Anna Karenina Summary and Analysis of Part Seven
Part Seven Summary:
As this portion of the novel opens, the Levins have been in Moscow for over two months. Kitty's child is past due, to the alarm and concern of everyone except Kitty. The relationship between Levin and Kitty is improving; they rarely argue once they get to Moscow. While visiting a family friend, Kitty and her father meet Vronsky. Kitty impresses herself by treating him calmly and civilly, but without interest. Levin is far more upset, though he manages to calm himself and decides that he will treat Vronsky with kindness the next time he sees him, now that he has no reason to be jealous.
As always, Levin is uncomfortable in the city. He is annoyed at the large, seemingly frivolous expenses that come with living in an urban center. He finds it difficult to work on his agricultural theory book and is awkward when it comes to making social calls. He renews his friendship with old University friends like Katavasov and meets new intellectuals, like Metrov. He visits with Kitty's family, including her sister, Nataly, whom he escorts to a concert. During a particularly awkward visit to the Bols family, he meets Oblonsky, who sweeps him away with typical charm. Under Oblonsky's influence, Levin not only makes peace with Vronsky but also agrees to visit Anna, whom he has never met.
Relations between Anna and Vronsky continue to sour. Anna grows more jealous, and Vronsky goes colder and more distant. Vronsky spends more time out of the house, and his mother encourages him to marry the young Princess Sorokin. Anna wishes to move back to the country, where bachelor temptations will not be so great. Vronsky agrees, but does not wish to leave right away. He is expected to pay a visit to his mother the next day. At this news, Anna's jealousy sparks. She suspects his mother is attempting to arrange a marriage between Vronsky and Princess Sorokin; her fury provokes another devastating fight. They quarrel that night and then again the next morning; Vronsky leaves in disgust. Anna takes a dose of morphia and writes Vronsky a note begging his forgiveness and pleading with him to return at once. Then, despairing, she goes to visit Dolly.
The next several chapters take place mostly in Anna's head. She goes to see Dolly, but Kitty is there. The two sisters react to Anna awkwardly, and they have little to talk about. Anna does not have the opportunity to have her talk with Dolly. She leaves and returns home, where she finds everything and everyone repulsive. Desperate to see Vronsky, she leaves for the Nizhni train station. She hopes to catch a train out to his mother's estate and confront all three of themVronsky, his mother, and the Princess Sorokin.
On the way to the train station, Anna is in a terrifying mental state. To her, everything is despicable and the world is full of ugliness, misery and hate. She reviles the people in the station and on the train. A couple who sits across from her on the train seem to be false and ridiculous; a little girl on the platform is full of grimaces and vulgarity. Overwhelmed, she gets off the train after one stop. She runs into Vronsky's coachman, who gives her a cold note from Vronsky. Insane with misery, she wanders along the platform. Suddenly, she remembers the porter who died the first day she met Vronsky, and decides what she must do. She descends onto the tracks and waits for the oncoming train. She begs God for forgiveness, and then looks up--her last vision is of the dirty peasant from her dream.
Part Seven Analysis:
The noveland Tolstoy's narrative brilliancecome to full fruition in Part Seven. This section contrasts birth and death and makes a remark on the type of relationship which will foster the former rather than the latter.
The section begins with Levin in Moscow. Tolstoy takes advantage of his narrator to remark on urban society once again: under Levin's gaze it seems corrupt and costly. Levin's brush with Moscow degenerates him briefly. He drinks and becomes infatuated with a sensuous woman. Fortunately, thanks to his strong attachment to the country, his love for Kitty, and his own good sense, he has the wisdom to shake off these influences. Though temporarily taken by Anna, he recognizes the goodness of Kitty and manages to shake loose of her spell. His growing Christian consciousness will come to a head later on in the section, but he manages to shake loose of Anna's admittedly strong charm because of his own recognition that passionate attachments without concern for God are wrong. He is rewarded for this with lifea son. Anna, meanwhile, as a consequence for her behavior, spirals lower and lower into madness and death.
Many critics have speculated on the potential of a Levin-Anna relationship. The possibilities are intriguing, because of all the characters in the book, Levin comes closest to equalling Anna in terms of passion. There is evidence that he would be most likely to understand Anna's tremendous vitality and complex personality. For example, the first scene in which Levin sees Annaand it is important that he does not see her at first, but her portraithe recognizes with excitement that here is a remarkable woman. His ensuing conversation with her underlines his first impression, and he is charmed as much by Anna herself as the prospect of meeting someone with similar depths of emotion and feeling.
Unfortunately, Anna is too far-gone by this point in the book to possibly sustain the idea of a relationship with Levin. Devoured by jealousy and paranoid about losing Vronsky's love, she is completely unaware of anyone or anything that she is doing. What she is doing, in fact, is sabotaging herself, a fact she realizes but is unable to resist. Again she dreams of the peasant on the railroad tracks, another premonition of her death.
After Levin's visit, the contrasts between the two relationships become clear. He experiences genuine contrition for his behavior towards Anna in contrast with Vronsky's hostile acquiescence to Anna's demands. Levin and Kitty honestly discuss their problems and jealousies rather than allowing them to fester. And in a striking portrayal of choosing life rather than death, Levin finds God while the Vronskys continue their death dance.
The one bright spot in this book is the birth of the Levins' child. The birth of his son sparks a religious breakthrough in Levinan epiphany. He considers the inevitability of death while he waits anxiously for the birth, thinking of his brother Nicholas, and yet he finds, in prayer, something to live for. The birth of his son gives him an even stronger reason to believe in the goodness of God. Though Tolstoy fell out with the Greek Orthodox Church, he believed that God was the answer to the type of carnal excess and groundless passions found in a relationship like the Vronskys'. Levin's breakthrough represents a serious stage in his personal growth. From here on, he will no longer look for the answer to his doubts in his relationship with Kitty or in other worldly matters. It is this belief, Tolstoy maintains, that makes his long-term relationship with Kitty successful where Vronsky's relationship with Anna has failed.
The chapters leading up to Anna's suicide take the reader straight into Anna's head. Tolstoy powerfully prefigures 20th-century modernist techniques with these chapters, which are practically stream-of-consciousness. We follow Anna into her final descent, and the path is terrifying. She is completely dislocated from reality. The ugliness of her relationship, her deeds, and her behavior all crush Anna as she runs frantically around Petersburg. The entire world has become ugly, and the only thing Anna can think of is to end the filth and misery by killing herself. That she commits suicide in part to punish Vronsky is unquestionable; that she does it to punish herself is equally true, though not as apparent. Two things that were used earlier in the novel to foreshadow her suicide both appear: her memory of the murdered porter and her vision of the dirty peasant. And yet, even at the end, we can never completely condemn Anna; she is too fully a character in our imaginations. The fact that her last thought is a prayer proves that Tolstoy has not abandoned her either.
Although Tolstoy intended to have a strong Christian message underlying Anna Kareninaa_, he did not blindly believe in every form of Christian religion. The Landau episode satirizes overblown postures of Christian belief. Landau is another merciless jab at Countess Lydia courtesy of Tolstoy. It also serves to show how fall Karenin has fallen. Once decisive and calculating, he has turned to the services of a French mystic for advice on how to handle his wife. His decline is almost as severe as Anna's.