Tolstoi had met some of the revolutionists of his time, but had been cold to them; he was not interested in politics, only in religious and moral questions. His conversion first took the form of absolute non-resistance to evil. Later on he came to modify it to the doctrine which Gandhi is now spreading throughout all Asia, “non-violent resistance.” You shall not use physical force against your enemy, but you oppose him by word and teaching, by your power of endurance and of moral conviction; so you shame him, or rouse the moral forces of the whole world to rebuke him. Tolstoi applied that treatment to the state church and to the police. Of course, if he had been a peasant or a workingman, or even a poor student or literary man, he would have been beaten to death with the knout, or shipped off to Siberia to perish in a convict camp. But he was a member of the nobility, and his family influence protected him, until he had become so famous throughout the world that he was greater than the Tsardom itself. In his last years he lived as a majestic symbol of the protest of the Russian people; he poured out arguments against war, against government cruelty, against landlordism, against priestcraft; and all the powers of darkness in Russia did not dare to lay a finger upon him. In his later years he wrote several novels, one of which I personally consider his greatest. This is “Resurrection,” which tells the story of a young Russian nobleman who seduces a peasant girl, and later on in life discovers her as a prostitute. He becomes conscience-stricken because of what he has done, and sets out to redeem her, follows her to Siberia and saves her, and in the end they live that life of brotherly and sisterly love which Tolstoi had come to preach. This story contains frightful pictures of the whole Russian system; it was translated into an immense number of languages, and it probably did more than any other one book to undermine the Tsardom. Tolstoi published a work of criticism, and some people think that I got my ideas from it. Therefore, let me say that if you want to find the germ of “Mammonart,” you will do better to consult Walt Whitman’s “Democratic Vistas,” published a generation before Tolstoi’s work. The thesis of Tolstoi’s “What is Art?” resembles mine in just one particular; that is, we both believe that art has to do with moral questions--a belief which we share with Aeschylus and Sophocles and Euripedes and Aristophanes and Virgil and Dante and Cervantes and Moliere and Victor Hugo and Dostoievski and Tennyson and Ibsen--and so on through a long list of persons still to be considered.