Leo Tolstoy, a seminal figure in Russian literature, underwent a profound transformation after writing Anna Karenina. This shift saw him move from a focus on fiction to a devotion to religious and philosophical essays. Despite his evolving views on art, he produced Hadji Murad, a work often heralded as one of his finest, free from the didacticism that marked his later years.

The Impact of Conversion

Tolstoy's religious conversion in 1879 drastically altered his perspective on art and its purpose. He came to reject art that existed for aesthetic pleasure or entertainment, positing instead that true art should serve a high moral purpose, accessible even to the simplest of minds. This philosophical pivot led him to write less fiction, instead focusing on works that conveyed religious, philosophical, and political ideas. In his 1898 manifesto, “What Is Art?”, Tolstoy argued that much of music, painting, and literature served as mere distractions. He envisioned the true artist as a prophetic figure, tasked with addressing pressing moral, political, and social issues.

The Creation of Hadji Murad

Despite his stringent views on art's moral role, Tolstoy began writing Hadji Murad in 1898, a work that diverged from his didactic tendencies. Written over six years and published posthumously in 1911, Hadji Murad stands as Tolstoy's last significant fictional endeavor. The novella draws from Tolstoy’s own experiences as an officer in the Russian army during the Caucasian War from 1851 to 1854, providing a vivid depiction of the clashes between Russian imperial forces and the Caucasian mountain tribes led by Shamil. The historical accuracy of the events and characters in Hadji Murad is notable, as Tolstoy extensively researched the conflict and infused the narrative with his firsthand insights.

Realism and Romanticism

In Hadji Murad, Tolstoy blends realism with romantic elements, reminiscent of the works of Alexander Pushkin and Mikhail Lermontov. The novella's cinematic structure shifts swiftly between striking scenes, emphasizing a visual rather than verbal storytelling approach. Unlike his earlier works, the narrative minimizes dialogue and refrains from authorial commentary, allowing the story to unfold with a focus on the sensory and the immediate.

A Masterpiece of Conflict

Tolstoy, during his later years, often expressed ambivalence about Hadji Murad, considering it at times to be "rubbish." Yet, he acknowledged the unfinished nature of the work when questioned, likening it to a dish still being prepared in his literary kitchen. Despite his personal misgivings, critics frequently regard Hadji Murad as a "small masterpiece," with Ernest J. Simmons describing it as nearly a perfect example of Tolstoy's ideal of "good universal art." This novella encapsulates Tolstoy's struggle to reconcile art and morality, marrying vivid historical reconstruction with an exploration of human frailty and the tumult of war.