And all this time the problems of Art: What is Art? What importance is due to it? How is it related to the rest of life?—were working in his mind. He was a great artist, often upbraided for having abandoned his art. He, of all men, was bound to clear his thoughts on this perplexing subject, and to express them. His whole philosophy of life—the “religious perception” to which, with such tremendous labour and effort, he had attained, forbade him to detach art from life, and place it in a water-tight compartment where it should not act on life or be re-acted upon by life. Life to him is rational. It has a clear aim and purpose, discernible by the aid of reason and conscience. And no human activity can be fully understood or rightly appreciated until the central purpose of life is perceived. You cannot piece together a puzzle-map as long as you keep one bit in a wrong place, but when the pieces all fit together, then you have a demonstration that they are all in their right places. Tolstoy used that simile years ago when explaining how the comprehension of the text, “resist not him that is evil,” enabled him to perceive the reasonableness of Christ’s teaching, which had long baffled him. So it is with the problem of Art. Wrongly understood, it will tend to confuse and perplex your whole comprehension of life. But given the clue supplied by true “religious perception,” and you can place art so that it shall fit in with a right understanding of politics, economics, sex-relationships, science, and all other phases of human activity. The basis on which this work rests, is a perception of the meaning of human life. This has been quite lost sight of by some of the reviewers, who have merely misrepresented what Tolstoy says, and then demonstrated how very stupid he would have been had he said what they attributed to him. Leaving his premises and arguments untouched, they dissent from various conclusions—as though it were all a mere question of taste. They say that they are very fond of things which Tolstoy ridicules, and that they can’t understand why he does not like what they like—which is quite possible, especially if they have not understood the position from which he starts. But such criticism can lead to nothing. Discussions as to why one man likes pears and another prefers meat, do not help towards finding a definition of what is essential in nourishment; and just so, “the solution of questions of taste in art does not help to make clear what this particular human activity which we call art really consists in.” The object of the following brief summary of a few main points is to help the reader to avoid pitfalls into which many reviewers have fallen. It aims at being no more than a bare statement of the positions—for more than that, the reader must turn to the book itself.