordingly, imagining that classical music was easier (as well as, partly, for the sake of originality), I suddenly came to the conclusion that I loved abstruse German music. I began to go into raptures whenever Lubotshka played the "Sonate Pathetique," and although (if the truth be told) that work had for years driven me to the verge of distraction, I set myself to play Beethoven, and to talk of him as "Beethoven." Yet through all this chopping and changing and pretence (as I now conceive) there may have run in me a certain vein of talent, since music sometimes affected me even to tears, and things which particularly pleased me I could strum on the piano afterwards (in a certain fashion) without the score; so that, had any one taught me at that period to look upon music as an end, a grace, in itself, and not merely as a means for pleasing womenfolk with the velocity and pseudo-sentiment of one's playing, I might possibly have become a passable musician.

The reading of French novels (of which Woloda had brought a large store with him from Moscow) was another of my amusements that summer. At that period Monte Cristo and Taine's works had just appeared, while I also revelled in stories by Sue, Dumas, and Paul de Kock. Even their most unnatural personages and events were for me as real as actuality, and not only was I incapable of suspecting an author of lying, but, in my eyes, there existed no author at all. That is to say, the various personages and events of a book paraded themselves before me on the printed page as personages and events that were alive and real; and although I had never in my life met such characters as I there read about, I never for a second doubted that I should one day do so. I discovered in myself all the passions described in every novel, as well as a likeness to all the characters--heroes and villains impartially--who figured therein, just as a suspicious man finds in himself the signs of every possible disease when reading a book on medicine. I took pleasure both in the cunning designs, the glowing sentiments, the tumultuous events, and the character- drawing of these works. A good man was of the goodness, a bad man of the badness, possible only to the imagination of early youth. Likewise I found great pleasure in the fact that it was all written in French, and that I could lay to heart the fine words which the fine heroes spoke, and recall them for use some day when engaged in some noble deed. What quantities of French phrases I culled from those books for Kolpikoff's benefit if I should ever meet him again, as well as for HERS, when at length I should find her and reveal to her my love! For them both I prepared speeches which should overcome them as soon as spoken! Upon novels, too, I founded new ideals of the moral qualities which I wished to attain. First of all, I wished to be NOBLE in all my deeds and conduct (I use the French word noble instead of the Russian word blagorodni for the reason that the former has a different meaning to the latter--as the Germans well understood when they adopted noble as nobel and differentiated it from ehrlich); next, to be strenuous; and lastly, to be what I was already inclined to be, namely, comme il faut. I even tried to approximate my appearance and bearing to that of the heroes who possessed these qualities. In particular I remember how in one of the hundred or so novels which I read that summer there was a very strenuous hero with heavy eyebrows, and that I so greatly wished to resemble him (I felt that I did so already from a moral point of view) that one day, when looking at my eyebrows in the glass, I conceived the idea of clipping them, in order to make them grow bushier. Unfortunately, after I had started to do so, I happened to clip one spot rather shorter than the rest, and so had to level down the rest to it-with the result that, to my horror, I beheld myself eyebrow-less, and anything but presentable. However, I comforted myself with the reflection that my eyebrows would soon sprout again as bushy as my hero's, and was only perplexed to think how I could explain the circumstance to the household when they next perceived my eyebrow-less condition. Accordingly I borrowed some gunpowder from Woloda, rubbed it on my temples, and set it alight. The powder did not fire properly, but I succeeded in singeing myself sufficiently to avert all suspicion of my pranks. And, indeed, afterwards, when I had forgotten all about my hero, my eyebrows grew again, and much thicker than they had been before.

XXXI

"COMME IL FAUT"

SEVERAL times in the course of this narrative I have hinted at an idea corresponding to the above French heading, and now feel it incumbent upon me to devote a whole chapter to that idea, which was one of the most ruinous, lying notions which ever became engrafted upon my life by my upbringing and social milieu.

The human race may be divided into several categories--rich and poor, good and bad, military and civilian, clever and stupid, and so forth, and so forth. Yet each man has his own favourite, fundamental system of division which he unconsciously uses to class each new person with whom he meets. At the time of which I am speaking, my own favourite, fundamental system of division in this respect was into people "comme il faut" and people "comme il ne faut pas"--the latter subdivided, again, into people merely not "comme il faut" and the lower orders. People "comme il faut" I respected, and looked upon as worthy to consort with me as my equals; the second of the above categories I pretended merely to despise, but in reality hated, and nourished towards them a kind of feeling of offended personality; while the third category had no existence at all, so far as I was concerned, since my contempt for them was too complete. This "comme il faut"-ness of mine lay, first and foremost, in proficiency in French, especially conversational French. A person who spoke that language badly at once aroused in me a feeling of dislike. "Why do you try to talk as we do when you haven't a notion how to do it?" I would seem to ask him with my most venomous and quizzing smile. The second condition of "comme il faut"-ness was long nails that were well kept and clean; the third, ability to bow, dance, and converse; the fourth--and a very important one--indifference to everything, and a constant air of refined, supercilious ennui. Moreover, there were certain general signs which, I considered, enabled me to tell, without actually speaking to a man, the class to which he belonged. Chief among these signs (the others being the fittings of his rooms, his gloves, his handwriting, his turn-out, and so forth) were his feet. The relation of boots to trousers was sufficient to determine, in my eyes, the social status of a man. Heelless boots with angular toes, wedded to narrow, unstrapped trouser-ends--these denoted the vulgarian. Boots with narrow, round toes and heels, accompanied either by tight trousers strapped under the instep and fitting close to the leg or by wide trousers similarly strapped, but projecting in a peak over the toe--these meant the man of mauvais genre; and so on, and so on.

It was a curious thing that I who lacked all ability to become "comme il faut," should have assimilated the idea so completely as I did. Possibly it was the fact that it had cost me such enormous labour to acquire that brought about its strenuous development in my mind. I hardly like to think how much of the best and most valuable time of my first sixteen years of existence I wasted upon its acquisition. Yet every one whom I imitated--Woloda, Dubkoff, and the majority of my acquaintances-- seemed to acquire it easily. I watched them with envy, and silently toiled to become proficient in French, to bow gracefully and without looking at the person whom I was saluting, to gain dexterity in small-talk and dancing, to cultivate indifference and ennui, and to keep my fingernails well trimmed (though I frequently cut my finger-ends with the scissors in so doing). And all the time I felt that so much remained to be done if I was ever to attain my end! A room, a writing-table, an equipage I still found it impossible to arrange "comme il faut," however much I fought down my aversion to practical matters in my desire to become proficient. Yet everything seemed to arrange itself properly with other people, just as though things could never have been otherwise! Once I remember asking Dubkoff, after much zealous and careful labouring at my finger-nails (his own were extraordinarily good), whether his nails had always been as now, or whether he had done anything to make them so: to which he replied that never within his recollection had he done anything to them, and that he could not imagine a gentleman's nails possibly being different. This answer incensed me greatly, for I had not yet learnt that one of the chief conditions of "comme il faut"-ness was to hold one's tongue about the labour by which it had been acquired. "Comme il faut"-ness I looked upon as not only a great merit, a splendid accomplishment, an embodiment of all the perfection which must strive to attain, but as the one indispensable condition without which there could never be happiness, nor glory, nor any good whatsoever in this world. Even the greatest artist or savant or benefactor of the human race would at that time have won from me no respect if he had not also been "comme il faut." A man possessed of "comme il faut"-ness stood higher than, and beyond all possible equality with, such people, and might well leave it to them to paint pictures, to compose music, to write books, or to do good. Possibly he might commend them for so doing (since why should not merit be commended where-ever it be found?), but he could never stand ON A LEVEL with them, seeing that he was "comme il faut" and they were not--a quite final and sufficient reason. In fact, I actually believe that, had we possessed a brother or a father or a mother who had not been "comme il faut," I should have declared it to be a great misfortune for us, and announced that between myself and them there could never be anything in common. Yet neither waste of the golden hours which I consumed in constantly endeavouring to observe the many arduous, unattainable conditions of "comme il faut"-ness (to the exclusion of any more serious pursuit), nor dislike of and contempt for nine-tenths of the human race, nor disregard of all the beauty that lay outside the narrow circle of "comme il faut"-ness comprised the whole of the evil which the idea wrought in me. The chief evil of all lay in the notion acquired that a man need not strive to become a tchinovnik, [Official.] a coachbuilder, a soldier, a savant, or anything useful, so long only as he was "comme il faut "--that by attaining the latter quality he had done all that was demanded of him, and was even superior to most people.

Usually, at a given period in youth, and after many errors and excesses, every man recognises the necessity of his taking an active part in social life, and chooses some branch of labour to which to devote himself. Only with the "comme il faut" man does this rarely happen. I have known, and know, very, very many people--old, proud, self-satisfied, and opinionated--who to the question (if it should ever present itself to them in their world) "Who have you been, and what have you ever done?" would be unable to reply otherwise than by saying,

"Je fus un homme tres comme il faut,"

Such a fate was awaiting myself.

XXXII

YOUTH

Despite the confusion of ideas raging in my head, I was at least young, innocent, and free that summer--consequently almost happy.

Sometimes I would rise quite early in the morning, for I slept on the open verandah, and the bright, horizontal beams of the morning sun would wake me up. Dressing myself quickly, I would tuck a towel and a French novel under my arm, and go off to bathe in the river in the shade of a birch tree which stood half a verst from the house. Next, I would stretch myself on the grass and read--raising my eyes from time to time to look at the surface of the river where it showed blue in the shade of the trees, at the ripples caused by the first morning breeze, at the yellowing field of rye on the further bank, and at the bright-red sheen of the sunlight as it struck lower and lower down the white trunks of the birch-trees which, ranged in ranks one behind the other, gradually receded into the remote distance of the home park. At such moments I would feel joyously conscious of having within me the same young, fresh force of life as nature was everywhere exuding around me. When, however, the sky was overcast with grey clouds of morning and I felt chilly after bathing, I would often start to walk at random through the fields and woods, and joyously trail my wet boots in the fresh dew. All the while my head would be filled with vivid dreams concerning the heroes of my last-read novel, and I would keep picturing to myself some leader of an army or some statesman or marvellously strong man or devoted lover or another, and looking round me in, a nervous expectation that I should suddenly descry HER somewhere near me, in a meadow or behind a tree. Yet, whenever these rambles led me near peasants engaged at their work, all my ignoring of the existence of the "common people" did not prevent me from experiencing an involuntary, overpowering sensation of awkwardness; so that I always tried to avoid their seeing me. When the heat of the day had increased, it was not infrequently my habit--if the ladies did not come out of doors for their morning tea--to go rambling through the orchard and kitchen-garden, and to pluck ripe fruit there. Indeed, this was an occupation which furnished me with one of my greatest pleasures. Let any one go into an orchard, and dive into the midst of a tall, thick, sprouting raspberry-bed. Above will be seen the clear, glowing sky, and, all around, the pale-green, prickly stems of raspberry- trees where they grow mingled together in a tangle of profusion. At one's feet springs the dark-green nettle, with its slender crown of flowers, while the broad-leaved burdock, with its bright-pink, prickly blossoms, overtops the raspberries (and even one's head) with its luxuriant masses, until, with the nettle, it almost meets the pendent, pale-green branches of the old apple- trees where apples, round and lustrous as bone, but as yet unripe, are mellowing in the heat of the sun. Below, again, are seen young raspberry-shoots, twining themselves around the partially withered, leafless parent plant, and stretching their tendrils towards the sunlight, with green, needle-shaped blades of grass and young, dew-coated pods peering through last year's leaves, and growing juicily green in the perennial shade, as though they care nothing for the bright sunshine which is playing on the leaves of the apple-trees above them. In this density there is always moisture--always a smell of confined, perpetual shade, of cobwebs, fallen apples (turning black where they roll on the mouldy sod), raspberries, and earwigs of the kind which impel one to reach hastily for more fruit when one has inadvertently swallowed a member of that insect tribe with the last berry. At every step one's movements keep flushing the sparrows which always make their home in these depths, and one hears their fussy chirping and the beating of their tiny, fluttering wings against the stalks, and catches the low buzzing of a bumble bee somewhere, and the sound of the gardener's footsteps (it is half-daft Akim) on the path as he hums his eternal sing-song to himself. Then one mutters under one's breath, "No! Neither he nor any one else shall find me here!" yet still one goes on stripping juicy berries from their conical white pilasters, and cramming them into one's mouth. At length, one's legs soaked to the knees as one repeats, over and over again, some rubbish which keeps running in one's head, and one's hands and nether limbs (despite the protection of one's wet trousers) thoroughly stung with the nettles, one comes to the conclusion that the sun's rays are beating too straight upon one's head for eating to be any longer desirable, and, sinking down into the tangle of greenery, one remains there--looking and listening, and continuing in mechanical fashion to strip off one or two of the finer berries and swallow them.