[12] He classes his own "works of imagination" in the category of "harmful art." (_What is Art?_) From this condemnation he does not except his own plays, "devoid of that religious conception which must form the basis of the drama of the future." [13] As early as 1873 Tolstoy had written: "Think what you will, but in such a fashion that every word may be understood by every one. One cannot write anything bad in a perfectly clear and simple language. What is immoral will appear so false if clearly expressed that it will assuredly be deleted. If a writer seriously wishes to speak to the people, he has only to force himself to be comprehensible. When not a word arrests the reader's attention the work is good. If he cannot relate what he has read the work is worthless." [14] This ideal of brotherhood and union among men is by no means, to Tolstoy's mind, the limit of human activity; his insatiable mind conceives an unknown ideal, above and beyond that of love: "Science will perhaps one day offer as the basis of art a much higher ideal, and art will realise it." CHAPTER XIV THEORIES OF ART: MUSIC The finest theory finds its value only in the works by which it is exemplified. With Tolstoy theory and creation are always hand in hand, like faith and action. While he was elaborating his critique of art he was producing types of the new art of which he spoke: of two forms of art, one higher and one less exalted, but both "religious" in the most human sense. In one he sought the union of men through love; in the other he waged war upon the world, the enemy of love. It was during this period that he wrote those masterpieces: _The Death of Ivan Ilyitch_ (1884-86), the _Popular Tales and Stories_ (1881-1886), _The Power of Darkness_ (1886), the _Kreutzer Sonata_ (1889), and _Master and Servant_ (1895).[1] At the height and end of this artistic period, like a cathedral with two spires, the one symbolising eternal love and the other the hatred of the world, stands _Resurrection_ (1899).