Anna Karenina Study Guide
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Part One, Chapter 16

Chapter Summary

The narrator provides a retrospective account of Vronsky's background: raised by a socially promiscuous mother, educated in the Corps of Pages, and shaped by the coarse bachelor culture of wealthy Petersburg officers. In Moscow, for the first time, he has discovered the pleasure of intimacy with an innocent, well-born girl—Kitty—without any intention of marriage, a mode of conduct he naively believes he has invented and sees as harmless.

Leaving the Shtcherbatskys' that evening, Vronsky savors a feeling of purity and tenderness, internally replaying what he reads as Kitty's silent declaration of love. He briefly considers various dissolute entertainments—the club, Château des Fleurs—but rejects them all, goes straight to his hotel, and falls immediately into a deep, untroubled sleep.

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Original Text
Vronsky had never had a real home life. His mother had been in her youth a brilliant society woman, who had had during her married life, and still more afterwards, many love affairs notorious in the whole fashionable world. His father he scarcely remembered, and he had been educated in the Corps of Pages. Leaving the school very young as a brilliant officer, he had at once got into the circle of wealthy Petersburg army men. Although he did go more or less into Petersburg society, his love affairs had always hitherto been outside it. In Moscow he had for the first time felt, after his luxurious and coarse life at Petersburg, all the charm of intimacy with a sweet and innocent girl of his own rank, who cared for him. It never even entered his head that there could be any harm in his relations with Kitty. At balls he danced principally with her. He was a constant visitor at their house. He talked to her as people commonly do talk in society—all sorts of nonsense, but nonsense to which he could not help attaching a special meaning in her case. Although he said nothing to her that he could not have said before everybody, he felt that she was becoming more and more dependent upon him, and the more he felt this, the better he liked it, and the tenderer was his feeling for her. He did not know that his mode of behavior in relation to Kitty had a definite character, that it is courting young girls with no intention of marriage, and that such courting is one of the evil actions common among brilliant young men such as he was. It seemed to him that he was the first who had discovered this pleasure, and he was enjoying his discovery. If he could have heard what her parents were saying that evening, if he could have put himself at the point of view of the family and have heard that Kitty would be unhappy if he did not marry her, he would have been greatly astonished, and would not have believed it. He could not believe that what gave such great and delicate pleasure to him, and above all to her, could be wrong. Still less could he have believed that he ought to marry. Marriage had never presented itself to him as a possibility. He not only disliked family life, but a family, and especially a husband was, in accordance with the views general in the bachelor world in which he lived, conceived as something alien, repellant, and, above all, ridiculous. But though Vronsky had not the least suspicion what the parents were saying, he felt on coming away from the Shtcherbatskys’ that the secret spiritual bond which existed between him and Kitty had grown so much stronger that evening that some step must be taken. But what step could and ought to be taken he could not imagine. “What is so exquisite,” he thought, as he returned from the Shtcherbatskys’, carrying away with him, as he always did, a delicious feeling of purity and freshness, arising partly from the fact that he had not been smoking for a whole evening, and with it a new feeling of tenderness at her love for him—“what is so exquisite is that not a word has been said by me or by her, but we understand each other so well in this unseen language of looks and tones, that this evening more clearly than ever she told me she loves me. And how secretly, simply, and most of all, how trustfully! I feel myself better, purer. I feel that I have a heart, and that there is a great deal of good in me. Those sweet, loving eyes! When she said: ‘Indeed I do....’ “Well, what then? Oh, nothing. It’s good for me, and good for her.” And he began wondering where to finish the evening. He passed in review of the places he might go to. “Club? a game of bezique, champagne with Ignatov? No, I’m not going. Château des Fleurs; there I shall find Oblonsky, songs, the cancan. No, I’m sick of it. That’s why I like the Shtcherbatskys’, that I’m growing better. I’ll go home.” He went straight to his room at Dussots’ Hotel, ordered supper, and then undressed, and as soon as his head touched the pillow, fell into a sound sleep.
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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Chapter 16 functions as a crucial character exposition, shifting the narrative lens entirely onto Vronsky to reveal the structural irony that has been building since Chapter 12. Tolstoy employs free indirect discourse throughout—phrases like "It seemed to him that he was the first who had discovered this pleasure" expose Vronsky's self-delusion without authorial intrusion, allowing the reader to perceive the gap between his self-image and moral reality far more clearly than he can himself.

The chapter's central thematic concern is moral blindness produced by class and gender privilege. Vronsky's inability to conceive of harm is not mere wickedness but a socially conditioned incapacity: the "bachelor world" has furnished him with a complete value system in which marriage is "alien, repellant, and, above all, ridiculous." Tolstoy's use of the tricolon here is deliberate—the final term, "ridiculous," is the most socially potent, suggesting that peer ridicule polices male behavior more effectively than any ethical code.

Vronsky's interior monologue as he leaves the Shtcherbatskys' is a masterpiece of dramatic irony. His language of purity—"I feel myself better, purer"—is undercut by the reader's knowledge of the parents' anguished conversation in the previous chapter. The "unseen language of looks and tones" he celebrates is precisely the medium through which Kitty has been led to believe in a marriage proposal that he has never consciously formed. His tenderness is genuine, which makes his obliviousness more damaging, not less.

The brief catalogue of rejected evening entertainments—club, bezique, champagne, the cancan at Château des Fleurs—operates as a contrast motif, measuring the Shtcherbatskys' domestic world against the dissolute bachelor milieu that has formed him. That he rejects these pleasures and goes home to sleep "soundly" is psychologically precise: his conscience is entirely clear because his moral framework contains no category for the wrong he is committing. Sleep here is not peace earned but innocence as ignorance.

Vronsky's characterization in this chapter also anticipates his later trajectory with Anna. The same capacity for intense, sincere feeling uncoupled from responsibility, the same pleasure in emotional intimacy without reckoning its cost to another person, will define his relationship with Anna. Tolstoy thus uses the Kitty episode not merely as a subplot but as a proleptic mirror, establishing the pattern of Vronsky's character before the novel's central love story fully begins.

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✎ Mr. Shifflett's Note
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