INTRODUCTION
With the exception of the fragments of the unfinished novel, "The Dekabrists," which are really studies of character, sketches to serve, and therefore suitable to place anywhere, though the scheme of the story had it been finished would have put it immediately after "War and Peace," the contents of the present volume are in accordance with Count Tolstoï's latest teaching. "Master and Man" represents selfishness conquered by self-sacrifice, and thus bringing joy even in death. It may be questioned whether the master's fear lest, in case his man perished, he should be held responsible for him, does not throw a cynical tinge over the sudden resolve of the half-dazed, half-frozen speculator to protect his servant from the snow and frost. But the lesson is almost as vital. And with what vividness the horrors of a blizzard on the steppes are portrayed.
The "Kreutzer Sonata" has probably been more misunderstood than any other of Count Tolstoï's writings. The ravings of a man self-confessed insane have been taken as the personal views of the author of the monologue. The subject is not agreeable, the narration is exasperating, the whole thing is a study in morbidity. Yet underneath the murderer's confession, underneath the insane extravagance, is the Christian teaching in regard to sexual morality. Christ's teaching is either right or wrong. There is no mincing matters, and this Count Tolstoï shows in his postscript to the "Kreutzer Sonata," the translation of which is due to Mr. Aylmer Maude of England, whose long residence in Russia and friendship with Count Tolstoï make him an authority on his philosophy.
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