
Literary critics often amuse themselves by arguing which first sentence in which great novel is the best of all.
Those arguments strike me as futile because such qualitative judgements as ‘best’ imply the existence of objective criteria to be applied. Since no such criteria exist, ‘good’, ‘better’ and ‘best’ are fated to remain subjective statements of taste.
This isn’t to imply that all tastes are equal, far from it. But any comparative aesthetic judgement ultimately has to boil down to an ad hominem.
Thus you can’t prove to your opponent that Franz Schubert is a greater musician than John Lennon. By insisting that Winterreise is superior to Lucy in the Sky With Diamonds, all you are saying – correctly, as it happens – is that your taste is superior to his.
Following this logic, I steadfastly refuse to join the arguments about the relative merits of Austen’s “It is a truth universally acknowledged…”, Dickens’s “It was the best of times, it was the worst of times…” and any number of other celebrated opening lines.
However, defying that logic, I can identify categorically and in a manner brooking no dissent the greatest last sentence in a work of fiction. None of all those ‘to my taste’, ‘arguably’ or ‘one could suggest’. Down with equivocation: the greatest last sentence ever written concludes Tolstoy’s novelette Hadji Murat.
My relationship with the author is complex. In my book, God and Man According to Tolstoy (Palgrave-Macmillan, 2009), I tore to shreds Tolstoy’s philosophical and religious works, which, alas, take up half of his 91-volume legacy.
However, I never concealed my veneration of the other half, his works of fiction whose artistry, in my view, has never been matched by any other novelist in any language.
His longer novels, War and Peace, Anna Karenina and especially Resurrection are overburdened with Tolstoy’s hectoring asides on history, education, agriculture, morality, religion and other subjects close to his heart. Most of those digressions are as silly as his non-fiction. Yet even they can’t damage the works of art shaped by Tolstoy’s masterly hand.
I’ve never read such piercingly moving depictions of new life coming and old life going as the scenes of Andrei Bolkonsky’s dying in War and Peace and Kitty’s giving birth in Anna Karenina. Still, the sheer length of these masterpieces, and the intrusion of Tolstoy’s asides, take something away from the artistry, though mercifully leaving enough left for us to admire.
Tolstoy’s late novelettes, The Death of Ivan Ilyich and Hadji Murat, each under 150 pages long, are free from annoying pseudo-philosophical distractions, which makes them arguably the most flawless gems in the treasure trove of prose fiction.
You see, I too can hedge my aesthetic judgement with ‘in my view’ and ‘arguably’. Yet, as I’ve mentioned earlier, I’m not going to do that when identifying the greatest last sentence in world literature. It appears in Hadji Murat, which I recently re-read after a hiatus as long as the average life expectancy in Russia.
The protagonist was a historical figure, a prominent independence fighter in the Caucasian wars Russia started in the early 19th century and has continued, on and off, ever since. Hadji Murat was a controversial character who intermittently tried to get rid of the Russians by using Imam Shamil and then to get rid of Imam Shamil by using the Russians.
Both men were Avars, one of the Muslim tribes in the Caucasus. However, Shamil was a proponent of Muridism, an ideology that combined Sufi tenets with a call to jihad against Russian imperialism. Hadji Murat saw that ideology as a threat to their common cause, which eventually drove him away from Shamil.
The last straw came crashing down when Shamil named his son as his successor. To Hadji Murat that meant the perpetuation of Muridism, something he couldn’t accept. Shamil knew that and decided to have his rival killed.
Yet one of Shamil’s men warned Hadji Murat and he managed to escape. But his family, including his beloved son, was left behind and held captive.
Hadji Murat surrendered to the Russians who both admired and mistrusted him. Russian generals saw him as one of history’s great cavalry commanders; their wives swooned when that dark romantic hero floated into the room with his exotic entourage.
The Russians effectively kept Hadji Murat under house arrest and remained deaf to his pleas for men and arms he needed to rescue his family from Shamil. When one day Hadji Murat found out that Shamil was about to have his son blinded, he could wait no longer.
He escaped again, this time from the Russians, and rode out with a handful of his trusted comrades to rescue his family or die in the attempt. But the Cossacks and Caucasian tribesmen hostile to Hadji Murat tracked them down. In the ensuing firefight the outnumbered great warrior was killed, and his embalmed head was sent to the Tsar.
These historical facts provide the bare bones of Tolstoy’s story, which he envelops in the luxuriant flesh of his artistry. The first two pages describe the narrator walking through ploughed meadows and admiring the profusion of wild flowers.
Tolstoy paints the field and its flowers with broad, lurid strokes from his endless palette, and the reader can see the blazing glory of the colours, breathe in the redolent aroma, hear the rustle of the grass. And then the narrator, having let us admire the accuracy of his eye and the sure touch of his brush, makes it clear that what he has shown with so much mastery is only a metaphor.
He comes across a thistle bent by the plough but not crushed by it: “ ‘What energy!’ ” I thought. “Man has conquered everything, destroyed millions of shrubs, but this one still doesn’t surrender!
“And I recalled an old Caucasian story, part of which I saw, other parts I heard from eyewitnesses, still others I imagined. Here is that story, as it came together in my memory and imagination.”
What follows is some 120 pages of the narrative I so crudely summed up above. The narrator recedes into the background never to reappear until the last sentence, simple and sublime, and sublime in its simplicity.
His place is taken by Hadji Murat and his comrades; by Russian soldiers, officers and generals; by Tsar Nicholas I, his ministers, courtiers and viceroys. (One of whom, Mikhail Vorontsov, has a street in London’s St John’s Wood named after him.) The pages are filled with love and hate, lust and betrayal, life and death – all drawn with the artistry so admired by, among many others, Vladimir Nabokov.
In his Lectures on Russian Literature, he calls Tolstoy “philosopher of the flesh” and compares him favourably to Flaubert. The Frenchman, writes Nabokov, takes a whole page to draw the portrait of Monsieur Bovary. By contrast, Tolstoy could have done it by creating with just one telling detail a compelling visual image that would stay with the reader for ever.
Such mastery animates every page of Hadji Murat.
The reader feels almost embarrassed: it’s as if he were a Peeping Tom, spying through the window on other people’s lives. Tolstoy’s is the kind of stark, laconic realism that draws the reader in and forces him to live the life of the protagonist, feel his feelings, die his death.
The narrative is a kaleidoscope of lurid colours, a whirlwind of penetrating insights, a maelstrom of human strengths and weaknesses, of good and evil. The narrator, the ‘I’ of the story, is nowhere to be seen, seemingly leaving the reader to do his own feeling, his own living and his own dying.
And only in that last sentence does he let his presence be known again: “It was that death that I was reminded of by the thistle crushed in the ploughed field.”
The metaphor, by now forgotten, reappears in a few short words, so unassuming that one could be deceived into thinking that anyone else could have written them. But no one else has ever written with so much power packed in so few words.
I gasped and slowly closed the slim volume that’s worth infinitely more than all the 50 volumes of Tolstoy’s ‘philosophy’ put together. Such is human nature, I suppose, never satisfied with God’s gifts, no matter how lavish, always reaching for something God withheld, in Tolstoy’s case the mind of a philosopher.
This is the kind of hubris God invariably punishes by turning the sinner into an easy target for criticism. This, to paraphrase Tolstoy, is the sin I was reminded of by re-reading Hadji Murat and trying to catch my breath taken away by that last sentence.








