SOURCE: “L. N. Tolstoj's Master and Man—A Symbolic Narrative,” in Slavic and East European Journal, Vol. 7, No. 3, 1963, pp. 258-68.

In the following essay, Trahan explores the symbolism in Master and Man, contending, “even a superficial reading reveals a certain mysterious, magic quality which suggests additional dimensions.”

In his essay What is Art? (1897), Tolstoj rejects contemporary art as involved, affected and obscure (Ch. X). He attacks the French Symbolists for their incomprehensibility (ibid.) and heaps ridicule on Richard Wagner for his use of myths and leitmotifs (Ch. XIII). Good art, Tolstoj suggests, must express universally valid religious or at least humanitarian feelings, experienced by the author and transmitted through direct emotional infection, as is accomplished in the great religious writings, in folk legends, fairy tales and folk songs. When reviewing his own writings from this critical position, Tolstoj is forced to reject all his literary masterpieces. He can...