Anna Karenina Study Guide
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Part Seven, Chapter 16

Chapter Summary

Ten o'clock finds Levin sitting with the old prince, Sergey Ivanovitch, and Stepan Arkadyevitch, yet he can barely attend to their conversation, his mind wholly occupied with Kitty and the newborn. He slips away to her room and finds her awake, radiant, and planning the christening with her mother. The reunion is charged with wordless emotion as Kitty asks for the baby and Lizaveta Petrovna prepares and presents the infant to Levin.

Levin struggles to feel the paternal love he anticipated, experiencing instead disgust and pity at the strange, red, wriggling creature. Only when the baby is undressed and he glimpses its tiny hands and feet does tenderness break through, followed by terror of harm. After the baby nurses, sneezes, and falls asleep in Kitty's arms, Levin kisses his wife and withdraws, recognising that what he feels is not joy but a new, acute vulnerability to suffering on behalf of this helpless life.

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Original Text
At ten o’clock the old prince, Sergey Ivanovitch, and Stepan Arkadyevitch were sitting at Levin’s. Having inquired after Kitty, they had dropped into conversation upon other subjects. Levin heard them, and unconsciously, as they talked, going over the past, over what had been up to that morning, he thought of himself as he had been yesterday till that point. It was as though a hundred years had passed since then. He felt himself exalted to unattainable heights, from which he studiously lowered himself so as not to wound the people he was talking to. He talked, and was all the time thinking of his wife, of her condition now, of his son, in whose existence he tried to school himself into believing. The whole world of woman, which had taken for him since his marriage a new value he had never suspected before, was now so exalted that he could not take it in in his imagination. He heard them talk of yesterday’s dinner at the club, and thought: “What is happening with her now? Is she asleep? How is she? What is she thinking of? Is he crying, my son Dmitri?” And in the middle of the conversation, in the middle of a sentence, he jumped up and went out of the room. “Send me word if I can see her,” said the prince. “Very well, in a minute,” answered Levin, and without stopping, he went to her room. She was not asleep, she was talking gently with her mother, making plans about the christening. Carefully set to rights, with hair well-brushed, in a smart little cap with some blue in it, her arms out on the quilt, she was lying on her back. Meeting his eyes, her eyes drew him to her. Her face, bright before, brightened still more as he drew near her. There was the same change in it from earthly to unearthly that is seen in the face of the dead. But then it means farewell, here it meant welcome. Again a rush of emotion, such as he had felt at the moment of the child’s birth, flooded his heart. She took his hand and asked him if he had slept. He could not answer, and turned away, struggling with his weakness. “I have had a nap, Kostya!” she said to him; “and I am so comfortable now.” She looked at him, but suddenly her expression changed. “Give him to me,” she said, hearing the baby’s cry. “Give him to me, Lizaveta Petrovna, and he shall look at him.” “To be sure, his papa shall look at him,” said Lizaveta Petrovna, getting up and bringing something red, and queer, and wriggling. “Wait a minute, we’ll make him tidy first,” and Lizaveta Petrovna laid the red wobbling thing on the bed, began untrussing and trussing up the baby, lifting it up and turning it over with one finger and powdering it with something. Levin, looking at the tiny, pitiful creature, made strenuous efforts to discover in his heart some traces of fatherly feeling for it. He felt nothing towards it but disgust. But when it was undressed and he caught a glimpse of wee, wee, little hands, little feet, saffron-colored, with little toes, too, and positively with a little big toe different from the rest, and when he saw Lizaveta Petrovna closing the wide-open little hands, as though they were soft springs, and putting them into linen garments, such pity for the little creature came upon him, and such terror that she would hurt it, that he held her hand back. Lizaveta Petrovna laughed. “Don’t be frightened, don’t be frightened!” When the baby had been put to rights and transformed into a firm doll, Lizaveta Petrovna dandled it as though proud of her handiwork, and stood a little away so that Levin might see his son in all his glory. Kitty looked sideways in the same direction, never taking her eyes off the baby. “Give him to me! give him to me!” she said, and even made as though she would sit up. “What are you thinking of, Katerina Alexandrovna, you mustn’t move like that! Wait a minute. I’ll give him to you. Here we’re showing papa what a fine fellow we are!” And Lizaveta Petrovna, with one hand supporting the wobbling head, lifted up on the other arm the strange, limp, red creature, whose head was lost in its swaddling clothes. But it had a nose, too, and slanting eyes and smacking lips. “A splendid baby!” said Lizaveta Petrovna. Levin sighed with mortification. This splendid baby excited in him no feeling but disgust and compassion. It was not at all the feeling he had looked forward to. He turned away while Lizaveta Petrovna put the baby to the unaccustomed breast. Suddenly laughter made him look round. The baby had taken the breast. “Come, that’s enough, that’s enough!” said Lizaveta Petrovna, but Kitty would not let the baby go. He fell asleep in her arms. “Look, now,” said Kitty, turning the baby so that he could see it. The aged-looking little face suddenly puckered up still more and the baby sneezed. Smiling, hardly able to restrain his tears, Levin kissed his wife and went out of the dark room. What he felt towards this little creature was utterly unlike what he had expected. There was nothing cheerful and joyous in the feeling; on the contrary, it was a new torture of apprehension. It was the consciousness of a new sphere of liability to pain. And this sense was so painful at first, the apprehension lest this helpless creature should suffer was so intense, that it prevented him from noticing the strange thrill of senseless joy and even pride that he had felt when the baby sneezed.
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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This chapter is structured around a series of failed and then fulfilled expectations, tracing Levin's interior movement from anticipated paternal joy to something far more complex and honest. Tolstoy refuses the sentimental script: Levin feels "nothing towards it but disgust," and the narrator insists on this gap between cultural expectation and lived experience. The chapter's moral seriousness lies precisely in that refusal, positioning Levin as a man whose emotional authenticity is more trustworthy than social convention.

The imagery of transformation governs the chapter. Kitty's face displays "the same change in it from earthly to unearthly that is seen in the face of the dead," but here the movement is toward welcome rather than farewell—a carefully controlled inversion that links birth and death without collapsing them. The infant itself undergoes a literal transformation from "red, and queer, and wriggling" creature to "firm doll," a word choice that subtly questions whether the swaddling process imposes a social form on raw biological life.

Levin's consciousness of vulnerability is the chapter's central psychological discovery. The closing paragraph redefines paternal love not as pride or joy but as "a new sphere of liability to pain"—a formulation that anticipates the novel's broader meditation on how love exposes the self to loss. The baby's sneeze, a comic and utterly ordinary event, is the catalyst that pierces Levin's apprehension and releases "senseless joy and even pride," yet even this is immediately qualified: the apprehension "prevented him from noticing" the joy. Tolstoy thus renders the two emotions as simultaneous and inseparable rather than sequential.

The chapter also advances the theme of the body as moral text. Levin's inability to speak when Kitty asks whether he has slept, his turning away "struggling with his weakness," and his involuntary tears all locate authentic feeling in the body rather than in articulate speech. Lizaveta Petrovna's professional competence—lifting, turning, powdering, trussing—contrasts with Levin's helpless terror, marking the boundary between experienced female knowledge and the initiation of a new father.

Structurally, the chapter performs a deliberate narrowing of scale. It opens with three men discussing the previous evening's club dinner—the public, masculine world of social routine—and closes in a darkened room with a sleeping infant and a father's silent tears. This contraction from the social to the intimate mirrors the novel's larger argument that the most consequential human events occur in private, beyond the reach of the society that Anna's plot has shown to be so destructive.

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✎ Mr. Shifflett's Note
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