Anna Karenina Study Guide
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Part Eight, Chapter 17

Chapter Summary

As the Levin household party walks home from an outing, a violent thunderstorm sweeps in with terrifying speed. The old prince and Sergey Ivanovitch have already driven off in the trap, while the rest run for shelter. Reaching the house, Levin discovers that Kitty and the baby Mitya, accompanied by the nurse, are still out in the copse. He rushes toward them through the gale, witnesses a massive oak tree struck by lightning and felled, and is seized by mortal terror for his family.

Levin finds Kitty and the nurse standing over Mitya's perambulator at the far end of the copse. The baby is unharmed and asleep; Kitty is soaked through. Levin's relief erupts first as anger at Kitty for her apparent recklessness, but he quickly repents, and the chapter closes with him squeezing her hand tenderly out of the nurse's sight.

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Original Text
The old prince and Sergey Ivanovitch got into the trap and drove off; the rest of the party hastened homewards on foot. But the storm-clouds, turning white and then black, moved down so quickly that they had to quicken their pace to get home before the rain. The foremost clouds, lowering and black as soot-laden smoke, rushed with extraordinary swiftness over the sky. They were still two hundred paces from home and a gust of wind had already blown up, and every second the downpour might be looked for. The children ran ahead with frightened and gleeful shrieks. Darya Alexandrovna, struggling painfully with her skirts that clung round her legs, was not walking, but running, her eyes fixed on the children. The men of the party, holding their hats on, strode with long steps beside her. They were just at the steps when a big drop fell splashing on the edge of the iron guttering. The children and their elders after them ran into the shelter of the house, talking merrily. “Katerina Alexandrovna?” Levin asked of Agafea Mihalovna, who met them with kerchiefs and rugs in the hall. “We thought she was with you,” she said. “And Mitya?” “In the copse, he must be, and the nurse with him.” Levin snatched up the rugs and ran towards the copse. In that brief interval of time the storm clouds had moved on, covering the sun so completely that it was dark as an eclipse. Stubbornly, as though insisting on its rights, the wind stopped Levin, and tearing the leaves and flowers off the lime trees and stripping the white birch branches into strange unseemly nakedness, it twisted everything on one side—acacias, flowers, burdocks, long grass, and tall tree-tops. The peasant girls working in the garden ran shrieking into shelter in the servants’ quarters. The streaming rain had already flung its white veil over all the distant forest and half the fields close by, and was rapidly swooping down upon the copse. The wet of the rain spurting up in tiny drops could be smelt in the air. Holding his head bent down before him, and struggling with the wind that strove to tear the wraps away from him, Levin was moving up to the copse and had just caught sight of something white behind the oak tree, when there was a sudden flash, the whole earth seemed on fire, and the vault of heaven seemed crashing overhead. Opening his blinded eyes, Levin gazed through the thick veil of rain that separated him now from the copse, and to his horror the first thing he saw was the green crest of the familiar oak-tree in the middle of the copse uncannily changing its position. “Can it have been struck?” Levin hardly had time to think when, moving more and more rapidly, the oak tree vanished behind the other trees, and he heard the crash of the great tree falling upon the others. The flash of lightning, the crash of thunder, and the instantaneous chill that ran through him were all merged for Levin in one sense of terror. “My God! my God! not on them!” he said. And though he thought at once how senseless was his prayer that they should not have been killed by the oak which had fallen now, he repeated it, knowing that he could do nothing better than utter this senseless prayer. Running up to the place where they usually went, he did not find them there. They were at the other end of the copse under an old lime-tree; they were calling him. Two figures in dark dresses (they had been light summer dresses when they started out) were standing bending over something. It was Kitty with the nurse. The rain was already ceasing, and it was beginning to get light when Levin reached them. The nurse was not wet on the lower part of her dress, but Kitty was drenched through, and her soaked clothes clung to her. Though the rain was over, they still stood in the same position in which they had been standing when the storm broke. Both stood bending over a perambulator with a green umbrella. “Alive? Unhurt? Thank God!” he said, splashing with his soaked boots through the standing water and running up to them. Kitty’s rosy wet face was turned towards him, and she smiled timidly under her shapeless sopped hat. “Aren’t you ashamed of yourself? I can’t think how you can be so reckless!” he said angrily to his wife. “It wasn’t my fault, really. We were just meaning to go, when he made such a to-do that we had to change him. We were just....” Kitty began defending herself. Mitya was unharmed, dry, and still fast asleep. “Well, thank God! I don’t know what I’m saying!” They gathered up the baby’s wet belongings; the nurse picked up the baby and carried it. Levin walked beside his wife, and, penitent for having been angry, he squeezed her hand when the nurse was not looking.
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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This chapter is one of Tolstoy's most concentrated exercises in pathetic fallacy: the storm is not merely atmospheric backdrop but a moral and emotional event that externalises Levin's inner life. The clouds that move "with extraordinary swiftness" and the wind that "stubbornly insists on its rights" mirror the sudden, ungovernable nature of love-anxiety. Tolstoy's prose accelerates in syntactic rhythm—short clauses pile up, commas multiply—enacting the breathless urgency of Levin's dash through the tempest.

The struck oak functions as the chapter's central symbol. The oak is ancient, familiar, and seemingly indestructible; its violent destruction in an instant dramatises the fragility of everything Levin now holds dear. His prayer—"My God! my God! not on them!"—is immediately acknowledged by the narrator as "senseless," yet Levin repeats it, knowing he "could do nothing better." This moment crystallises the novel's broader meditation on faith and helplessness: rational consciousness cannot displace the instinct to pray when love is threatened.

Levin's brief anger at Kitty upon finding her safe is psychologically precise and characteristic of Tolstoy's realism. Relief, when it arrives after extreme fear, frequently converts into irritation; the person who caused the anxiety becomes, momentarily, its object. Kitty's "timid smile" and her practical, slightly apologetic explanation—the baby needed changing—ground the sublime storm sequence in domestic comedy, a tonal shift Tolstoy manages without irony. The domestic and the elemental are held in deliberate tension throughout the chapter.

The image of Kitty and the nurse "bending over something" in dark, rain-soaked dresses, standing motionless even after the storm passes, carries a quiet pietà-like quality: two women sheltering a child against chaos. That Mitya is "dry, and still fast asleep" inside the green-umbrella'd perambulator while the world rages around him underscores the novel's recurring motif of innocent life persisting amid adult turbulence. The green umbrella, a small domestic object, has shielded what matters most.

The chapter closes on a gesture of reconciliation—Levin squeezing Kitty's hand "when the nurse was not looking"—that is intimate precisely because it is hidden. The privacy of the gesture signals that genuine tenderness between the Levins exists in the spaces between social performance. After the cosmic scale of the storm and the struck oak, Tolstoy returns us to the scale of a hand-squeeze, affirming that the novel's deepest values are located in such small, unwitnessed acts of love.

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✎ Mr. Shifflett's Note
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