he truth of a new art in it.

I do not know how it is that the great Russians have the secret of
simplicity. Some say it is because they have not a long literary past
and are not conventionalized by the usage of many generations of other
writers, but this will hardly account for the brotherly directness of
their dealing with human nature; the absence of experience elsewhere
characterizes the artist with crudeness, and simplicity is the last
effect of knowledge. Tolstoy is, of course, the first of them in this
supreme grace. He has not only Tourguenief's transparency of style,
unclouded by any mist of the personality which we mistakenly value in
style, and which ought no more to be there than the artist's personality
should be in a portrait; but he has a method which not only seems without
artifice, but is so. I can get at the manner of most writers, and tell
what it is, but I should be baffled to tell what Tolstoy's manner is;
perhaps he has no manner. This appears to me true of his novels, which,
with their vast variety of character and incident, are alike in their
single endeavor to get the persons living before you, both in their
action and in the peculiarly dramatic interpretation of their emotion and
cogitation. There are plenty of novelists to tell you that their
characters felt and thought so and so, but you have to take it on trust;
Tolstoy alone makes you know how and why it was so with them and not
otherwise. If there is anything in him which can be copied or burlesqued
it is this ability of his to show men inwardly as well as outwardly; it
is the only trait of his which I can put my hand on.

After 'The Cossacks' I read 'Anna Karenina' with a deepening sense of the
author's unrivalled greatness. I thought that I saw through his eyes a
human affair of that most sorrowful sort as it must appear to the
Infinite Compassion; the book is a sort of revelation of human nature in
circumstances that have been so perpetually lied about that we have
almost lost the faculty of perceiving the truth concerning an illicit
love. When you have once read 'Anna Karenina' you know how fatally
miserable and essentially unhappy such a love must be. But the character
of Karenin himself is quite as important as the intrigue of Anna and
Vronsky. It is wonderful how such a man, cold, Philistine and even mean
in certain ways, towers into a sublimity unknown (to me, at least), in
fiction when he forgives, and yet knows that he cannot for