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Part Two, Chapter 30

Chapter Summary

At a German spa, the Shtcherbatsky family quickly finds its fixed social position through the ritual of presentation to a visiting German princess. Kitty, bored after her father leaves for Carlsbad, turns her attention to observing strangers, particularly a selfless Russian girl called Mademoiselle Varenka who tends to invalids in the company of the reclusive Madame Stahl. Kitty is powerfully drawn to Varenka, seeing in her a model of purposeful, dignified living untainted by the marriage market.

A second pair of strangers appears at the springs: a tall, unsettling man and a poorly dressed woman. Kitty begins weaving a romantic story around them until her mother identifies them as Nikolay Levin and Marya Nikolaevna. The revelation that Nikolay is Konstantin Levin's brother instantly transforms Kitty's imaginative sympathy into visceral disgust, and she works to avoid his gaze.

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Original Text
In the little German watering-place to which the Shtcherbatskys had betaken themselves, as in all places indeed where people are gathered together, the usual process, as it were, of the crystallization of society went on, assigning to each member of that society a definite and unalterable place. Just as the particle of water in frost, definitely and unalterably, takes the special form of the crystal of snow, so each new person that arrived at the springs was at once placed in his special place. Fürst Shtcherbatsky, sammt Gemahlin und Tochter, by the apartments they took, and from their name and from the friends they made, were immediately crystallized into a definite place marked out for them. There was visiting the watering-place that year a real German Fürstin, in consequence of which the crystallizing process went on more vigorously than ever. Princess Shtcherbatskaya wished, above everything, to present her daughter to this German princess, and the day after their arrival she duly performed this rite. Kitty made a low and graceful curtsey in the very simple, that is to say, very elegant frock that had been ordered her from Paris. The German princess said, “I hope the roses will soon come back to this pretty little face,” and for the Shtcherbatskys certain definite lines of existence were at once laid down from which there was no departing. The Shtcherbatskys made the acquaintance too of the family of an English Lady Somebody, and of a German countess and her son, wounded in the last war, and of a learned Swede, and of M. Canut and his sister. But yet inevitably the Shtcherbatskys were thrown most into the society of a Moscow lady, Marya Yevgenyevna Rtishtcheva and her daughter, whom Kitty disliked, because she had fallen ill, like herself, over a love affair, and a Moscow colonel, whom Kitty had known from childhood, and always seen in uniform and epaulets, and who now, with his little eyes and his open neck and flowered cravat, was uncommonly ridiculous and tedious, because there was no getting rid of him. When all this was so firmly established, Kitty began to be very much bored, especially as the prince went away to Carlsbad and she was left alone with her mother. She took no interest in the people she knew, feeling that nothing fresh would come of them. Her chief mental interest in the watering-place consisted in watching and making theories about the people she did not know. It was characteristic of Kitty that she always imagined everything in people in the most favorable light possible, especially so in those she did not know. And now as she made surmises as to who people were, what were their relations to one another, and what they were like, Kitty endowed them with the most marvelous and noble characters, and found confirmation of her idea in her observations. Of these people the one that attracted her most was a Russian girl who had come to the watering-place with an invalid Russian lady, Madame Stahl, as everyone called her. Madame Stahl belonged to the highest society, but she was so ill that she could not walk, and only on exceptionally fine days made her appearance at the springs in an invalid carriage. But it was not so much from ill-health as from pride—so Princess Shtcherbatskaya interpreted it—that Madame Stahl had not made the acquaintance of anyone among the Russians there. The Russian girl looked after Madame Stahl, and besides that, she was, as Kitty observed, on friendly terms with all the invalids who were seriously ill, and there were many of them at the springs, and looked after them in the most natural way. This Russian girl was not, as Kitty gathered, related to Madame Stahl, nor was she a paid attendant. Madame Stahl called her Varenka, and other people called her “Mademoiselle Varenka.” Apart from the interest Kitty took in this girl’s relations with Madame Stahl and with other unknown persons, Kitty, as often happened, felt an inexplicable attraction to Mademoiselle Varenka, and was aware when their eyes met that she too liked her. Of Mademoiselle Varenka one would not say that she had passed her first youth, but she was, as it were, a creature without youth; she might have been taken for nineteen or for thirty. If her features were criticized separately, she was handsome rather than plain, in spite of the sickly hue of her face. She would have been a good figure, too, if it had not been for her extreme thinness and the size of her head, which was too large for her medium height. But she was not likely to be attractive to men. She was like a fine flower, already past its bloom and without fragrance, though the petals were still unwithered. Moreover, she would have been unattractive to men also from the lack of just what Kitty had too much of—of the suppressed fire of vitality, and the consciousness of her own attractiveness. She always seemed absorbed in work about which there could be no doubt, and so it seemed she could not take interest in anything outside it. It was just this contrast with her own position that was for Kitty the great attraction of Mademoiselle Varenka. Kitty felt that in her, in her manner of life, she would find an example of what she was now so painfully seeking: interest in life, a dignity in life—apart from the worldly relations of girls with men, which so revolted Kitty, and appeared to her now as a shameful hawking about of goods in search of a purchaser. The more attentively Kitty watched her unknown friend, the more convinced she was this girl was the perfect creature she fancied her, and the more eagerly she wished to make her acquaintance. The two girls used to meet several times a day, and every time they met, Kitty’s eyes said: “Who are you? What are you? Are you really the exquisite creature I imagine you to be? But for goodness’ sake don’t suppose,” her eyes added, “that I would force my acquaintance on you, I simply admire you and like you.” “I like you too, and you’re very, very sweet. And I should like you better still, if I had time,” answered the eyes of the unknown girl. Kitty saw indeed, that she was always busy. Either she was taking the children of a Russian family home from the springs, or fetching a shawl for a sick lady, and wrapping her up in it, or trying to interest an irritable invalid, or selecting and buying cakes for tea for someone. Soon after the arrival of the Shtcherbatskys there appeared in the morning crowd at the springs two persons who attracted universal and unfavorable attention. These were a tall man with a stooping figure, and huge hands, in an old coat too short for him, with black, simple, and yet terrible eyes, and a pockmarked, kind-looking woman, very badly and tastelessly dressed. Recognizing these persons as Russians, Kitty had already in her imagination begun constructing a delightful and touching romance about them. But the princess, having ascertained from the visitors’ list that this was Nikolay Levin and Marya Nikolaevna, explained to Kitty what a bad man this Levin was, and all her fancies about these two people vanished. Not so much from what her mother told her, as from the fact that it was Konstantin’s brother, this pair suddenly seemed to Kitty intensely unpleasant. This Levin, with his continual twitching of his head, aroused in her now an irrepressible feeling of disgust. It seemed to her that his big, terrible eyes, which persistently pursued her, expressed a feeling of hatred and contempt, and she tried to avoid meeting him.
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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The chapter opens with one of Tolstoy's most celebrated extended metaphors: the crystallization of society. By comparing social placement to the formation of a snow crystal, Tolstoy renders the spa's hierarchy as simultaneously natural and rigid—beautiful in its precision, yet utterly impersonal. The scientific register ("particle of water," "definite and unalterable") undercuts any romantic notion of individual freedom, suggesting that the social world operates by laws as inexorable as physics. The German-language title "Fürst Shtcherbatsky, sammt Gemahlin und Tochter" embedded in the prose mimics the bureaucratic formality of a visitors' register, reinforcing how identity is reduced to a legible, classifiable unit.

Varenka functions as a foil to Kitty in the most structurally precise sense. Where Kitty possesses "suppressed fire of vitality" and an acute consciousness of her own attractiveness—qualities that have already brought her grief through Vronsky—Varenka is described as "a fine flower, already past its bloom and without fragrance." The floral simile is elegiac rather than condemnatory: Varenka has transcended the economy of feminine desirability, and it is precisely this transcendence that Kitty craves. Tolstoy thus uses the contrast to articulate Kitty's spiritual crisis: she is not merely recovering from heartbreak but searching for an entirely different relationship to selfhood and purpose.

The silent dialogue Tolstoy stages between the two girls through their eyes—rendered in free indirect discourse with italicised interior speech—is a masterpiece of psychological realism. Rather than dramatising an actual conversation, Tolstoy gives us the pre-verbal, intuitive communication of mutual recognition. This technique also keeps Varenka idealized; she remains a projection of Kitty's longing, a canvas onto which Kitty paints "the most marvelous and noble characters." The narrator gently signals this interpretive excess: Kitty "always imagined everything in people in the most favorable light possible, especially so in those she did not know."

The episode with Nikolay Levin and Marya Nikolaevna introduces the novel's recurring tension between imaginative sympathy and social prejudice. Kitty's spontaneous, generous romanticisation of the pair is instantly annihilated not by direct experience but by her mother's socially coded report. The speed of the reversal—"all her fancies about these two people vanished"—exposes how thoroughly social conditioning can override moral imagination. Crucially, Kitty's disgust is intensified "not so much from what her mother told her, as from the fact that it was Konstantin's brother": her emotional wound from Vronsky's rejection, and by extension her unresolved feelings for Levin, are displaced onto the innocent Nikolay as contempt and avoidance.

Structurally, the chapter performs important preparatory work for the novel's second movement. Varenka and Madame Stahl will become agents of Kitty's moral and spiritual education, while Nikolay Levin's presence at the spa foreshadows the theme of death and suffering that will deepen in subsequent chapters. The watering-place itself, a liminal space between illness and health, society and solitude, serves as the ideal setting for Kitty's transformation from a girl defined by the marriage market into a young woman beginning to seek meaning beyond it.

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