The Complications of Romantic Idealization inTolstoy’s ‘Anna Karenina’
Introduction
Formations of relationships are just as critical as the relationship itself. Within Anna Karenina, Leo Tolstoy uses the central relationships in the novel to condemn romantic idealization and praise humility. The novel follows parallel love stories; one an extramarital love affair between Anna Karenina and young Russian military officer Count Alexei Vronsky that draws the attention of all of St. Petersburg, and the other a difficult courtship but successful marriage between the young Kitty Shcherbatsky and reserved Konstantin Levin. Within this paper, I will illustrate how Tolstoy uses Anna and Vronsky’s relationship, formed purely out of innate desire, in contrast to Levin’s pure love for Kitty, to depict the importance of true and honest love.
Character Introductions
Vronsky
Count Alexei Vronsky is introduced with having a grand reputation and an even grander future ahead of himself (Tolstoy, 39). He is a dashing, young military officer who takes great pride in the benefits of his youth, freedom, and high Russian society. Prince Stepan Arkadyich Oblonsky (“Stiva”) describes him as one of the “finest examples of the gilded youth of Petersburg” in addition to being incredibly wealthy, good-looking, and well-connected. Within Russian society, Vronsky is seen as one of the most highly desirable bachelors and recognized men. Stiva even goes as far as directly referring to him as Levins biggest competition for the desirable young Kitty Shcherbatsky’s hand (Tolstoy, 39).
Within Vronskys chapters, his past and inner thoughts are revealed. Vronsky has not only never known family life, but that he also does not crave it in the slightest. He also had never seriously considered the possibility of marriage nor does he see anything misleading the flirtatious behavior he exhibits to Kitty and other women (Tolstoy, 57). When he begins to sense the romantic feelings Kitty has for him grow, his initial feelings are feelings of purity and improvement for not her, but for himself (Tolstoy, 57). Vronsky states that he feels as though “I have a heart and that there is much good in me” (Tolstoy, 57). This showcases how Vronsky places much of the weight of his identity into how others perceive him.
Vronsky’s intense hobbies and interests add to his esteemed reputation. His love of horse racing, his active role in his military regiment, and politics illustrate him as a highly sought-after bachelor. He enjoys his vitality and everything that comes with it, but it isn’t until his path with Anna crosses that his willingness to lose it all for love is shown.
Anna
Anna’s introduction within the novel is just as captivating and dramatic as her. She is first mentioned in chapter two when Oblonsky mentions his hope for Anna to be the potential savior for his marriage after he was caught having an affair (Tolstoy, 5). Within chapter seventeen, Anna is mentioned to Vronsky by Stiva at the train station where they await the arrival of Anna and Vronsky’s mother. Like Vronsky, Anna also has a greatly esteemed reputation that well proceeds her for not only her position in society, but for her character and beauty as well. Anna is married to a highly placed government official, Alexei Alexandrovich Karenin and they have a young son together named Seryozha (Tolstoy, 61). The delay in Anna’s physical presence aids the dramatic build up of her character and later actions in the novel. Not only is she charming and smart, but she is also able to reconcile Stiva and Dolly to each other. This act is ironic as she later becomes guilty of desecrating her marriage in addition to her relationship with her son and her once honorable position in Russian society. Despite this, Anna’s complexity only increases as the novel progresses. She is an adulterer and leaves her son to be with her lover, yet she remains admirable and noble and arguably tries to make things right as the novel progresses.
Levin
Konstantin Levin is the novels co-protagonist with Anna. He is first seen in chapter five when he arrives at Stiva’s office and interrupts a council meeting (Tolstoy, 16). He is a landowner who’s passions include agriculture and anything connected with rural living. By social standards he is incredibly awkward and feels most comfortable when he is outdoors and on his land as opposed to interacting at social gatherings and political events. Levin is unlike any of the other characters as he is a free thinker who does not fit into any strict social clique or label. He follows his natural thought process and always attempts to rationalize things that confuse him.
Within Levins interaction with Stiva in chapter five, he inquires about Stiva’s in-laws, the Shcherbatsky's, and it become obvious that Levin is doing so because of his immense romantic interest in the youngest Shcherbatsky, Kitty. The following chapter reveals that Levin actually came into the city with the singular intention of proposing to Kitty and he feels undeserving of her hand (Tolstoy, 22). He weighs their arrangement in his head and attempts to predict how society and Kitty’s family will perceive the proposed match in terms of social standing, equality, and wealth as his biases make it difficult for him to see the situation with clarity (Tolstoy, 22). Levin feels as though he is unworthy of her hands due to his lack of perceived accomplishments and age. Yet, after spending two month alone in the country, he becomes convinced that he cannot live without knowing whether she would or would not become his wife as he has not concrete proof she would refuse (Tolstoy, 23).
Kitty
Kitty Shcherbatsky is eighteen years old and new to Russian society when she is introduced in chapter nine (Tolstoy, 29). Like Vronsky, Kitty is a highly desired match for eligible suitors and within her first two suitors present themselves to her: Vronsky and Levin. Her parents preferred different suitors for their daughter with her father preferring Levin and her mother Vronsky (Tolstoy, 43). Kitty faces some insecurity in deciding which of the suitors she prefers and believes that seeing Levin will provide her with a clearer understanding of what suitor is the better decision (Tolstoy, 46). She states that when envisioning a future with either suitors, the vision of her and Vronsky is clear and happy whilst the vision of her and Levin is cloudy (Tolstoy, 47). She realizes that although she feels admiration and affection for Levin, she is in love with Vronsky.
When Levin arrives earlier than expected at Kitty’s home, she realizes that he had come early to propose (Tolstoy, 47). She bravely meets with him and declines his marriage proposal and her mother walks in, relieved to see that there will be no engagement between the two (Tolstoy, 48). Later that evening, Kitty has stays up, unable to sleep as she feels tortured by the image of Levin looking between her and Vronsky after his unsuccessful proposal (Tolstoy, 54). Insert closing sentience.
The downfall of vronsky and kitty & catalyst for relationship
In chapter twelve, Vronsky arrives at the railway station to pick his mother up as she arrives from St. Petersburg (Tolstoy, 58). There, he meets Stiva who reveals he is there to pick up his sister, Anna Karenina (Tolstoy, 58). The two discuss Levin and Vronsky shares his thoughts on his “awkward” behavior to which Stiva defends Levin and in response hints he may have proposed to Kitty (Tolstoy, 60). Vronsky then responds that she is capable of finding a better match and soon after the train arrives.
As he awaits his mother, Vronsky catches a sight of Anna and immediately the two lock eyes and an attraction is shown (Tolstoy, 61). Vronsky makes note of Anna’s “shinning grey eyes” encased by her “thick lashes” and notices her animated reaction at the right of him (Tolstoy, 61). In his observations of Anna, Tolstoy makes great effort for Vronsky to emphasize Ann’s appearance in an almost spiritual matter. Though this moment lasts only seconds, Vronsky notices Anna’s physical characteristics in addition to how they may relate to her personality and true self. He notes her beauty initially, but also makes note of her “gentle” and “tender” expression in addition to her “modest grace” (Tolstoy, 61). Her appearance also adds depth to Anna’s character as although she becomes an adulterer, she does not present herself as a vixen or a woman who is intentionally trying to destroy her marriage.
After their brief glances are shared, Vronsky’s mother appears and introduces Vronsky to Anna (Tolstoy, 62). After they leave, Anna is brought to Stiva’s household where Dolly , Stiva’s wife, is experiencing emotional agony due to her husband’s affair and is refusing to see anyone (Tolstoy, 66). Anna is incredibly sympathetic and makes Dolly feel better leading to the eventual reconciliation of husband and wife (Tolstoy, 74). Soon after, there is a ball which leads to the eventual formation of the two central relationships within the novel.
At the ball, Vronsky and Kitty dance, but things change once Anna arrives. Kitty takes notice of Anna’s appearance being even lovelier than she had ever anticipated Anna could be (Tolstoy, 79). It is then that she realizes Anna stands out not because of what she wears or looks like, but because of her own internal fire (Tolstoy, 79). She is asked to dance by an officer and Vronsky but initially chooses the officer (Tolstoy, 79). It is incredibly clear she did this to not only refuse Vronsky’s advance, but to also make him jealous which in turn only makes his desire for her stronger as she intended. Kitty looks lovingly at Vronsky in attempt to get his attention and he does not respond, indicating he does not return the same feelings she feels towards him (Tolstoy, 80). They dance several dances together and Kitty refuses invitations from other suitors for the final and most important mazurka only for Vronsky to reserve it for Anna. This dance cements the dissolution of Kitty’s once perceived future with Vronsky as well as a changed perspective in Anna (Tolstoy, 83). Where she once perceived Anna as enchanting and admirable, she now perceives her charm as “terrible” and “cruel” (Tolstoy, 83). The ending of the ball serves as the catalyst for the central two relationships Tolstoy spends the remainder of the novel contrasting; Anna and Vronsky with Kitty and Levin.
The relationships and their nature
Anna and Vronsky (I-IV)
After the events of the ball, the attraction and pull between Vronsky and Anna only increases. Though she is married, Anna can’t help but feel pleasure at the thought of Vronsky falling for her as mentioned by Dolly (Tolstoy, 98). Though she likes the idea of Vronsky liking her, very little is shown of her liking him at this stage in their courtship. She allows him to further pursue her with him even going as far as following her on the train home to St. Petersburg. During a brief stop onto the platform during a blizzard on the route home, it is revealed that Anna has (unsuccessfully) sworn to herself to never think of Vronsky again, but when Vronsky emerges on the platform she cannot help but feel joy and pride at the sight and thought of him (Tolstoy, 102). He confesses his love and dedication to Anna and soon after he states that the impression Anna had on him made gave him “happiness and pride” (Tolstoy, 104). This is yet another instance of Vronsky placing lots of emotional weight on how others act in reaction to him, not to him as an individual. He also feels an “unquestionable right to love” Anna despite her being married with a son (Tolstoy, 105). From this point on in the novel, Tolstoy places more and more emphasis on the dangers of romantic idealization through the consequences Vronsky, and more seriously Anna, face from Russian society as a result of their tactless behavior with their affair. The second part of the novel works to provide emphasis on the degree of intensity of Vronsky and Anna’s illicit affair. In chapter four, we see Anna changing social circles to be more likely to run into Vronsky and with every interaction, their behavior escalates. Anna initially believed herself to be upset with Vronsky’s rash declaration of love for her, but afterwords, she felt his interest of her “constituted the entire interest of her life,”(Tolstoy, 128). Again, Anna shows that she has little interest in Vronsky himself, but rather interest in how he could make her feel and the things he would do to her. The public behavior displayed between Anna and Vronsky comes to be socially unacceptable beginning at Princess Betsy’s house where they withdraw to a private conversation despite Karenin (Anna’s husband) being present (Tolstoy, 135). From this point on the two are rash and indiscreet about their relationship and affair.
They consummate their relationship (revealed through heavily coded language) and the affair becomes common knowledge in Petersburg society and eventually Anna is forced to confess her feelings for Vronsky to Karenin, due to her pregnancy and display of behavior at the horse races, to which he demands she remain more tactful until he can protect himself, presumably through a divorce (Tolstoy, 213). In part three, Karenin thinks of how he can best preserve his honorable reputation and demands a divorce to which Vronsky is excited (Tolstoy, 287). Anna is hesitant and even goes as far as as revealing that when she thought of Vronsky, she imagined he did not love her, felt like she was a burden, and that she could not fully be his (Tolstoy, 288). At the end of part three, Anna states that at this point, all she had left for her was Vronsky’s love and that she “wanted” to love him (Tolstoy, 316). Vronsky and her were thinking of how to best move forward and if Karenin would grant Anna a divorce, but it appears to be helpless to Anna as she is clearly not even sure she loves him. Part four of the novel begins with the Karenin’s living like strangers within the home they share together and Vronsky walking in to the house to see Anna where he runs in to Karenin (Tolstoy, 356). After this, a pregnant Anna held a long and searching look at Vronsky and “as at every meeting, she was bringing together her imaginary idea of him (an incomparably better one, impossible in reality) with him as he was,” (Tolstoy, 357). Meanwhile, Vronsky finds her increasingly less attractive the more pregnant and jealous behavior she shows (Tolstoy, 358). Whether or not there is love between the two is undeniable, but the motives are surely skewed and their love is not pure and true as Kitty and Levin’s is at this point in the story, nor will is it capable of being. The very foundation and core of their relationship is consisting of their attraction to the others physical self, nor is there ever an equal distribution of power. This leads to immense insecurity from Anna and flighty behavior from Vronsky as the novel progresses.
After the Oblonsky’s dinner party, Karenin receives a teller’s from Anna proclaiming she is dying and rushes to find her very ill from giving birth to Vronsky’s illegitimate child (Tolstoy, 409). Karenin only offers sympathy and grace to Anna during this time and his nobility devastates Vronsky as he knows he is incapable of doing such a thing as Karenin has and he even goes as far as attempting suicide (Tolstoy, 417). Anna slowly recovers and Karenin takes custody of the child and even goes as far as considering taking responsibility for the divorce (Tolstoy, 432). Despite this, Anna rejects Karen’s offer and her and Vronsky decide to run off and live in the Italian countryside together (Tolstoy, 435).
Levin and Kitty (I-IV)
As a result of the behavior exhibited at the ball by both Vronsky and Anna, Kitty has beached so emotionally distraught it has made her physically ill to the point that doctors cannot figure out a source (Tolstoy, 117). Her family decides tot take her to a spa in Germany when her symptoms do not improve (Tolstoy, 120). Meanwhile, Levin returns to his land prepares for spring and tries to distract himself from thoughts of Kitty as he feels embarrassed over his failed proposal. It is not until part three when Levin sees Kitty passing by in a nearby carriage and he realizes that he still loves her (Tolstoy, 277). Part four of the novel contains a dinner at the Oblonsky’s where Kitty and Levin have their own private conversation leading to a successful marriage proposal from Levin (Tolstoy,404). Though Levin is overjoyed at his new future with Kitty, he is tortured by the fact that Kitty does not know he is a virgin and that he does not believe in God (Tolstoy, 408). To be completely honest with her, Levin gives her his diaries and despite her sorrow at its contents, she accepts him anyways (Tolstoy, 408). In allowing her to read his diaries, Levin allows Kitty to see him in a completely raw state almost as if to test whether or not she would run or stay at this opportunity. Her reaction horrifies him and confirms his biased views of her being holy and unobtainable due to her perfection and his lack there-of. His successful proposal and her complete acceptance of him after reading his diaries catapults Levin into the path for righteousness, just as Tolstoy intended. When comparing their relationship with Anna and Vronskys at this point in the novel (they’ve just left Russia for Italy), it is apparent that their relationship is the superior one due to its purity and slow-burn nature. Their true love and commitment to the other reigns supreme eland superior to the unobtainable and unreliable fantasies of love and satisfaction from Anna and Vronsky. Like Anna and Vronsky, Levi and Kitty still have lots to learn and experience but their dedication and honesty is admirable.
Anna and Vronsky (V-VII)
After traveling in Italy for three months, Vronsky takes up painting and begins a portrait of Anna (Tolstoy, 461). Anna feels blissfully happy in Italy as she feels she has regained her sense of normal self (Tolstoy, 464). She also feels insecure in regards to Vronsky and has been insisting she never leave his side (Tolstoy, 464). Meanwhile, Vronsky comes to the realization that despite having everything he’s wanted, he was not fully happy (Tolstoy, 465). He feels trapped and uses painting to distract himself from his true emotional distress (Tolstoy, 465). Their relationship peaked when they left for Italy and is now on the start of its downfall. Anna is incredibly insecure about her appearance and does everything she can to prevent Vronsky from leading astray from her with her even going as far as spoiling her daughters nanny (Tolstoy, 467).
When their friend, Golenishchev, introduces them to a famous painter named Mikhailov, he also paints a portrait of Anna (Tolstoy,477). Upon seeing this portrait, Vronsky states he cannot comprehend obtaining that level of talent nor can he consider himself one so he stops painting all together (Tolstoy, 479). He has a “coming-to” moment at the end of this chapter and he and Anna decide to return to Russia , for her to see her son and for him to deal with business matters (Tolstoy, 479).
Once they’ve returned to Petersburg, Anna sends message to Karenin to see her son to which he ultimately refuses (Tolstoy, 514). This leads to Anna sneaking in to the house to see Seryozha and once she returns to her hotel and daughter, she realizes how lonely and unhappy she is (Tolstoy, 538). She remembers the cause of her grief, Vronsky, then realizes she had gone all day without thinking of him (Tolstoy, 539). Once she does think of him, she feels an “unexpected” surge of love for him (Tolstoy, 539). This is yet another instance of Anna and Vronsky’s almost conditional love. Unlike Kitty and Levin who are constantly concerned with the other, Anna and Vronsky have other priorities. Within this section Anna also states she is in a constant state of despair because she feels he does not love her anymore and in effort to keep him interested she has become obsessive with maintaining her appearance (Tolstoy, 539). Meanwhile, Vronsky has does rounds within St. Petersburgs social circles and is assured that Anna is officially a social outcast (Tolstoy, 541). From this point forward, Anna feels contracted to her rooms and acts out by committing social suicide and attends the opera where she is publicly humiliated (Tolstoy, 546). This leads to Vronsky consoling her with arrogance of his love and dedication and the two decide to leave for the countryside (Tolstoy, 549). This section of the novel further emphasizes the downfall of Vronsky and Anna’s relationship.
Part six of the novel shows Dolly visiting Anna in her and Vronsky’s countryside estate where she is quickly able to notice the underlying turmoil being experiences by both Anna and Vronsky and hints it to Anna when she states “…and when you love someone, you love the whole person, as they are, and not as you’d like them to be,” (Tolstoy, 614). Dolly has noticed not only how vain Anna has become, but the cracks within her and Vronsky’s relationship also begin to show to Dolly as her visit progresses. In chapter twenty-two, there is a formal dinner at Vronsky’s estate and Dolly notices more tension is shown between him and Anna (Tolstoy, 633). She also is quick to notice how much of the estate being ran is in Vronsky’s control rather than Anna’s. Where Anna is the physical face and representation of the scheme, Vronsky is the true one in control and power (Tolstoy,634). After the Dinner, Anna reveals to Dolly that she is purposely trying not to get pregnant in effort to keep Vronsky from finding her unattractive (Tolstoy, 638). Anna continues to be insecure within herself and her and Vronsky’s relationship and the power struggle between her and idealization continues. At the end of Part six, Anna baits Vronsky into leaving a political event early due to little Annie being sick just so she can keep a closer eye on him (Tolstoy, 666). She demands he not live apart from her and the couple move to Moscow together like a married couple (Tolstoy, 669).
Part seven of the novel contains Anna’s suicide. In chapter twenty-three, the narrator begins will depicting the immense level of imbalance and agony within the relationship of Anna and Vronsky (Tolstoy, 739). Neither of them wish to continue living in Moscow, yet they continue to do so because of a communication issue. Their relationship grows more sour by the day and as does Anna’s jealousy and possessiveness (Tolstoy, 745). Vronsky claims to love her as he typically does, but Anna’s lost in insecurity and idealistic expectations and goes mad (Tolstoy, 757). The following few chapters mainly take place within Anna’s stream of consciousness and depict her final hours. She becomes desperate to find Vronsky and leaves for the train station to his mothers estate to confront him, his mother, and Princess Sorokin (Tolstoy, 762). During the carriage ride to the station, Anna is in an incredibly unwell mental state and decides to punish Vronsky and be “rid of everybody” and herself by throwing herself onto the train tracks (Tolstoy, 768). Anna’s immense mental fragility caused by consequences of her affair, is ultimately is what leads to her death. Despite being a vivacious and bright woman, her idealistic expectations of Vronsky and their relationship drive her to repeatedly be disappointed and dissatisfied. She waits for the oncoming train and begs God for forgiveness before the train rushes over her (Tolstoy, 768).
Levin and Kitty (V-VII)
Part five of the novel begins with the whirlwind of preparations that must ensue for Kitty and Levins wedding. Levin firmly believes that there is nothing to ben anxious about considering that his future was now about to be “wonderful” (Tolstoy, 437). Both Levin and Kitty are overjoyed on their wedding day, but after three months of marriage, Levin catches word of his brother, Nikolai, being ill and on the verge of death in Moscow (Tolstoy, 487). Kitty insists in gong along with him and their marriage is made stronger by her warm and comforting nature she displays to his brothers in his final days of life (Tolstoy, 493). Kitty and Nikolai develop a special bond as she becomes his primary caretaker and in response to this, Levin is able to see his wife in a brand new light (Tolstoy, 504). Where he first saw her a a virginal, all-holy being, he now is finally capable of seeing her in a more realistic light as just Kitty. Levin states that He felt that some saved him from despair and that under the threat of despair this love was becoming still stronger and purer,” (Tolstoy, 505). His and Kitty’s love and marriage was strengthened by their experience of taking care of Nikolai and bonding over their shared loss of him. Soon after his death it is revealed Kitty is pregnant.
Levin experiences jealousy in part six when a handsome guest at his house shows attraction to Kitty (Tolstoy, 570). Veslovsky’s arrive at the residence triggers Levins jealousy and he projects his insecurities onto him as it appears as though he reminds him of the Vronsky and Kitty situation in part I of the novel. In chapter seven, Kitty inquires about Levin’s behavior and his emotions comes flooding out, after which the two reconcile (Tolstoy, 574). The conversation had between Kitty and Levin during this chapter illustrates not only their ability to communicate efficiently, but also showcases a strong contrasts between them and Anna and Vronsky’s relationship. Where Anna has jealous outbursts and Vronsky’s comforts her, she never feels true relief from their conversation afterwords as the cycle repeats.
Part seven of the novel marks a three month anniversary of the Levin’s living inn Moscow (Tolstoy, 671). Kitty and Levins relationship is incredibly fulfilling for them both and Kitty is due any day to give birth to their child (Tolstoy, 671). While out with her father, Kitty and him run into Vronsky to which she meets with cool familiarity, but without interest (Tolstoy, 672). She tells Levin, and he has an emotional reaction, but soon after decides he has no reason to be jealous and will greet Vronsky with kindness the next time he sees him, marking immense personal growth on Levin’s behalf (Tolstoy, 674). When Levin and Anna meet, he is at first enamored and Kitty herself is then jealous claiming Anna “bewitched” Levin (Tolstoy, 703). In response to this, Levin takes the time to reassure Kitty of his love and their future (Tolstoy, 703).
Soon after, Kitty goes into labour and during this process, Levin begins to see Kitty in entirely new light (Tolstoy, 707). Despite claiming himself to being an unbeliever, Levin begins prating during Kitty’s time of need, just as he did when’s brother was dying (Tolstoy, 713). This marks a big turning point in Levins character arc as he fully comes to terms with his spiritual beliefs on life and security. Kitty gives birth to a healthy baby boy after nearly a full day of labour and both parents bond is stronger than it has ever been (Tolstoy, 716). Their joy is so profound, it takes Levin much time to regain solidarity within reality.
Vronsky, Levin, and Kitty (VIII)
The final section of the novel occurs two months after Anna’s death. Tolstoy begins the final part of the novel with life having moved on after Anna’s death. Sergei Ivanovich, Levin’s half brother, decides to visit Levin in the country for some much needed rest after finishing his book and is joined by Levin’s friend, Katavasov (Tolstoy, 772). Sergei notices that Vronsky is amongst the volunteers supporting the Slavic movement on the platform with them (Tolstoy, 779). During a train stop, Sergei runs into Vronsky’s mother who reveals Vronsky’s reaction to Anna’s death (Tolstoy, 777). According to the Countess, Vronsky did not speak for six weeks, refused to eat, and was on suicide watch (Tolstoy, 778). His daughter he shared with Anna is now being raised under Karenin and he no longer has any physical ties left to Anna to hang onto and thus throws himself into the Slavic movement (Tolstoy, 779). When Sergei later runs into him on the trip, he realizes how broken and ruined Vronsky is with him describing himself as a “wreck” (Tolstoy, 780). The final scene of Vronsky in the novel is him fighting a visual of Anna’s dead body on the tracks and attempting to regain control with himself during a conversation with Sergei (Tolstoy, 781). Annas death indeed has the emotional impact on Vronsky she’d planned and hoped for, but at the cost of Vronsky’s heart and her own life. In the end, no one benefited from the affair and the ones involved were the ones who faced the most drastic of consequences.
Meanwhile at the Levin household, domestic bliss and efficiently occur. Kitty feels very in tune with her maternal instincts and Dolly and her children are living with her sister and Levin (Tolstoy, 782). During this time, Levin spends most of him time pondering the meaning of life and experiencing internal battles of the head and heart as he reflects consistently on his brothers death (Tolstoy, 785). Levin becomes so tormented he considers suicide but unlike Anna does not follow through in thinking of how his death would affect others (Tolstoy, 787). He later watches the presents struggle working his farm and talks with a peasant who tells him one must live for the soul and this is Levins “eureka” moment (Tolstoy, 794). Living for the soul becomes the answer to Levin’s existential crisis and provides the peace for his soul that he so aggressively craved. A thunderstorm later occurs and Levin discovers from the maid, to his horror, that Kitty has taken the baby into the woods and when searching for them, lightning strikes and casts down a tree in front of him (Tolstoy, 811). He finds them a moment later and the experience renews his faith in God and the future (Tolstoy, 812). As the storm fades away, Levin comes to terms with the idea of letting God take control of ones path and as he goes to tell Kitty he realizes it is his own secret to keep and that his life is unquestionably good (Tolstoy, 817).
Conclusion
Throughout the course of Anna Karenina, Leo Tolstoy punishes those who practice romantic idealism and praises those who practice humility and honesty within their relationships. At the start of the story, Anna and her lover believe that their actions have no consequences and that running away together will provide the secret of happiness for them. Tolstoy disputes this: Anna has to come to terms with the consequences of her actions from a societal standpoint and Vronsky begins to lose interest in her. Meanwhile in contrast, Kitty and Levin have a pure, honest, and consistent love story as they are physical representations of people who do value family and loyalty. Anna and Vronsky consistently fought for power within their relationship whereas Levin and Kitty shared it. Tolstoy’s emphasis on family and love remains the focal point of the novel and its epigraph remains applicable: “Vengeance is mine; I will repay,”.
