These have their source in another sphere of existence altogether, in the animal and spiritual region of the subject's being. Conceive yourself, if possible, suddenly stripped of all the emotion with which your world now inspires you, and try to imagine it AS IT EXISTS, purely by itself, without your favorable or unfavorable, hopeful or apprehensive comment. It will be almost impossible for you to realize such a condition of negativity and deadness. No one portion of the universe would then have importance beyond another; and the whole collection of its things and series of its events would be without significance, character, expression, or perspective. Whatever of value, interest, or meaning our respective worlds may appear endued with are thus pure gifts of the spectator's mind. The passion of love is the most familiar and extreme example of this fact. If it comes, it comes; if it does not come, no process of reasoning can force it. Yet it transforms the value of the creature loved as utterly as the sunrise transforms Mont Blanc from a corpse-like gray to a rosy enchantment; and it sets the whole world to a new tune for the lover and gives a new issue to his life. So with fear, with indignation, jealousy, ambition, worship. If they are there, life changes. And whether they shall be there or not depends almost always upon non-logical, often on organic conditions. And as the excited interest which these passions put into the world is our gift to the world, just so are the passions themselves GIFTS--gifts to us, from sources sometimes low and sometimes high; but almost always nonlogical and beyond our control. How can the moribund old man reason back to himself the romance, the mystery, the imminence of great things with which our old earth tingled for him in the days when he was young and well? Gifts, either of the flesh or of the spirit; and the spirit bloweth where it listeth; and the world's materials lend their surface passively to all the gifts alike, as the stage-setting receives indifferently whatever alternating colored lights may be shed upon it from the optical apparatus in the gallery.
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.[79]
[79] 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.
