Anna Karenina Study Guide
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Part One, Chapter 6

Chapter Summary

When Oblonsky asks Levin why he has come to Moscow, Levin blushes, unable to admit that he has come to propose to Kitty Shtcherbatsky. The narrator traces the long friendship between the Levin and Shtcherbatsky families, explaining how Levin fell in love first with the household itself, then successively with Dolly and Natalia before both married. When he returned to Moscow after a year in the country, he finally recognized that Kitty was the one he was destined to love.

Despite being a man of good family and reasonable means, Levin considers himself utterly unworthy of Kitty: he has no conventional career, regards himself as ugly and ordinary, and fears her family will see him as a poor match. After two months of enchanted visits he retreated to the country, but the consuming nature of his feeling has now driven him back with a firm resolve to propose—or face a future he cannot even imagine.

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Original Text
When Oblonsky asked Levin what had brought him to town, Levin blushed, and was furious with himself for blushing, because he could not answer, “I have come to make your sister-in-law an offer,” though that was precisely what he had come for. The families of the Levins and the Shtcherbatskys were old, noble Moscow families, and had always been on intimate and friendly terms. This intimacy had grown still closer during Levin’s student days. He had both prepared for the university with the young Prince Shtcherbatsky, the brother of Kitty and Dolly, and had entered at the same time with him. In those days Levin used often to be in the Shtcherbatskys’ house, and he was in love with the Shtcherbatsky household. Strange as it may appear, it was with the household, the family, that Konstantin Levin was in love, especially with the feminine half of the household. Levin did not remember his own mother, and his only sister was older than he was, so that it was in the Shtcherbatskys’ house that he saw for the first time that inner life of an old, noble, cultivated, and honorable family of which he had been deprived by the death of his father and mother. All the members of that family, especially the feminine half, were pictured by him, as it were, wrapped about with a mysterious poetical veil, and he not only perceived no defects whatever in them, but under the poetical veil that shrouded them he assumed the existence of the loftiest sentiments and every possible perfection. Why it was the three young ladies had one day to speak French, and the next English; why it was that at certain hours they played by turns on the piano, the sounds of which were audible in their brother’s room above, where the students used to work; why they were visited by those professors of French literature, of music, of drawing, of dancing; why at certain hours all the three young ladies, with Mademoiselle Linon, drove in the coach to the Tversky boulevard, dressed in their satin cloaks, Dolly in a long one, Natalia in a half-long one, and Kitty in one so short that her shapely legs in tightly-drawn red stockings were visible to all beholders; why it was they had to walk about the Tversky boulevard escorted by a footman with a gold cockade in his hat—all this and much more that was done in their mysterious world he did not understand, but he was sure that everything that was done there was very good, and he was in love precisely with the mystery of the proceedings. In his student days he had all but been in love with the eldest, Dolly, but she was soon married to Oblonsky. Then he began being in love with the second. He felt, as it were, that he had to be in love with one of the sisters, only he could not quite make out which. But Natalia, too, had hardly made her appearance in the world when she married the diplomat Lvov. Kitty was still a child when Levin left the university. Young Shtcherbatsky went into the navy, was drowned in the Baltic, and Levin’s relations with the Shtcherbatskys, in spite of his friendship with Oblonsky, became less intimate. But when early in the winter of this year Levin came to Moscow, after a year in the country, and saw the Shtcherbatskys, he realized which of the three sisters he was indeed destined to love. One would have thought that nothing could be simpler than for him, a man of good family, rather rich than poor, and thirty-two years old, to make the young Princess Shtcherbatskaya an offer of marriage; in all likelihood he would at once have been looked upon as a good match. But Levin was in love, and so it seemed to him that Kitty was so perfect in every respect that she was a creature far above everything earthly; and that he was a creature so low and so earthly that it could not even be conceived that other people and she herself could regard him as worthy of her. After spending two months in Moscow in a state of enchantment, seeing Kitty almost every day in society, into which he went so as to meet her, he abruptly decided that it could not be, and went back to the country. Levin’s conviction that it could not be was founded on the idea that in the eyes of her family he was a disadvantageous and worthless match for the charming Kitty, and that Kitty herself could not love him. In her family’s eyes he had no ordinary, definite career and position in society, while his contemporaries by this time, when he was thirty-two, were already, one a colonel, and another a professor, another director of a bank and railways, or president of a board like Oblonsky. But he (he knew very well how he must appear to others) was a country gentleman, occupied in breeding cattle, shooting game, and building barns; in other words, a fellow of no ability, who had not turned out well, and who was doing just what, according to the ideas of the world, is done by people fit for nothing else. The mysterious, enchanting Kitty herself could not love such an ugly person as he conceived himself to be, and, above all, such an ordinary, in no way striking person. Moreover, his attitude to Kitty in the past—the attitude of a grown-up person to a child, arising from his friendship with her brother—seemed to him yet another obstacle to love. An ugly, good-natured man, as he considered himself, might, he supposed, be liked as a friend; but to be loved with such a love as that with which he loved Kitty, one would need to be a handsome and, still more, a distinguished man. He had heard that women often did care for ugly and ordinary men, but he did not believe it, for he judged by himself, and he could not himself have loved any but beautiful, mysterious, and exceptional women. But after spending two months alone in the country, he was convinced that this was not one of those passions of which he had had experience in his early youth; that this feeling gave him not an instant’s rest; that he could not live without deciding the question, would she or would she not be his wife, and that his despair had arisen only from his own imaginings, that he had no sort of proof that he would be rejected. And he had now come to Moscow with a firm determination to make an offer, and get married if he were accepted. Or ... he could not conceive what would become of him if he were rejected.
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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This chapter functions as a retrospective exposition, embedding Levin's present crisis within the long history of his attachment to the Shtcherbatsky world. Tolstoy's narrative strategy is significant: rather than dramatising the courtship directly, he renders it through Levin's memory and self-analysis, establishing interiority as the primary mode of characterisation for this hero. The blush that opens the chapter is a small but telling gesture—an involuntary physical sign that Levin cannot master his own transparency, a quality that will define him throughout the novel in contrast to the more socially polished characters around him.

The extended description of the Shtcherbatsky household is saturated with the language of mystery and idealization. Tolstoy repeatedly uses the phrase "mysterious poetical veil" to describe how Levin perceives the family, and the catalogue of French lessons, piano practice, satin cloaks, and Tversky boulevard promenades is rendered not as social critique but as enchantment. This is free indirect discourse at its most subtle: the narrator adopts Levin's reverent, slightly bewildered perspective, making the reader feel both the charm of the world and the naivety of the observer. The detail of Kitty's "tightly-drawn red stockings" visible beneath her short cloak is the one sensory flash that pierces the veil—a hint of the physical reality beneath the idealisation.

The chapter's central thematic concern is self-worth and social identity. Levin's self-deprecation is not mere modesty; it is structured by a specific social logic. He measures himself against contemporaries who are colonels, professors, and bank directors, and finds himself merely a country gentleman breeding cattle. Tolstoy frames this with gentle irony: the narrator notes that "one would have thought that nothing could be simpler" than for a man of Levin's standing to propose, immediately undercutting Levin's anguished sense of inadequacy. This ironic gap between objective circumstance and subjective experience is a hallmark of Tolstoy's psychological realism.

Levin's reasoning about love reveals a solipsistic epistemology: "he did not believe it, for he judged by himself." He projects his own aesthetic standards onto Kitty, assuming she could only love someone handsome and distinguished because he himself could only love someone beautiful and exceptional. This circularity of self-judgment is both comic and poignant, and it anticipates the novel's broader meditation on how individuals construct reality from their own desires and fears rather than from evidence.

The chapter closes with a syntactic enactment of Levin's psychological state: the sentence "Or … he could not conceive what would become of him if he were rejected" trails into ellipsis, formally mimicking the unthinkable void that rejection represents. This open-ended syntax contrasts sharply with the neat social trajectories of Levin's contemporaries and aligns him, from the outset, with the novel's deeper existential questioning rather than its social comedy.

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✎ Mr. Shifflett's Note
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