possessors of, or aspirants for, the late Mr. Nobel's forty-thousand dollar prize.
Like all true realists, Tolstoy took great pains to inform himself even about the minutiae of his subjects, but he never failed, as did in large measure Zola in La Débâcle, to infuse emotional meaning into the static monotony of facts and figures. In his strong attachment for his own human creatures he is more nearly akin to the idealizing or sentimentalizing type of realists, like Daudet, Kipling, Hauptmann, than to the downright mat-ter-of-fact naturalists such as Zola or Gorki. But to classify him at all would be wrong and futile, since he was never leagued with literary creeds and cliques and always stood aloof from the heated theoretical controversies of his time even after he had hurled his great inclusive challenge to art.
"War and Peace" was written in Tolstoy's happiest epoch, at a time, comparatively speaking, of spiritual calm. He had now reached some satisfying convictions in his religious speculations, and felt that his personal life was moving up in the right direction. His moral change is made plain in the contrast between two figures of the story. Prince Audrey and Peter Bezukhoff: the ambitious
