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Meanwhile the practically real world for each one of us, the effective world of the individual, is the compound world, the physical facts and emotional values in indistinguishable combination. Withdraw or pervert either factor of this complex resultant, and the kind of experience we call pathological ensues.

In Tolstoy’s case the sense that life had any meaning whatever was for a time wholly withdrawn. The result was a transformation in the whole expression of reality. When we come to study the phenomenon of conversion or religious regeneration, we shall see that a not infrequent consequence of the change operated in the subject is a transfiguration of the face of nature in his eyes. A new heaven seems to shine upon a new earth. In melancholiacs there is usually a similar change, only it is in the reverse direction. The world now looks remote, strange, sinister, uncanny. Its color is gone, its breath is cold, there is no speculation in the eyes it glares with. “It is as if I lived in another century,” says one asylum patient.–“I see everything through a cloud,” says another, “things are not as they were, and I am changed.”–“I see,” says a third, “I touch, but the things do not come near me, a thick veil alters the hue and look of everything.”–“Persons move like shadows, and sounds seem to come from a distant world.”–“There is no longer any past for me; people appear so strange; it is as if I could not see any reality, as if I were in a theatre; as if people were actors, and everything were scenery; I can no longer find myself; I walk, but why? Everything floats before my eyes, but leaves no impression.”–“I weep false tears, I have unreal hands: the things I see are not real things.”–Such are expressions that naturally rise to the lips of melancholy subjects describing their changed state.[13]

[13] I cull these examples from the work of G. Dumas: La Tristesse et la Joie, 1900.

Now there are some subjects whom all this leaves a prey to the profoundest astonishment. The strangeness is wrong. The unreality cannot be. A mystery is concealed, and a metaphysical solution must exist. If the natural world is so double-faced and unhomelike, what world, what thing is real? An urgent wondering and questioning is set up, a poring theoretic activity, and in the desperate effort to get into right relations with the matter, the sufferer is often led to what becomes for him a satisfying religious solution.

At about the age of fifty, Tolstoy relates that he began to have moments of perplexity, of what he calls arrest, as if he knew not “how to live,” or what to do. It is obvious that these were moments in which the excitement and interest which our functions naturally bring had ceased. Life had been enchanting, it was now flat sober, more than sober, dead. Things were meaningless whose meaning had always been self-evident. The questions “Why?” and “What next?” began to beset him more and more frequently. At first it seemed as if such questions must be answerable, and as if he could easily find the answers if he would take the time; but as they ever became more urgent, he perceived that it was like those first discomforts of a sick man, to which he pays but little attention till they run into one continuous suffering, and then he realizes that what he took for a passing disorder means the most momentous thing in the world for him, means his death.

These questions “Why?” “Wherefore?” “What for?” found no response.

“I felt,” says Tolstoy, “that something had broken within me on which my life had always rested, that I had nothing left to hold on to, and that morally my life had stopped. An invincible force impelled me to get rid of my existence, in one way or another. It cannot be said exactly that I WISHED to kill myself, for the force which drew me away from life was fuller, more powerful, more general than any mere desire. It was a force like my old aspiration to live, only it impelled me in the opposite direction. It was an aspiration of my whole being to get out of life.