Anna Karenina Study Guide
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Part One, Chapter 13

Chapter Summary

After dinner, Kitty spends the hours before the evening ball in anxious anticipation, comparing her feelings for Levin and Vronsky. She finds Levin's love flattering and their friendship warm, yet imagines a brilliant future with Vronsky. When Levin arrives early and finds her alone in the drawing-room, Kitty immediately understands his purpose and is struck by the cruelty she must inflict on a man she genuinely likes.

Levin, barely able to speak, manages to propose marriage. For one brief instant Kitty feels a flood of happiness at the declaration, but the thought of Vronsky reasserts itself and she refuses him with the words "That cannot be … forgive me." Levin accepts the rejection with quiet dignity, bows, and prepares to leave.

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Original Text
After dinner, and till the beginning of the evening, Kitty was feeling a sensation akin to the sensation of a young man before a battle. Her heart throbbed violently, and her thoughts would not rest on anything. She felt that this evening, when they would both meet for the first time, would be a turning point in her life. And she was continually picturing them to herself, at one moment each separately, and then both together. When she mused on the past, she dwelt with pleasure, with tenderness, on the memories of her relations with Levin. The memories of childhood and of Levin’s friendship with her dead brother gave a special poetic charm to her relations with him. His love for her, of which she felt certain, was flattering and delightful to her; and it was pleasant for her to think of Levin. In her memories of Vronsky there always entered a certain element of awkwardness, though he was in the highest degree well-bred and at ease, as though there were some false note—not in Vronsky, he was very simple and nice, but in herself, while with Levin she felt perfectly simple and clear. But, on the other hand, directly she thought of the future with Vronsky, there arose before her a perspective of brilliant happiness; with Levin the future seemed misty. When she went upstairs to dress, and looked into the looking-glass, she noticed with joy that it was one of her good days, and that she was in complete possession of all her forces,—she needed this so for what lay before her: she was conscious of external composure and free grace in her movements. At half-past seven she had only just gone down into the drawing-room, when the footman announced, “Konstantin Dmitrievitch Levin.” The princess was still in her room, and the prince had not come in. “So it is to be,” thought Kitty, and all the blood seemed to rush to her heart. She was horrified at her paleness, as she glanced into the looking-glass. At that moment she knew beyond doubt that he had come early on purpose to find her alone and to make her an offer. And only then for the first time the whole thing presented itself in a new, different aspect; only then she realized that the question did not affect her only—with whom she would be happy, and whom she loved—but that she would have that moment to wound a man whom she liked. And to wound him cruelly. What for? Because he, dear fellow, loved her, was in love with her. But there was no help for it, so it must be, so it would have to be. “My God! shall I myself really have to say it to him?” she thought. “Can I tell him I don’t love him? That will be a lie. What am I to say to him? That I love someone else? No, that’s impossible. I’m going away, I’m going away.” She had reached the door, when she heard his step. “No! it’s not honest. What have I to be afraid of? I have done nothing wrong. What is to be, will be! I’ll tell the truth. And with him one can’t be ill at ease. Here he is,” she said to herself, seeing his powerful, shy figure, with his shining eyes fixed on her. She looked straight into his face, as though imploring him to spare her, and gave her hand. “It’s not time yet; I think I’m too early,” he said glancing round the empty drawing-room. When he saw that his expectations were realized, that there was nothing to prevent him from speaking, his face became gloomy. “Oh, no,” said Kitty, and sat down at the table. “But this was just what I wanted, to find you alone,” he began, not sitting down, and not looking at her, so as not to lose courage. “Mamma will be down directly. She was very much tired.... Yesterday....” She talked on, not knowing what her lips were uttering, and not taking her supplicating and caressing eyes off him. He glanced at her; she blushed, and ceased speaking. “I told you I did not know whether I should be here long ... that it depended on you....” She dropped her head lower and lower, not knowing herself what answer she should make to what was coming. “That it depended on you,” he repeated. “I meant to say ... I meant to say ... I came for this ... to be my wife!” he brought out, not knowing what he was saying; but feeling that the most terrible thing was said, he stopped short and looked at her.... She was breathing heavily, not looking at him. She was feeling ecstasy. Her soul was flooded with happiness. She had never anticipated that the utterance of love would produce such a powerful effect on her. But it lasted only an instant. She remembered Vronsky. She lifted her clear, truthful eyes, and seeing his desperate face, she answered hastily: “That cannot be ... forgive me.” A moment ago, and how close she had been to him, of what importance in his life! And how aloof and remote from him she had become now! “It was bound to be so,” he said, not looking at her. He bowed, and was meaning to retreat.
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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Chapter 13 functions as a pivotal crisis scene that crystallises the novel's central romantic triangle. Tolstoy structures the chapter around a series of contrasts—past versus future, warmth versus brilliance, simplicity versus awkwardness—that map directly onto Kitty's divided loyalties. The extended interior monologue before Levin's arrival is not mere psychological decoration; it establishes that Kitty's choice is made before a single word is spoken, transforming the proposal scene into an enactment of a decision already reached in imagination.

Tolstoy's handling of free indirect discourse is especially sophisticated here. Kitty's panicked self-questioning—"My God! shall I myself really have to say it to him?"—blurs the boundary between narrated thought and direct speech, drawing the reader into her consciousness while simultaneously exposing the gap between her inner turmoil and her composed exterior. This technique reinforces one of the novel's governing concerns: the distance between social performance and authentic feeling.

The looking-glass motif appears twice in quick succession. First Kitty sees herself on a "good day," in full command of her beauty; moments later she is horrified by her own paleness. The mirror thus shifts from an instrument of self-assurance to one of self-confrontation, prefiguring the novel's broader critique of vanity and the unreliability of surfaces. That Kitty's reflection changes not because she has changed but because her awareness has changed is a subtle stroke of psychological realism.

Levin's proposal is rendered in broken, halting syntax—"I meant to say … I meant to say … I came for this … to be my wife!"—which enacts his emotional disintegration on the level of grammar itself. The ellipsis and self-interruption communicate what polished rhetoric could not: the vulnerability of genuine love. Kitty's one-sentence refusal, by contrast, is grammatically complete and final, its brevity making it all the more devastating. Tolstoy then shifts to Levin's perspective for a single elegiac sentence—"A moment ago, and how close she had been to him … And how aloof and remote from him she had become now!"—which compresses the entire tragedy of unrequited love into temporal and spatial metaphor.

Thematically, the chapter introduces the novel's sustained meditation on moral responsibility in love. Kitty's realisation that the question is not merely about her own happiness but about wounding another person marks a moment of genuine ethical growth, even as she proceeds to cause that wound. Tolstoy refuses to make her simply callous or simply innocent; she is both, and the tension between those states will echo through the novel's later moral reckoning with Anna's own choices.

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✎ Mr. Shifflett's Note
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