Tolstoy is, indubitably, influenced by Rousseau, Proudhon, and anarcho-communistic writers of the nineteenth century. His teaching of property has many elements of chimerical schemes, sometimes confounded with mediaeval communism and Christian primitive utopias, sometimes with anarchistic principles which reject both private and social property. The labor question is solved by Tolstoy simply in the destruction of private ownership and in the distribution of land to the people who work manually. Mental labor and intellectual production are ignored and disdained. In many books printed during Tolstoy’s life we find “no rights reserved”. Literary property, accordingly, is the common property of mankind. Ideas and facts are free to all men. There are no patents and copyrights of mental exertions _cum privilegio_. The author of a work has no right of property in the book he has made; he took the common stock and worked it over, and one man has just as good a right to it as another. If the author is allowed to be the owner of his works, the public are deprived of their rights. The immaterial property in writing is in the same degree a robbery as it is material. Finally, literary labor does not belong to this question. According to Tolstoy’s interpretation, inventions, arts, literature, and science, are privileged only to the higher classes. The class of people exclusively occupied with physical labor nowhere read books, neither have the masses learned from books to plough, to make _kvas_, to weave, to make shoes, to build huts, to sing songs, or even to pray. Of this Tolstoy’s criticism of literature, science, and private property, were cogent objections. He was called an utopian, a sophist, an inconsistent author who speaks one thing and works something else. Some called him charlatan, destroyer of sacred institutions, and a man who did not know what he was preaching. These epithets remind one of that which Jean Bodin gave to Machiavelli calling him a “butt of invective”, and “wretched man”, or of those names which Voltaire gave Rousseau honoring him as a “Punchinello of letters”, “the fanfaron of ink”, “arch-madman”, “scoundrel”, “mountebank”, and other choice epithets.