
Painting by Heinrich Matvejevich Maniser, 1904.
More musings on the first 25 pages of Anna Karenina:
Tolstoy gives us the good and bad in Stepan. First we learn that he has no opinions of his own – only those that are fashionable. He’s not interested in science, art or politics – sees the aim of civilization as one of making everything an entertainment ; and he doesn’t much like married life because it forces him to lie and pretend – which is against his nature. He’s unable to resist the sweet fragrances. In a chilling sentence (pg.8 ) we find that he loves his son less than he does his daughter, and that the son knows it.
On the flip side, he has "large, sprawling, handsome and clear handwriting," and enjoys the respect and affection of all who deal with him, because of his "kind, cheerful temper and unquestionable honesty." He indulges people because of an awareness of his own shortcomings, and treats everyone in a perfectly equal, identical way. His laughter is confident and good natured, the opposite of his friend Levin’s
Dolly, Stepan’s wife, keeps pretending she is going to leave, even though this is "impossible", largely because she can’t get out of the habit of loving him, or considering him her husband. I imagine this is how many wives feel after they learn of their husbands’ infidelities. Just as men’s identities tend terribly to be wrapped up in their work, so, at least in 18th century Russia, women defined themselves through their husbands and families. Her immediate reaction – because of an unfaithful "moment" – is to see Stepan as a stranger who never loved her, and now only pities her. "You never loved me"
Page 23 sees, in elegant Tolstoyean fashion, the introduction of a profound puzzle: how to unite scientific conclusions about "the animal origin of man, about relexes, biology and sociology" with metaphysical considerations of the meaning of life and death. How to justify the notion that the external world stems from sense impressions when the concept of ‘being’ itself is not received through the senses. How to deal with the logic that says: if the senses are destroyed, if the body dies, there can be no further existence? Levin poses these questions to the professor in the room (one who, according to L, looks more like a barge hauler!) – only to hear that we ‘have no data.’
From about page 27 onward we get some beautiful descriptive passages telling of Levin’s passionate, romantic love for Kitty, her ‘meek, calm truthful eyes’, her smile, her ‘mystery’:
"He knew she was there by the joy and fear that overwhelmed his heart."
"He stepped down, trying not to look long at her, as if she was the sun, yet he saw her, like the sun, even without looking."
Love is an external force that has taken hold of him. Kitty unfortunately, loves him only ‘as a ‘brother.’ As much, I’d say, of a let down as when a women tells you that she’s interested only in being your friend – just as devastating.
Blushing - I first came across this emphasis in Dostoevsky, where he referred a young man "blushing to the roots of his hair." I found it amusing back then. Here I find it a bit over done. I assume the aim is to convey how very sensitive we, and these, humans are?
Killer quote: Stepan to Levin:
"You have a wholesome character and you want all of life to be made up of wholesome phenomena, but that doesn’t happen. So you despise the activity of public service because you want things always to correspond to their aim, and that doesn’t happen. You also want the activity of the individual man always to have an aim, that love and family life always be one. And that doesn’t happen. All the variety, all the charm, all the beauty in life are made up of light and shade. "
Great descriptive: "She was a dry yellow woman, sickly and nervous, with black shining eyes." Extending a ‘tiny yellow hand.’
By simply dabbing a colour on her, using one word, Tolstoy imparts so much more than detailed description can
Incoming search terms: