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Anastasia Hale

Dr. Klein

12 AP English

May 8, 2016

Complex Family Life and The Continuity of Human Existence

Often times individuals look over the ordinary events in life, searching for a greater

meaning that cannot necessarily be found. Russian author Leo Tolstoy was notorious for using

these concepts of the simple occurrences in life to portray his overarching vision of humanity.

Tolstoy was born on August 28, 1828 in Yasnaya Polyana, a Russian city about one-hundred and

thirty miles southwest of Moscow. A young man familiar with lifes horrors, Tolstoy

continuously searched to find the aim of human existence. His fiction, mainly autobiographical,

reflects this quest (Rowe). During the span of Tolstoys life the backwards Russian agricultural

economy was undergoing significant change, and many radicals were challenging the once

powerful czars in order to assist Russias advancement as a modern democratic nation. Despite

vast attempts, most reformers failed in their plans to change the face of Russia, and a majority of

the wealth remained in the hands of a few aristocratic families, contrasting the progression of

Europe with the static Russian economy. Leo Tolstoys epic novel Anna Karenina reflects upon

this struggle and utilizes dynamic characters to illustrate the continuity of the human experience

in nineteenth-century Russia. Literary critics Leonard Kent and Nina Berberova portray this

concept in the introduction of the novel, noting, It is a novel built of everyday life Nothing

seems to escape Tolstoys vision; he focuses on the common incidents of life; how one sits, how

one eats... how one prepares for bed, how one sleeps (Kent and Berberova Xviii). Analyst R.P.

Blackmur holds a slightly different viewpoint, arguing, He exposes his created men and women
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to the terrible ambiguity of an immediate experience and then expresses their reactions and

responses to that experience (Blackmur 2). In Leo Tolstoys Anna Karenina, symbolism, irony,

and foreshadowing reveal the complexity of family life and the reality of human existence in

nineteenth-century Russia.

Within the novel, various uses of symbolism work to highlight the role of the family and

other social complexities during the time period. For example, Annas sister in law, Dolly,

embodies characteristics of family unity and forgiveness. After discovering her husbands affair,

the narrator describes Dolly as the stereotypical dependent wife, explaining, She, his Dolly,

forever fussing and worrying over household details, and limited in her ideas was sitting

perfectly still with the letter in her hand, looking at him with an expression of horror despair, and

indignation (Tolstoy 4). Dolly, afraid of pulling apart at the fabric of her family, forgives her

husband, revealing the submissiveness of women in nineteenth-century Russia. In addition,

Dolly serves as the matchmaker in the novel, highlighting her motherly and compassionate

manner, a trait valued by many men and women in that time period. Literary critics Garrard and

Garrard agree, arguing, Dolly becomes the bearer of the novels central message, the absolute

and decisive need to forgive, just as she serves as the matrix of its major plot lines (Garrard and

Garrard 1).

In addition to Dolly, Annas constant packing symbolizes her frustration with her

negative position in society. Anna, a once powerful and influential woman, succumbs to the

pressures of Vronsky and remains faithful to him instead of her husband. After a magnanimous

fight with Vronsky, Tolstoy announces Annas final departure, describing, She gave orders for

the other horses to be harnessed, and packed in a valise the things needed for a few days. She

knew she would never come back here again (Tolstoy 791). Annas packing symbolizes her
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frustration with how others view her, and the last sentence of the quote foreshadows her eerie

fate. The packing itself introduces the motif that Anna will carry through the rest of the novel.

Ceaselessly she packs and unpacks, first to leave Karenin, then Vronsky-- an objective

correlative of her frustration at failing to resolve her anomalous position (Garrard and Garrard

1). Adultery in Russia then and now has been viewed by many as an abhorrent action by a

women, yet an admirable one by man. Annas packing underscores this concept, relating her

woeful situation to that of many other Russian women.

What is more, a flickering candle, also associated with Anna, symbolizes her death.

Literary critic Simmons, introduces the concept, stating, To some, the symbolic effects may

seem too obvious, as in the case of the candle whose light, before Annas suicide, helped her to

read the book of her life and then wavered and went out forever (Simmons 92). The night

before her suicide, Tolstoy describes Annas actions while contemplating her life, noting, She

lay in bed with open eyes, by the light of a single burned-down candle suddenly the shadow of

the screen wavered but then with a fresh swiftness they darted forward and all was darkness.

Death, she thought (Tolstoy 781). The candle reveals Annas despair and dissatisfaction with

her life. Annas mistreatment by those of the upper class ruins her and causes her internal light

to quickly burn out. Also, her separation from her son, as was the case during her affair, leads

Anna to harp on her guilt and contrasts her stark lonely life with that of a large bustling family,

such as Dollys.

Along with symbols reflecting upon Anna and Dolly, the railroad, a main point of action

in the novel, symbolizes death and the power of public opinion. Before Annas ghastly suicide,

she picks a place on the platform to jump, explaining, There, she said to herself, looking in the

shadow of the truck at the mixture of sand and coal dust which covered the ties. There in the
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very middle, and I shall punish him and escape from everyone and myself (Tolstoy 798). For

Anna, the railroad marks her beginning and end in the story, leading to her initial ruin when she

first meets Vronsky, and her ultimate death. Literary critic Jahn agrees, arguing, The railroad

has been variously described as signifying death, illicit passion, upper-class society, and the

power of public opinion, as well as the brute intrusion of the modern into a traditional way of

life (Jahn 318). The railroad reveals the impact that societal attitudes had on citizens of Russia

who did not fit the standard class and family mold, and It is also true that the railroad

symbolizes forces harmful to the traditional style of life (Jahn 318). Instead of being praised for

leaving her husband whom she did not love, Anna suffers humiliation, caused in effect by the

strict opinions of the bourgeois.

In addition to symbolism, irony also plays a role in highlighting the complexity of family

life and the reality of human existence in nineteenth-century Russia. For example, Critics have

frequently noted the irony in the fact that in seeking to save a marraige, Anna is attracted to

Vronsky at the station and eventually destroys her own (Rowe 64). As Anna discusses her

remorse with Dolly, Tolstoy outlines Annas feelings, stating, She was not merely doubting

herself, she felt emotion at the thought of Vronsky, and was going away sooner than she has

meant simply to avoid seeing him (Tolstoy 105). Instead of merely convincing Dolly to forgive

Stiva, Anna must also convince herself to leave in hopes of forgetting her feelings towards

Vronsky. Annas feelings and the ironic nature in which she obtains them underscore the

complex nature of family structure in Russia in that time period as well as the continuity of

human life and emotion that has prevailed throughout the centuries. When fixated in a marriage

without love or feeling, it becomes easy for one to fall under the influence of someone else.
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In tandem with the irony of Annas ruined marriage, Annas advice to Dolly asking her to

forgive her husband proves ironic because Anna herself cannot forgive her husband or Vronsky.

When speaking to Dolly about Stivas infidelity, Anna exclaims, But Dolly darling, I fully

realize your sufferings, only there is one thing I dont know I dont know how much love there

still is in your heart for him. That you know - whether there is enough for you to be able to

forgive him. If there is, forgive him! (Tolstoy 75). Anna convinces Dolly to forgive Stiva

through feigned conversation, but Anna herself cannot forgive Vronsky, and she takes revenge

upon him (Garrard and Garrard 1). The irony of Annas advice sets up the contrast between two

types of women and two types of families in nineteenth-century Russia, the loyal wife devoted to

her husband versus the passionate women looking purely for wild love. Instead of heeding her

own guidance and attempting to fix the troubles between her and her lover, Anna instead

commits suicide, emphasizing the detrimental effects of societal opinions on Annas

unconventional and seemingly youthful lifestyle.

Equally important as Annas ironic advice, Tolstoy initially portrays Vronsky as a war

hero, but in actuality Vronsky proves to be very weak. Vronskys vision as a hero is ironic. His

baldness is mentioned many times, and he leaves for war with an aching tooth that destroys his

image as an ideal male (Kent and Berberova XX). The heroic interpretation of Vronsky at the

beginning of the novel juxtaposed with his demise at the end reveals the harsh nature of living a

life unapproved of by not only society but also family members. Additionally, after Annas near

death during childbirth, Vronsky attempts to kill himself, but fails, exclaiming, Idiotic!

Missed! He said, fumbling for the revolver. The revolver was close to him - he searched further

away and not being strong enough to keep his balance, her fell over, streaming with blood

(Tolstoy 439). Vronskys weakness despite his valiant reputation reveals the common nature of
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human flaws. Literary critics Kent and Berberova note the irony in this concept, stating,

Slightly comic, Vronsky is a soldier who cannot kill himself even though he points the gun to

his chest and fires (Kent and Berberova XX). Because Vronsky increasingly exhausts his heroic

vision, irony assists in underscoring the reality and truth of human existence as well as the harsh

realities of an imperfect family life.

By the same token, various times throughout the novel, Kitty considers the question of

womens rights, but when brought up the topic does not interest her. Critics note the irony in this

detachment, stating, What was being said of the rights and education of women should have

interested Kitty. How often had she considered the question But now it did not interest her in

the least (Gordon 165). During a dinner in which the men debate the role of women, Tolstoy

notes Kittys lack of attentiveness, explaining, How often she had wondered about herself and

what would become of her is she did not marry But it did not interest her at all. She and Levin

had a conversation of their own, yet not a conversation, but a sort of mysterious communication,

which brought them every moment nearer (Tolstoy 411). Kittys disinterest with her own

figurative liberation proves ironic, but Kittys conversation with Levin after the fact reveals the

influence of men and patriarchy on Russian women in the nineteenth-century as well as the

significance of marriage and family life. Kittys preference to being married rather than being

independent also brings light to the pressure put on young women to start families and leave their

childhood homes. In the end, the views held by society prove most influential on decisions made

by young women as well as define a rigid outline of what is and what is not acceptable for

people to adhere to.

In addition to symbolism and irony, foreshadowing also assists in portraying the

complexity of family life and the reality of human existence in nineteenth-century Russia. For
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example, Nikolais death is foreshadowed in the almost catatonic cruelty of his attitude towards

the rescued prostitute who shares his life (Cook 122). Nikolai, a misunderstood outcast, suffers

from health problems and appoints a salvaged prostitute to help him with his daily needs. Marya,

the prostitute calmly scolds Nikolai, pleading, Enough, Nikolai Dmitrievich, said Marya

Nikolaevma, stretching out her plump bare are towards the decanter. Let it be! Dont insist! Ill

beat you! He shouted (Tolstoy 97). Nikolai, representative of the rising socialist viewpoint,

alludes to his own death when he verbally abuses the one person who shares his beliefs the most.

Through foreshadowing, different social views held by the lower income Russian class come to

focus, highlighting the vast array of public opinion and theory within Russia at the time.

Nikolais essential self deprivation also reflects Tolstoys more conservative nature, underscoring

his disapproval for the rising middle class.

Comparative to Nikolais fate, Vronskys arrival and appearance foreshadow the gradual

departure of Anna from her son. For instance, the first time Anna ever leaves her son, she

happens to come in contact with Vronsky and his mother. Tolstoy describes a situation in which

Vronsky's appearance distracts Anna from thoughts of Seryozha, saying, She kept coming back

in thought to her curly-headed Seryozha. She longed to look at his photograph and talk of him

Just as she was leaving the drawing room, a ring was heard in the hall Anna glancing down at

once recognized Vronsky, and a strange feeling of pleasure and at the same time of dread of

something stirred in her heart (Tolstoy 81). Vronsky constantly disrupts Annas ability to

cherish or worry about her son; whenever he speaks with Anna, Anna loses touch with Seryozha

even more, symbolizing the value that Anna places on romanticism rather than the traditional

family life. Literary critic Rowe provides a symbolic example of this, explaining, Much later,

Anna uses a photo of Vronsky to push out a photo of Seryozha from her album, symbolizing a
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shift of emphasis in her life (Rowe 82). Vronsky in essence represents the sinful distractions

faced by women, reflecting on the shaky nature of family unity. Instead of assisting Anna in her

times of emotional need, Vronsky instead pulls her further away from what she really needs to

stay sane, her beloved son.

Additionally, Seryozhas ability to predict Annas return also foreshadows her death. The

day before his mother returns, Seryozha asks his tutor about his birthday, questioning, Mikhail

Ivanych when is your birthday? He asked suddenly. Youd much better be thinking about your

work. Birthdays are of no importance to a rational being (Tolstoy 549). Seryozhas hopeful

premonitions about his birthday foreshadow his mothers return and reflect the unconditional

love felt by a child for his mother. Seryozhas ability to sense significant gravity about a crucial

event also reflects upon the positive nature of the conventional family, an opinion held by most

of society in nineteenth-century Russia. Literary critics also note the importance of this

foreshadowing, providing another example of Seryozhas predictions: In another subtle

reinforcement of this foreshadowing, instead of the word train Seryozha uses the term railroad

which connects his prophetic game with the ominous iron image in the lovers prophetic dream

(Rowe 78). Seryozhas addition to the foreshadowing of his mothers death reveals a main cause

of Annas madness, her separation from her son. If Anna kept hope about one day returning to

her son, her suicide may have been eliminated, and her weak connection to her family may have

been strengthened, ultimately relating to the theme of humanity's harsh reality and the altogether

complex nature of family life and values.

Finally, the death of a watchman and Vronskys horse also assist in foreshadowing Annas

suicide. When Tolstoy first introduces Anna, a tragic incident occurs in which the train crushes a

watchman. Stiva describes the situation, exclaiming, Oh if you had seen it, countess, said
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Stepan Arkadyevich. And his wife was there It was awful to see her!... She flung herself on

the body. They say he was the only support of an immense family. How awful! (Tolstoy 70).

Additionally, when Vronsky races his horse, he breaks her back without realizing it. Tolstoy

analyzes the scene, noting, The awkward movement Vronsky had made had broken her back.

But he understood that much later (Tolstoy 211). Moreover, both Anna and Vronsky have the

same dream of a peasant beating on an iron that also alludes to Annas death on the railroad

(Rowe 66). The accumulation of these tragic and seemingly random events throughout the play

account for the difficulty of life faced by Anna as well as the criticism of society towards women

engaging in affairs without consent of their husbands. Literary critics Garrard and Garrard agree

with this analysis, explaining, Vronskys rejection of Karenins forgiveness and his desperate

actions serve as omens for Anna herself (Garrard and Garrard 1). No matter how much Anna

trys, her actions can never be remedied, and she can never regain the love of her original family.

The fact that Annas fate continuously spirals more and more out of her control reveals the

influence of men and societal pressures over the life of women in nineteenth-century Russia.

Instead of seeking help and assurance, Annas only escape proves to be suicide, symbolizing the

negativity of public opinion and social construct during this time period. Annas brutal end also

highlights the entrapment women face when choosing between their own happiness and the

approval of their nuclear family.

Thus, in Leo Tolstoys Anna Karenina, symbolism, irony, and foreshadowing reveal the

complexity of family life and the reality of human existence in nineteenth-century Russia.

Through juxtapositions of literary devices and character foils Tolstoy emphasizes the concepts of

patience, silence, and ones secret self which are essential in interpreting the moral realm of the

characters (Melfi 1). Additionally, ironic events work to highlight the harsh judgments imposed
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by society as well as underscore challenges faced by those who dare to wander away from rigid

class and gender distinctions. Ultimately, The novel is a presentation of the author's vision of

humanity (Farrell 461), and Tolstoys ability to portray specific events in a lucid manner helps

readers to understand the struggles faced by those in nineteenth-century Russia.

Works Cited

Blackmur, R.P. The Dialectic of Incarnation: Tolstoys Anna Karenina. Tolstoy. Ed. Ralph

Matlaw. Englewood Cliffs: Prentice Hall, 1967. 127-145. Print.

Cook, Albert. The Moral Vision: Tolstoy. Tolstoy. Ed. Ralph Matlaw. Englewood Cliffs:

Prentice Hall, 1967. 111-126. Print.

Farrell, James. An Introduction to Anna Karenina. Literature and Morality. (1947): 296-304.

Rpt. in Twentieth-Century Literary Criticism. Ed. Sharon Hall. Vol. 4. Detroit:

Gale, 1981. 461-462. Print.

Garrard, John, and Carol Garrard. Casting the First Stone: Vengeance and Forgiveness in Anna

Karenina. Narrative Ironies. Ed. A. Prier and Gerald Gillespie. Amsterdam:

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Rodopi, 1997. 139-160. Rpt. in Twentieth-Century Literary Criticism. Ed. Kathy

D. Darrow. Vol. 260. Detroit: Gale, 2012. Literature Resource Center. Web. 10

Mar. 2016.

Gordon, Felicia. Legitimation and Irony in Tolstoy and Fontane. Leo Tolstoy. Ed. Harold

Bloom. Philadelphia: Chelsea House Publishers, 1974. 165-177. Print.

Jahn, Gary R. The Image of the Railroad in Anna Karenina. Slavic and East European

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D. Darrow and Russell Whitaker. Vol. 184. Detroit: Gale, 2007. Nineteenth-Century

Literary Criticism Online. Web. 10 Mar. 2016.

Kent, Leonard, and Nina Berberova. Introduction. Anna Karenina. By Leo Tolstoy. New York:

Random House, 1965. X-xxiii. Print.

Melfi, Mary Ann. Keeping Secrets in Anna Karenina. Journal of Evolutionary Psychology.

(2004): Literature Resource Center. Web. 22 Mar. 2016.

Rowe, William. Leo Tolstoy. Boston: Twayne Publishers, 1986. Print.

Simmons, Ernest. Introduction to Tolstoys Writings. Chicago and London: The University of

Chicago Press, 1968. Print.

Tolstoy, Leo. Anna Karenina. New York: Random House, 1965. Print.