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Part Five, Chapter 16

Chapter Summary

Levin returns home to find Kitty entertaining the old housekeeper Agafea Mihalovna and reading a letter from Dolly. He receives a letter from Marya Nikolaevna, his dying brother Nikolay's former mistress, reporting that Nikolay is gravely ill on the road and penniless. Levin announces he must leave for his brother the next morning.

Kitty insists on accompanying him, sparking a fierce quarrel: Levin accuses her of selfishness and warns that Marya Nikolaevna's presence makes the journey improper for her. After tears and a tender reconciliation, it is decided they will travel together, though Levin remains privately dissatisfied with both Kitty and himself, troubled especially by the prospect of his wife sharing space with his brother's mistress.

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Original Text
When Levin went upstairs, his wife was sitting near the new silver samovar behind the new tea service, and, having settled old Agafea Mihalovna at a little table with a full cup of tea, was reading a letter from Dolly, with whom they were in continual and frequent correspondence. “You see, your good lady’s settled me here, told me to sit a bit with her,” said Agafea Mihalovna, smiling affectionately at Kitty. In these words of Agafea Mihalovna, Levin read the final act of the drama which had been enacted of late between her and Kitty. He saw that, in spite of Agafea Mihalovna’s feelings being hurt by a new mistress taking the reins of government out of her hands, Kitty had yet conquered her and made her love her. “Here, I opened your letter too,” said Kitty, handing him an illiterate letter. “It’s from that woman, I think, your brother’s....” she said. “I did not read it through. This is from my people and from Dolly. Fancy! Dolly took Tanya and Grisha to a children’s ball at the Sarmatskys’: Tanya was a French marquise.” But Levin did not hear her. Flushing, he took the letter from Marya Nikolaevna, his brother’s former mistress, and began to read it. This was the second letter he had received from Marya Nikolaevna. In the first letter, Marya Nikolaevna wrote that his brother had sent her away for no fault of hers, and, with touching simplicity, added that though she was in want again, she asked for nothing, and wished for nothing, but was only tormented by the thought that Nikolay Dmitrievitch would come to grief without her, owing to the weak state of his health, and begged his brother to look after him. Now she wrote quite differently. She had found Nikolay Dmitrievitch, had again made it up with him in Moscow, and had moved with him to a provincial town, where he had received a post in the government service. But that he had quarreled with the head official, and was on his way back to Moscow, only he had been taken so ill on the road that it was doubtful if he would ever leave his bed again, she wrote. “It’s always of you he has talked, and, besides, he has no more money left.” “Read this; Dolly writes about you,” Kitty was beginning, with a smile; but she stopped suddenly, noticing the changed expression on her husband’s face. “What is it? What’s the matter?” “She writes to me that Nikolay, my brother, is at death’s door. I shall go to him.” Kitty’s face changed at once. Thoughts of Tanya as a marquise, of Dolly, all had vanished. “When are you going?” she said. “Tomorrow.” “And I will go with you, can I?” she said. “Kitty! What are you thinking of?” he said reproachfully. “How do you mean?” offended that he should seem to take her suggestion unwillingly and with vexation. “Why shouldn’t I go? I shan’t be in your way. I....” “I’m going because my brother is dying,” said Levin. “Why should you....” “Why? For the same reason as you.” “And, at a moment of such gravity for me, she only thinks of her being dull by herself,” thought Levin. And this lack of candor in a matter of such gravity infuriated him. “It’s out of the question,” he said sternly. Agafea Mihalovna, seeing that it was coming to a quarrel, gently put down her cup and withdrew. Kitty did not even notice her. The tone in which her husband had said the last words wounded her, especially because he evidently did not believe what she had said. “I tell you, that if you go, I shall come with you; I shall certainly come,” she said hastily and wrathfully. “Why out of the question? Why do you say it’s out of the question?” “Because it’ll be going God knows where, by all sorts of roads and to all sorts of hotels. You would be a hindrance to me,” said Levin, trying to be cool. “Not at all. I don’t want anything. Where you can go, I can....” “Well, for one thing then, because this woman’s there whom you can’t meet.” “I don’t know and don’t care to know who’s there and what. I know that my husband’s brother is dying and my husband is going to him, and I go with my husband too....” “Kitty! Don’t get angry. But just think a little: this is a matter of such importance that I can’t bear to think that you should bring in a feeling of weakness, of dislike to being left alone. Come, you’ll be dull alone, so go and stay at Moscow a little.” “There, you always ascribe base, vile motives to me,” she said with tears of wounded pride and fury. “I didn’t mean, it wasn’t weakness, it wasn’t ... I feel that it’s my duty to be with my husband when he’s in trouble, but you try on purpose to hurt me, you try on purpose not to understand....” “No; this is awful! To be such a slave!” cried Levin, getting up, and unable to restrain his anger any longer. But at the same second he felt that he was beating himself. “Then why did you marry? You could have been free. Why did you, if you regret it?” she said, getting up and running away into the drawing-room. When he went to her, she was sobbing. He began to speak, trying to find words not to dissuade but simply to soothe her. But she did not heed him, and would not agree to anything. He bent down to her and took her hand, which resisted him. He kissed her hand, kissed her hair, kissed her hand again—still she was silent. But when he took her face in both his hands and said “Kitty!” she suddenly recovered herself, and began to cry, and they were reconciled. It was decided that they should go together the next day. Levin told his wife that he believed she wanted to go simply in order to be of use, agreed that Marya Nikolaevna’s being with his brother did not make her going improper, but he set off at the bottom of his heart dissatisfied both with her and with himself. He was dissatisfied with her for being unable to make up her mind to let him go when it was necessary (and how strange it was for him to think that he, so lately hardly daring to believe in such happiness as that she could love him—now was unhappy because she loved him too much!), and he was dissatisfied with himself for not showing more strength of will. Even greater was the feeling of disagreement at the bottom of his heart as to her not needing to consider the woman who was with his brother, and he thought with horror of all the contingencies they might meet with. The mere idea of his wife, his Kitty, being in the same room with a common wench, set him shuddering with horror and loathing.
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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This chapter operates as a study in marital negotiation and the limits of intimacy. The opening tableau—Kitty presiding over the samovar, having won over the resistant Agafea Mihalovna—establishes her as a capable domestic sovereign, yet the arrival of Marya Nikolaevna's letter immediately destabilizes that ordered world. Tolstoy uses the letter as a structural hinge: domestic contentment is punctured by mortality, and the private sphere of the new marriage is forced into contact with the morally ambiguous world Levin has tried to keep separate.

Levin's interior monologue during the quarrel reveals his class and gender assumptions in sharp relief. He interprets Kitty's desire to accompany him as weakness or possessiveness—"she only thinks of her being dull by herself"—even as Kitty articulates a clear ethical claim: "I feel that it's my duty to be with my husband when he's in trouble." Tolstoy grants Kitty the more coherent moral position while simultaneously showing how Levin's pride prevents him from recognizing it. The irony is explicit: Levin, who once "hardly dared to believe" Kitty could love him, is now made unhappy by the excess of that love.

The figure of Marya Nikolaevna functions as a social and moral boundary marker. Levin's horror at the thought of Kitty sharing a room with "a common wench" exposes the double standard structuring his world: Nikolay's relationship with Marya is tolerated as a masculine failing, but Kitty's proximity to her is imagined as contamination. This anxiety is never resolved; it persists "at the bottom of his heart" even after reconciliation, suggesting that the chapter's apparent happy ending is provisional.

Tolstoy's handling of the reconciliation scene is notable for its wordlessness. Levin cannot find persuasive arguments; instead, physical gesture—kissing her hand, her hair, cupping her face—does the work that language cannot. The name "Kitty!" spoken with both hands framing her face becomes a kind of incantation that restores emotional equilibrium. This privileging of embodied tenderness over rational discourse is characteristic of Tolstoy's vision of successful marriage, contrasting implicitly with the verbal and performative nature of Anna and Vronsky's relationship elsewhere in the novel.

The chapter also advances the motif of self-knowledge and self-deception. Levin's outburst—"No; this is awful! To be such a slave!"—is immediately undercut by his recognition that "he was beating himself." This flash of self-awareness does not, however, prevent him from remaining "dissatisfied both with her and with himself" at the chapter's close. Tolstoy refuses the comfort of full resolution, insisting that even loving marriages contain unexamined prejudices and unresolved tensions that coexist with genuine tenderness.

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