Anna Karenina Study Guide
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Part Three, Chapter 32

Chapter Summary

Nikolay's initial gentleness quickly gives way to irritability, and he attacks Konstantin's agricultural reform plan, deliberately conflating it with communism. The brothers argue bitterly: Nikolay charges Konstantin with vanity and intellectual borrowing, while Konstantin struggles to articulate his vision of scientifically organized labor. Unable to speak honestly — Konstantin cannot say 'you're dying' and Nikolay cannot say 'I'm afraid' — they communicate only in falsehood and recrimination until Nikolay announces he is leaving.

At parting, Nikolay kisses Konstantin and says, with a trembling voice, 'Anyway, don't remember evil against me, Kostya!' — the only sincere words exchanged. Levin weeps, understanding this may be their last meeting. Three days later, Levin departs on a foreign tour. On the train he meets Shtcherbatsky and confesses he feels close to death, clinging to his work as the sole guiding thread through an encompassing darkness.

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Original Text
Levin had long before made the observation that when one is uncomfortable with people from their being excessively amenable and meek, one is apt very soon after to find things intolerable from their touchiness and irritability. He felt that this was how it would be with his brother. And his brother Nikolay’s gentleness did in fact not last out for long. The very next morning he began to be irritable, and seemed doing his best to find fault with his brother, attacking him on his tenderest points. Levin felt himself to blame, and could not set things right. He felt that if they had both not kept up appearances, but had spoken, as it is called, from the heart—that is to say, had said only just what they were thinking and feeling—they would simply have looked into each other’s faces, and Konstantin could only have said, “You’re dying, you’re dying!” and Nikolay could only have answered, “I know I’m dying, but I’m afraid, I’m afraid, I’m afraid!” And they could have said nothing more, if they had said only what was in their hearts. But life like that was impossible, and so Konstantin tried to do what he had been trying to do all his life, and never could learn to do, though, as far as he could observe, many people knew so well how to do it, and without it there was no living at all. He tried to say what he was not thinking, but he felt continually that it had a ring of falsehood, that his brother detected him in it, and was exasperated at it. The third day Nikolay induced his brother to explain his plan to him again, and began not merely attacking it, but intentionally confounding it with communism. “You’ve simply borrowed an idea that’s not your own, but you’ve distorted it, and are trying to apply it where it’s not applicable.” “But I tell you it’s nothing to do with it. They deny the justice of property, of capital, of inheritance, while I do not deny this chief stimulus.” (Levin felt disgusted himself at using such expressions, but ever since he had been engrossed by his work, he had unconsciously come more and more frequently to use words not Russian.) “All I want is to regulate labor.” “Which means, you’ve borrowed an idea, stripped it of all that gave it its force, and want to make believe that it’s something new,” said Nikolay, angrily tugging at his necktie. “But my idea has nothing in common....” “That, anyway,” said Nikolay Levin, with an ironical smile, his eyes flashing malignantly, “has the charm of—what’s one to call it?—geometrical symmetry, of clearness, of definiteness. It may be a Utopia. But if once one allows the possibility of making of all the past a tabula rasa—no property, no family—then labor would organize itself. But you gain nothing....” “Why do you mix things up? I’ve never been a communist.” “But I have, and I consider it’s premature, but rational, and it has a future, just like Christianity in its first ages.” “All that I maintain is that the labor force ought to be investigated from the point of view of natural science; that is to say, it ought to be studied, its qualities ascertained....” “But that’s utter waste of time. That force finds a certain form of activity of itself, according to the stage of its development. There have been slaves first everywhere, then metayers; and we have the half-crop system, rent, and day laborers. What are you trying to find?” Levin suddenly lost his temper at these words, because at the bottom of his heart he was afraid that it was true—true that he was trying to hold the balance even between communism and the familiar forms, and that this was hardly possible. “I am trying to find means of working productively for myself and for the laborers. I want to organize....” he answered hotly. “You don’t want to organize anything; it’s simply just as you’ve been all your life, that you want to be original to pose as not exploiting the peasants simply, but with some idea in view.” “Oh, all right, that’s what you think—and let me alone!” answered Levin, feeling the muscles of his left cheek twitching uncontrollably. “You’ve never had, and never have, convictions; all you want is to please your vanity.” “Oh, very well; then let me alone!” “And I will let you alone! and it’s high time I did, and go to the devil with you! and I’m very sorry I ever came!” In spite of all Levin’s efforts to soothe his brother afterwards, Nikolay would listen to nothing he said, declaring that it was better to part, and Konstantin saw that it simply was that life was unbearable to him. Nikolay was just getting ready to go, when Konstantin went in to him again and begged him, rather unnaturally, to forgive him if he had hurt his feelings in any way. “Ah, generosity!” said Nikolay, and he smiled. “If you want to be right, I can give you that satisfaction. You’re in the right; but I’m going all the same.” It was only just at parting that Nikolay kissed him, and said, looking with sudden strangeness and seriousness at his brother: “Anyway, don’t remember evil against me, Kostya!” and his voice quivered. These were the only words that had been spoken sincerely between them. Levin knew that those words meant, “You see, and you know, that I’m in a bad way, and maybe we shall not see each other again.” Levin knew this, and the tears gushed from his eyes. He kissed his brother once more, but he could not speak, and knew not what to say. Three days after his brother’s departure, Levin too set off for his foreign tour. Happening to meet Shtcherbatsky, Kitty’s cousin, in the railway train, Levin greatly astonished him by his depression. “What’s the matter with you?” Shtcherbatsky asked him. “Oh, nothing; there’s not much happiness in life.” “Not much? You come with me to Paris instead of to Mulhausen. You shall see how to be happy.” “No, I’ve done with it all. It’s time I was dead.” “Well, that’s a good one!” said Shtcherbatsky, laughing; “why, I’m only just getting ready to begin.” “Yes, I thought the same not long ago, but now I know I shall soon be dead.” Levin said what he had genuinely been thinking of late. He saw nothing but death or the advance towards death in everything. But his cherished scheme only engrossed him the more. Life had to be got through somehow till death did come. Darkness had fallen upon everything for him; but just because of this darkness he felt that the one guiding clue in the darkness was his work, and he clutched it and clung to it with all his strength.
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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This chapter is structured around a devastating irony of communication and silence: the two brothers are capable only of the language of argument, never the language of truth. Tolstoy makes the unspoken dialogue explicit — 'You're dying, you're dying!' answered by 'I know I'm dying, but I'm afraid' — and then immediately declares such speech impossible. The passage functions as a meditation on the social compulsion to perform normalcy even in the face of death, a compulsion Tolstoy frames not as cowardice but as the inescapable condition of social life: 'without it there was no living at all.'

The ideological debate over labor reform and communism serves a dual narrative purpose. On the surface it dramatizes genuine intellectual disagreements of 1870s Russia — the tension between utopian socialism, communism, and reformist agrarianism. More deeply, it externalizes the brothers' emotional impasse: unable to speak about death and fear, they displace their anguish onto abstract argument. Nikolay's charge that Konstantin merely wants to pose as not exploiting the peasants is cruel precisely because Levin 'at the bottom of his heart' fears it is partly true. The argument is thus a mirror in which each brother sees an uncomfortable reflection of himself.

Tolstoy's characterization of Levin's language is subtly telling: Levin notices with self-disgust that he has begun using 'words not Russian' as he becomes absorbed in his scheme. This linguistic detail signals alienation — from his native culture, from authentic selfhood — and anticipates the novel's broader critique of Westernized intellectualism. The irony is that Nikolay, the avowed communist, speaks with more passionate conviction than the reformist Levin, whose position is structurally unstable, caught between ideological poles.

The farewell scene achieves the chapter's emotional climax through a single moment of sincerity breaking through performance. Nikolay's trembling farewell is the only unguarded utterance in the chapter, and its power derives precisely from its contrast with everything preceding it. Levin's tears and his inability to speak complete the reversal: when genuine feeling finally surfaces, language fails entirely. Tolstoy implies that authentic emotion and articulate speech are mutually exclusive in the social world these characters inhabit.

The chapter closes with Levin's encounter with Shtcherbatsky, which functions as a tonal coda. Shtcherbatsky's breezy hedonism throws Levin's existential despair into sharp relief. Levin's declaration that 'it's time I was dead' is not melodrama but a genuine philosophical position: he sees death advancing everywhere. Yet Tolstoy ends on a note of paradoxical vitality — Levin clings to his work as 'the one guiding clue in the darkness,' suggesting that purposeful labor, however imperfect, is the only available answer to mortality. This anticipates the novel's larger spiritual arc toward meaning found in work and love rather than in ideology.

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