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Part Two, Chapter 15

Chapter Summary

Levin and Stepan Arkadyevitch (Oblonsky) take up positions in an aspen copse at dusk for stand-shooting. Levin absorbs the sensory details of early spring — melting snow, budding birches, birdsong, and the cuckoo's first call — while both men wait for snipe. Oblonsky shoots the first bird; Levin misses his chance but later both men fire simultaneously and bring down a snipe together.

During a quiet lull, Levin asks Oblonsky whether Kitty is married yet. Oblonsky reveals that Kitty is gravely ill and has been sent abroad by doctors who fear for her life. The news shocks Levin, yet he almost immediately suppresses it, redirecting his attention to the hunt and Laska's retrieval of the bird.

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Original Text
The place fixed on for the stand-shooting was not far above a stream in a little aspen copse. On reaching the copse, Levin got out of the trap and led Oblonsky to a corner of a mossy, swampy glade, already quite free from snow. He went back himself to a double birch tree on the other side, and leaning his gun on the fork of a dead lower branch, he took off his full overcoat, fastened his belt again, and worked his arms to see if they were free. Gray old Laska, who had followed them, sat down warily opposite him and pricked up her ears. The sun was setting behind a thick forest, and in the glow of sunset the birch trees, dotted about in the aspen copse, stood out clearly with their hanging twigs, and their buds swollen almost to bursting. From the thickest parts of the copse, where the snow still remained, came the faint sound of narrow winding threads of water running away. Tiny birds twittered, and now and then fluttered from tree to tree. In the pauses of complete stillness there came the rustle of last year’s leaves, stirred by the thawing of the earth and the growth of the grass. “Imagine! One can hear and see the grass growing!” Levin said to himself, noticing a wet, slate-colored aspen leaf moving beside a blade of young grass. He stood, listened, and gazed sometimes down at the wet mossy ground, sometimes at Laska listening all alert, sometimes at the sea of bare tree tops that stretched on the slope below him, sometimes at the darkening sky, covered with white streaks of cloud. A hawk flew high over a forest far away with slow sweep of its wings; another flew with exactly the same motion in the same direction and vanished. The birds twittered more and more loudly and busily in the thicket. An owl hooted not far off, and Laska, starting, stepped cautiously a few steps forward, and putting her head on one side, began to listen intently. Beyond the stream was heard the cuckoo. Twice she uttered her usual cuckoo call, and then gave a hoarse, hurried call and broke down. “Imagine! the cuckoo already!” said Stepan Arkadyevitch, coming out from behind a bush. “Yes, I hear it,” answered Levin, reluctantly breaking the stillness with his voice, which sounded disagreeable to himself. “Now it’s coming!” Stepan Arkadyevitch’s figure again went behind the bush, and Levin saw nothing but the bright flash of a match, followed by the red glow and blue smoke of a cigarette. “Tchk! tchk!” came the snapping sound of Stepan Arkadyevitch cocking his gun. “What’s that cry?” asked Oblonsky, drawing Levin’s attention to a prolonged cry, as though a colt were whinnying in a high voice, in play. “Oh, don’t you know it? That’s the hare. But enough talking! Listen, it’s flying!” almost shrieked Levin, cocking his gun. They heard a shrill whistle in the distance, and in the exact time, so well known to the sportsman, two seconds later—another, a third, and after the third whistle the hoarse, guttural cry could be heard. Levin looked about him to right and to left, and there, just facing him against the dusky blue sky above the confused mass of tender shoots of the aspens, he saw the flying bird. It was flying straight towards him; the guttural cry, like the even tearing of some strong stuff, sounded close to his ear; the long beak and neck of the bird could be seen, and at the very instant when Levin was taking aim, behind the bush where Oblonsky stood, there was a flash of red lightning: the bird dropped like an arrow, and darted upwards again. Again came the red flash and the sound of a blow, and fluttering its wings as though trying to keep up in the air, the bird halted, stopped still an instant, and fell with a heavy splash on the slushy ground. “Can I have missed it?” shouted Stepan Arkadyevitch, who could not see for the smoke. “Here it is!” said Levin, pointing to Laska, who with one ear raised, wagging the end of her shaggy tail, came slowly back as though she would prolong the pleasure, and as it were smiling, brought the dead bird to her master. “Well, I’m glad you were successful,” said Levin, who, at the same time, had a sense of envy that he had not succeeded in shooting the snipe. “It was a bad shot from the right barrel,” responded Stepan Arkadyevitch, loading his gun. “Sh... it’s flying!” The shrill whistles rapidly following one another were heard again. Two snipe, playing and chasing one another, and only whistling, not crying, flew straight at the very heads of the sportsmen. There was the report of four shots, and like swallows the snipe turned swift somersaults in the air and vanished from sight. The stand-shooting was capital. Stepan Arkadyevitch shot two more birds and Levin two, of which one was not found. It began to get dark. Venus, bright and silvery, shone with her soft light low down in the west behind the birch trees, and high up in the east twinkled the red lights of Arcturus. Over his head Levin made out the stars of the Great Bear and lost them again. The snipe had ceased flying; but Levin resolved to stay a little longer, till Venus, which he saw below a branch of birch, should be above it, and the stars of the Great Bear should be perfectly plain. Venus had risen above the branch, and the ear of the Great Bear with its shaft was now all plainly visible against the dark blue sky, yet still he waited. “Isn’t it time to go home?” said Stepan Arkadyevitch. It was quite still now in the copse, and not a bird was stirring. “Let’s stay a little while,” answered Levin. “As you like.” They were standing now about fifteen paces from one another. “Stiva!” said Levin unexpectedly; “how is it you don’t tell me whether your sister-in-law’s married yet, or when she’s going to be?” Levin felt so resolute and serene that no answer, he fancied, could affect him. But he had never dreamed of what Stepan Arkadyevitch replied. “She’s never thought of being married, and isn’t thinking of it; but she’s very ill, and the doctors have sent her abroad. They’re positively afraid she may not live.” “What!” cried Levin. “Very ill? What is wrong with her? How has she...?” While they were saying this, Laska, with ears pricked up, was looking upwards at the sky, and reproachfully at them. “They have chosen a time to talk,” she was thinking. “It’s on the wing.... Here it is, yes, it is. They’ll miss it,” thought Laska. But at that very instant both suddenly heard a shrill whistle which, as it were, smote on their ears, and both suddenly seized their guns and two flashes gleamed, and two bangs sounded at the very same instant. The snipe flying high above instantly folded its wings and fell into a thicket, bending down the delicate shoots. “Splendid! Together!” cried Levin, and he ran with Laska into the thicket to look for the snipe. “Oh, yes, what was it that was unpleasant?” he wondered. “Yes, Kitty’s ill.... Well, it can’t be helped; I’m very sorry,” he thought. “She’s found it! Isn’t she a clever thing?” he said, taking the warm bird from Laska’s mouth and packing it into the almost full game bag. “I’ve got it, Stiva!” he shouted.
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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This chapter is a masterclass in Tolstoy's use of nature as psychological mirror. The spring landscape — birch buds swollen to bursting, snowmelt threading through the copse, the first cuckoo — is rendered with such sensory precision that it functions as an objective correlative for Levin's own barely contained emotional life. His exclamation that one can hear and see the grass growing signals a receptivity to organic process that contrasts sharply with the social world he has retreated from since Kitty's rejection. The setting is not merely backdrop; it is the chapter's primary argument about renewal and latent feeling.

The hunting ritual structures the chapter as a rite of masculine fellowship that simultaneously enables and defers emotional disclosure. The careful choreography of positions, the coded sounds of cocking guns, the shared vocabulary of the sport — all create a social grammar that allows two men to stand fifteen paces apart in near-silence. It is only when the snipe have ceased flying and stillness descends that Levin can bring himself to ask about Kitty, and even then the question is framed with studied casualness. Tolstoy implies that the hunt provides the psychological cover intimacy requires.

Laska's brief interior monologue — her impatient thought that the men have chosen a time to talk and will miss the bird — is one of Tolstoy's characteristic free indirect discourse experiments with animal consciousness. The device is comic on its surface, but it performs a serious structural function: it frames the human conversation as an interruption of natural order and reminds the reader that Levin's emotional world and his sporting world are in constant competition. The dog's reproach is also, obliquely, the narrative's own ironic commentary on Levin's self-deception.

The news of Kitty's illness produces a telling sequence of suppression and displacement. Levin's shock is genuine, but within moments he has packed the emotion away alongside the dead bird, reflecting that Kitty is ill and it cannot be helped. The parallel between the warm bird placed in the game bag and the warm feeling placed in emotional storage is not accidental. Tolstoy uses the physical action of the hunt to dramatise the psychological mechanism of repression, showing how masculine codes of stoicism operate in practice.

The astronomical imagery that closes the shooting sequence — Venus low in the west, Arcturus in the east, the Great Bear overhead — elevates the scene beyond social comedy into something approaching cosmic perspective. Levin's lingering gaze at the stars while Oblonsky urges departure suggests a character who habitually seeks meaning at a scale that dwarfs personal suffering. This motif will recur throughout the novel, linking Levin's agrarian philosophy to a search for transcendence. Here it also functions as dramatic irony: the very serenity Levin feels before asking about Kitty is about to be disturbed, and the indifferent stars make that disturbance seem both significant and small.

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