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Leo TolstoyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Tolstoy relates that he married at age 34 and shortly afterward lived abroad in Europe, during which time his belief in perfectibility turned into a belief in progress. After witnessing the disturbing scene of a beheading in Paris in 1857, Tolstoy resolved to start making moral judgments based on his sense of right and wrong rather than the beliefs of others. His faith in progress amounted to the belief that “everything is developing, and I am developing; the reason why I am developing in this way will come to light, along with everything else” (23), which Tolstoy admits is a shaky, uncertain belief that forces one to live as if “being carried along in a boat by the waves of the wind” (22).
Tolstoy tells the reader that he returned to the Russian countryside to teach in peasant schools, where he took on a more critical attitude toward progress. He was hounded by the uncomfortable truth that he did not understand what he was teaching, and this truth was magnified during his time as a magazine publisher. Tolstoy became spiritually stuck; he spent some time living like an animal in the wilderness, and finally returned to focus on his family, which became the most important thing for the author and replaced his striving for progress and perfection.
Fifteen years passed this way during which Tolstoy continued to write. He says that five years before he began writing what would become A Confession he was struck with intermittent depression and indecisiveness regarding the meaning of life. He kept putting off difficult questions regarding the meaning of his actions and the point of existence. When he finally decided to take these questions seriously, he found that they were “the most vital and profound questions in life” (27), which he was unable to resolve.
Tolstoy came to believe that life is meaningless, and his thoughts turned to suicide. At this time, he was still hoping that life had something to offer him, and objectively he had everything a person could want including a family, respect, property, health, and fame; still, Tolstoy’s spiritual condition was at a low. Having decided that no action in life has any meaning, the author asked: “Why, then, do anything?” (30) and declared that living is only possible if one lives under the delusion that life has meaning. Tolstoy was unable to accept this fact and simply move on with life because his mind had been anguished with these questions for too long.
Family and writing gave life some sweetness for Tolstoy, but this feeling disappeared when he recognized that his family must also face death and that “looking at life in the mirror of art” (32) was ridiculous given the meaningless of life. Tolstoy’s mind raced toward thoughts of ending his life to avoid “the horror of what awaited me” (33), a manner of living even worse than Tolstoy’s current troubled state.
Tolstoy’s intuitive understanding “with [his] whole being” (23) that the Paris beheading was unjust foreshadows his eventual willingness to give up his strict requirement that faith must be reducible to reason. Intuition is a form of knowledge that can be useful and can bring one to a better understanding of truth than reason can.
The author’s insistence that he had no idea what to teach people during his time as a teacher in the peasant school and through his writing is a frank and humble admission that can seem confusing given that Tolstoy is today regarded as a genius. His modesty can be maddening to the reader. During the 15 years he spent writing “as a trivial endeavor” (25), for example, Tolstoy completed War and Peace, one of the most celebrated novels of all time. The author admits to using work to silence the questions about life’s purpose that were stirring his soul at the time; an achievement like War and Peace is a testament to how desperately these questions must have troubled Tolstoy.
In Chapter 4, Tolstoy writes honestly about his depression and suicidal thoughts caused by spiraling into meaninglessness. He tells a fable in which a man’s only relief from his fear of death at the jaws of a dragon at the bottom of a well is to taste the honey from the branch he perilously clings to. The dragon is death, and the honey represents the pleasant distractions that let us forget about death.
Tolstoy’s inability to find purpose in any action he might take robbed all activities of their sweetness, their potential for joy. This admission, paired with the author’s lament that his life experience and education had led him to this absurd point where all he could see before him was death, is very close to a celebration of ignorance over knowledge.
By Leo Tolstoy