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so that we know his people, not only by the way they love and their views on politics and the immortality of the soul, but also by the way they sneeze and choke. Even in a translation we feel that we have been set on a mountain-top and had a telescope put into our hands. Everything is astonishingly clear and absolutely sharp. Then, suddenly, just as we are exulting, breathing deep, feeling at once braced and purified, some detail — perhaps the head of a man — comes at us out of the picture in an alarming way, as if extruded by the very intensity of its life. “Suddenly a strange thing happened to me: first I ceased to see what was around me; then his face seemed to vanish till only the eyes were left, shining over against mine; next the eyes seemed to be in my own head, and then all became confused — I could see nothing and was forced to shut my eyes, in order to break loose from the feeling of pleasure and fear which his gaze was producing in me. . . .” Again and again we share Masha’s feelings in Family Happiness. One shuts one’s eyes to escape the feeling of pleasure and fear. Often it is pleasure that is uppermost. In this very story there are two descriptions, one of a girl walking in a garden at night with her lover, one of a newly married couple prancing down their drawing-room, which so convey the feeling of intense happiness that we shut the book to feel it better. But always there is an element of fear which makes us, like Masha, wish to escape from the gaze which Tolstoi fixes on us. Is it the sense, which in real life might harass us, that such happiness as he describes is too intense to last, that