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Part Seven, Chapter 15

Chapter Summary

Levin waits in an exhausted stupor while Kitty labors through the night. A terrifying shriek draws him to the bedroom, where he finds Kitty in extreme distress. She clutches his hands, then pushes him away, crying that she is dying. Levin flees the room, unable to bear her anguish, and stands in the corridor listening to sounds he has never heard before. When the doctor gravely announces 'It's the end,' Levin misunderstands and believes Kitty has died.

He rushes back to find the screaming has ceased. Kitty lies exhausted but radiant, whispering 'It's over.' Levin collapses in tears of joy. At the foot of the bed, Lizaveta Petrovna holds a newborn boy, whose loud cry fills the room. Levin is overwhelmed with happiness for Kitty but struggles to comprehend the reality of the child, who feels to him strange and superfluous.

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Original Text
He did not know whether it was late or early. The candles had all burned out. Dolly had just been in the study and had suggested to the doctor that he should lie down. Levin sat listening to the doctor’s stories of a quack mesmerizer and looking at the ashes of his cigarette. There had been a period of repose, and he had sunk into oblivion. He had completely forgotten what was going on now. He heard the doctor’s chat and understood it. Suddenly there came an unearthly shriek. The shriek was so awful that Levin did not even jump up, but holding his breath, gazed in terrified inquiry at the doctor. The doctor put his head on one side, listened, and smiled approvingly. Everything was so extraordinary that nothing could strike Levin as strange. “I suppose it must be so,” he thought, and still sat where he was. Whose scream was this? He jumped up, ran on tiptoe to the bedroom, edged round Lizaveta Petrovna and the princess, and took up his position at Kitty’s pillow. The scream had subsided, but there was some change now. What it was he did not see and did not comprehend, and he had no wish to see or comprehend. But he saw it by the face of Lizaveta Petrovna. Lizaveta Petrovna’s face was stern and pale, and still as resolute, though her jaws were twitching, and her eyes were fixed intently on Kitty. Kitty’s swollen and agonized face, a tress of hair clinging to her moist brow, was turned to him and sought his eyes. Her lifted hands asked for his hands. Clutching his chill hands in her moist ones, she began squeezing them to her face. “Don’t go, don’t go! I’m not afraid, I’m not afraid!” she said rapidly. “Mamma, take my earrings. They bother me. You’re not afraid? Quick, quick, Lizaveta Petrovna....” She spoke quickly, very quickly, and tried to smile. But suddenly her face was drawn, she pushed him away. “Oh, this is awful! I’m dying, I’m dying! Go away!” she shrieked, and again he heard that unearthly scream. Levin clutched at his head and ran out of the room. “It’s nothing, it’s nothing, it’s all right,” Dolly called after him. But they might say what they liked, he knew now that all was over. He stood in the next room, his head leaning against the door post, and heard shrieks, howls such as he had never heard before, and he knew that what had been Kitty was uttering these shrieks. He had long ago ceased to wish for the child. By now he loathed this child. He did not even wish for her life now, all he longed for was the end of this awful anguish. “Doctor! What is it? What is it? By God!” he said, snatching at the doctor’s hand as he came up. “It’s the end,” said the doctor. And the doctor’s face was so grave as he said it that Levin took the end as meaning her death. Beside himself, he ran into the bedroom. The first thing he saw was the face of Lizaveta Petrovna. It was even more frowning and stern. Kitty’s face he did not know. In the place where it had been was something that was fearful in its strained distortion and in the sounds that came from it. He fell down with his head on the wooden framework of the bed, feeling that his heart was bursting. The awful scream never paused, it became still more awful, and as though it had reached the utmost limit of terror, suddenly it ceased. Levin could not believe his ears, but there could be no doubt; the scream had ceased and he heard a subdued stir and bustle, and hurried breathing, and her voice, gasping, alive, tender, and blissful, uttered softly, “It’s over!” He lifted his head. With her hands hanging exhausted on the quilt, looking extraordinarily lovely and serene, she looked at him in silence and tried to smile, and could not. And suddenly, from the mysterious and awful far-away world in which he had been living for the last twenty-two hours, Levin felt himself all in an instant borne back to the old every-day world, glorified though now, by such a radiance of happiness that he could not bear it. The strained chords snapped, sobs and tears of joy which he had never foreseen rose up with such violence that his whole body shook, that for long they prevented him from speaking. Falling on his knees before the bed, he held his wife’s hand before his lips and kissed it, and the hand, with a weak movement of the fingers, responded to his kiss. And meanwhile, there at the foot of the bed, in the deft hands of Lizaveta Petrovna, like a flickering light in a lamp, lay the life of a human creature, which had never existed before, and which would now with the same right, with the same importance to itself, live and create in its own image. “Alive! alive! And a boy too! Set your mind at rest!” Levin heard Lizaveta Petrovna saying, as she slapped the baby’s back with a shaking hand. “Mamma, is it true?” said Kitty’s voice. The princess’s sobs were all the answers she could make. And in the midst of the silence there came in unmistakable reply to the mother’s question, a voice quite unlike the subdued voices speaking in the room. It was the bold, clamorous, self-assertive squall of the new human being, who had so incomprehensibly appeared. If Levin had been told before that Kitty was dead, and that he had died with her, and that their children were angels, and that God was standing before him, he would have been surprised at nothing. But now, coming back to the world of reality, he had to make great mental efforts to take in that she was alive and well, and that the creature squalling so desperately was his son. Kitty was alive, her agony was over. And he was unutterably happy. That he understood; he was completely happy in it. But the baby? Whence, why, who was he?... He could not get used to the idea. It seemed to him something extraneous, superfluous, to which he could not accustom himself.
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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This chapter is one of Tolstoy's supreme achievements in experiential realism: the birth of Levin and Kitty's son is rendered entirely through Levin's disoriented consciousness, so that the reader shares his terror and incomprehension rather than observing events from a clinical distance. Tolstoy withholds the midwife's and doctor's professional perspective, keeping the narration locked inside a mind that 'did not see and did not comprehend, and had no wish to see or comprehend.' This technique of defamiliarization strips childbirth of its social familiarity and restores to it the full weight of biological mystery and mortal risk.

The chapter is structured around a series of threshold crossings. Levin repeatedly moves between rooms — from the study to the bedroom and back — and each crossing marks a new stage of psychological dissolution. His identity as a rational, self-possessed landowner is progressively dismantled: he forgets what is going on, he misreads the doctor's words, he falls to his knees. The physical threshold of the bedroom door becomes a symbolic boundary between the everyday world and the 'mysterious and awful far-away world' of birth and potential death, a liminal space where normal cognition fails.

Tolstoy's use of sound as a narrative device is extraordinary here. The chapter opens in near-silence and then erupts into 'an unearthly shriek' that recurs and intensifies until it abruptly ceases. The silence that follows is immediately filled by 'the bold, clamorous, self-assertive squall of the new human being' — a sonic contrast that enacts the chapter's central movement from death-terror to life-affirmation. The baby's cry is described in terms of agency and selfhood, anticipating the philosophical reflection that closes the chapter.

The closing image of the newborn lying in Lizaveta Petrovna's hands 'like a flickering light in a lamp' is one of Tolstoy's most resonant symbols. The simile captures both fragility and luminosity, the precariousness of new life and its capacity to illuminate. The narrator's aside that this creature 'had never existed before, and which would now with the same right, with the same importance to itself, live and create in its own image' introduces a philosophical register that elevates the domestic scene into a meditation on individuality, consciousness, and the perpetual renewal of humanity.

Levin's final inability to assimilate the baby into his emotional world — finding the child 'extraneous, superfluous' — is psychologically precise and thematically significant. His love for Kitty is immediate and overwhelming; his relation to the child must be constructed over time. This distinction between instinctive love and willed recognition anticipates the spiritual crisis and resolution of Part Eight, where Levin's search for meaning will be answered not by abstract theology but by the concrete demands of loving others. The chapter thus functions as both a climax of the domestic plot and a preparation for Levin's existential awakening.

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✎ Mr. Shifflett's Note
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