"War and Peace" is greater than a novel; it is an epic, it is nation-wide and long as the growth from childhood to maturity. We see from a peak of the face of eastern Europe and the swarming of peoples and armies. The sensation of vastness, of humanity surging and flowing in obedience to obscure collective interests is produced by only one other modern book that I know, Hardy's "The Dynasts." From the high pinnacles of omniscience the imagination descends by swift unperceived transitions to the intimacies of a house in Moscow--to the heart of the girl Natacha--to the mind of Pierre saturated with alcohol plotting to assassinate Napoleon. The adventures and purposes of the characters cross and conflict, interweave and unite, but each goes as it must and there is no confusion in the telling. In "Anna Karenina," the story of Levin is but loosely related to the principal tragedy, and the story of Levin's brother is an excursion from the highway of Levin's career. One can see that after the book is done. During its course the reader has no sense that any part is not precisely placed. The illusion of inevitability is perfect. Levin's brother is related to him by natural ties in life; it is natural, then, that he should appear in Levin's story. The illusion of inevitability springs from Tolstoy's all-encircling comprehension of events, from his justice to each character and from his extraordinary physical vividness. He writes with his five senses. A critic warned him early that he was in danger of making a man's thigh feel like going on a journey to India. But his recognition of physical sensations and his power to convey them (they traverse bodily the stylistic obstacles of translation) take the story off the flat page and give it three dimensional reality. The acrid smell of an old man's breath, the coldness of a man's hand when he is in mental distress, the cracking of Karenin's knuckles when he clasps his hands in moral satisfaction or the anguish of wounded pride--such details cling to the mind, and the memory of them recalls the whole story. Tolstoy's conception of human character is at once relentlessly analytic and profoundly pitiful and kind. The whole content of his thought from its bold surface to its deepest depth is instinct with compassion. Once when he was walking with Tourgenef they came to an old broken-down horse in a pasture. Tolstoy went up to it, stroked it, and uttered its thoughts and sufferings with such moving tenderness that Tourgenef cried: "You must once have been a horse yourself."