Anna Karenina Study Guide
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Part Two, Chapter 33

Chapter Summary

At the German spa, Kitty forms a close acquaintance with Madame Stahl and deepens her friendship with Varenka, both of which open her to a new spiritual world rooted in active Christian charity. Inspired by Varenka's selfless example, Kitty devotes herself to helping the sick, particularly the consumptive painter Petrov and his family, reading the Gospel and performing acts of mercy. Her mother, the princess, observes the change with mild unease, warning against excess.

A subtle crisis emerges when Anna Pavlovna, Petrov's wife, grows noticeably cool toward Kitty. Reflecting on her interactions with the family, Kitty gradually and horrifyingly suspects that Petrov has developed romantic feelings for her, and that his wife has perceived this. The suspicion threatens to taint and unravel the spiritual idealism she has so recently embraced.

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Original Text
Kitty made the acquaintance of Madame Stahl too, and this acquaintance, together with her friendship with Varenka, did not merely exercise a great influence on her, it also comforted her in her mental distress. She found this comfort through a completely new world being opened to her by means of this acquaintance, a world having nothing in common with her past, an exalted, noble world, from the height of which she could contemplate her past calmly. It was revealed to her that besides the instinctive life to which Kitty had given herself up hitherto there was a spiritual life. This life was disclosed in religion, but a religion having nothing in common with that one which Kitty had known from childhood, and which found expression in litanies and all-night services at the Widow’s Home, where one might meet one’s friends, and in learning by heart Slavonic texts with the priest. This was a lofty, mysterious religion connected with a whole series of noble thoughts and feelings, which one could do more than merely believe because one was told to, which one could love. Kitty found all this out not from words. Madame Stahl talked to Kitty as to a charming child that one looks on with pleasure as on the memory of one’s youth, and only once she said in passing that in all human sorrows nothing gives comfort but love and faith, and that in the sight of Christ’s compassion for us no sorrow is trifling—and immediately talked of other things. But in every gesture of Madame Stahl, in every word, in every heavenly—as Kitty called it—look, and above all in the whole story of her life, which she heard from Varenka, Kitty recognized that something “that was important,” of which, till then, she had known nothing. Yet, elevated as Madame Stahl’s character was, touching as was her story, and exalted and moving as was her speech, Kitty could not help detecting in her some traits which perplexed her. She noticed that when questioning her about her family, Madame Stahl had smiled contemptuously, which was not in accord with Christian meekness. She noticed, too, that when she had found a Catholic priest with her, Madame Stahl had studiously kept her face in the shadow of the lamp-shade and had smiled in a peculiar way. Trivial as these two observations were, they perplexed her, and she had her doubts as to Madame Stahl. But on the other hand Varenka, alone in the world, without friends or relations, with a melancholy disappointment in the past, desiring nothing, regretting nothing, was just that perfection of which Kitty dared hardly dream. In Varenka she realized that one has but to forget oneself and love others, and one will be calm, happy, and noble. And that was what Kitty longed to be. Seeing now clearly what was the most important, Kitty was not satisfied with being enthusiastic over it; she at once gave herself up with her whole soul to the new life that was opening to her. From Varenka’s accounts of the doings of Madame Stahl and other people whom she mentioned, Kitty had already constructed the plan of her own future life. She would, like Madame Stahl’s niece, Aline, of whom Varenka had talked to her a great deal, seek out those who were in trouble, wherever she might be living, help them as far as she could, give them the Gospel, read the Gospel to the sick, to criminals, to the dying. The idea of reading the Gospel to criminals, as Aline did, particularly fascinated Kitty. But all these were secret dreams, of which Kitty did not talk either to her mother or to Varenka. While awaiting the time for carrying out her plans on a large scale, however, Kitty, even then at the springs, where there were so many people ill and unhappy, readily found a chance for practicing her new principles in imitation of Varenka. At first the princess noticed nothing but that Kitty was much under the influence of her engouement, as she called it, for Madame Stahl, and still more for Varenka. She saw that Kitty did not merely imitate Varenka in her conduct, but unconsciously imitated her in her manner of walking, of talking, of blinking her eyes. But later on the princess noticed that, apart from this adoration, some kind of serious spiritual change was taking place in her daughter. The princess saw that in the evenings Kitty read a French testament that Madame Stahl had given her—a thing she had never done before; that she avoided society acquaintances and associated with the sick people who were under Varenka’s protection, and especially one poor family, that of a sick painter, Petrov. Kitty was unmistakably proud of playing the part of a sister of mercy in that family. All this was well enough, and the princess had nothing to say against it, especially as Petrov’s wife was a perfectly nice sort of woman, and that the German princess, noticing Kitty’s devotion, praised her, calling her an angel of consolation. All this would have been very well, if there had been no exaggeration. But the princess saw that her daughter was rushing into extremes, and so indeed she told her. “Il ne faut jamais rien outrer,” she said to her. Her daughter made her no reply, only in her heart she thought that one could not talk about exaggeration where Christianity was concerned. What exaggeration could there be in the practice of a doctrine wherein one was bidden to turn the other cheek when one was smitten, and give one’s cloak if one’s coat were taken? But the princess disliked this exaggeration, and disliked even more the fact that she felt her daughter did not care to show her all her heart. Kitty did in fact conceal her new views and feelings from her mother. She concealed them not because she did not respect or did not love her mother, but simply because she was her mother. She would have revealed them to anyone sooner than to her mother. “How is it Anna Pavlovna’s not been to see us for so long?” the princess said one day of Madame Petrova. “I’ve asked her, but she seems put out about something.” “No, I’ve not noticed it, maman,” said Kitty, flushing hotly. “Is it long since you went to see them?” “We’re meaning to make an expedition to the mountains tomorrow,” answered Kitty. “Well, you can go,” answered the princess, gazing at her daughter’s embarrassed face and trying to guess the cause of her embarrassment. That day Varenka came to dinner and told them that Anna Pavlovna had changed her mind and given up the expedition for the morrow. And the princess noticed again that Kitty reddened. “Kitty, haven’t you had some misunderstanding with the Petrovs?” said the princess, when they were left alone. “Why has she given up sending the children and coming to see us?” Kitty answered that nothing had happened between them, and that she could not tell why Anna Pavlovna seemed displeased with her. Kitty answered perfectly truly. She did not know the reason Anna Pavlovna had changed to her, but she guessed it. She guessed at something which she could not tell her mother, which she did not put into words to herself. It was one of those things which one knows but which one can never speak of even to oneself, so terrible and shameful would it be to be mistaken. Again and again she went over in her memory all her relations with the family. She remembered the simple delight expressed on the round, good-humored face of Anna Pavlovna at their meetings; she remembered their secret confabulations about the invalid, their plots to draw him away from the work which was forbidden him, and to get him out-of-doors; the devotion of the youngest boy, who used to call her “my Kitty,” and would not go to bed without her. How nice it all was! Then she recalled the thin, terribly thin figure of Petrov, with his long neck, in his brown coat, his scant, curly hair, his questioning blue eyes that were so terrible to Kitty at first, and his painful attempts to seem hearty and lively in her presence. She recalled the efforts she had made at first to overcome the repugnance she felt for him, as for all consumptive people, and the pains it had cost her to think of things to say to him. She recalled the timid, softened look with which he gazed at her, and the strange feeling of compassion and awkwardness, and later of a sense of her own goodness, which she had felt at it. How nice it all was! But all that was at first. Now, a few days ago, everything was suddenly spoiled. Anna Pavlovna had met Kitty with affected cordiality, and had kept continual watch on her and on her husband. Could that touching pleasure he showed when she came near be the cause of Anna Pavlovna’s coolness? “Yes,” she mused, “there was something unnatural about Anna Pavlovna, and utterly unlike her good nature, when she said angrily the day before yesterday: ‘There, he will keep waiting for you; he wouldn’t drink his coffee without you, though he’s grown so dreadfully weak.’” “Yes, perhaps, too, she didn’t like it when I gave him the rug. It was all so simple, but he took it so awkwardly, and was so long thanking me, that I felt awkward too. And then that portrait of me he did so well. And most of all that look of confusion and tenderness! Yes, yes, that’s it!” Kitty repeated to herself with horror. “No, it can’t be, it oughtn’t to be! He’s so much to be pitied!” she said to herself directly after. This doubt poisoned the charm of her new life.
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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This chapter dramatises Kitty's spiritual awakening as a direct response to the emotional devastation of her rejection by Vronsky. Tolstoy structures the chapter as a movement from exaltation to doubt, mirroring the broader arc of idealism confronting reality that runs through the novel. The new religious world Kitty discovers is carefully distinguished from the rote, social religion of her upbringing—litanies, Slavonic texts, church as a place to meet friends—and is instead characterised as a living, felt faith. This contrast establishes authentic versus performative piety as a central tension, one that will recur throughout the novel in figures from Karenin to Lyovin.

Tolstoy's treatment of Madame Stahl is subtly ironic. Kitty reveres her, yet the narrator quietly records two telling details: a contemptuous smile when questioned about family, and a studied concealment of her face before a Catholic priest. These small gestures introduce the possibility that Madame Stahl's spirituality is itself a kind of performance, a pose adopted after worldly disappointment. Varenka, by contrast, is presented as genuinely selfless, and it is Varenka—not Madame Stahl—who becomes Kitty's true model. The chapter thus distinguishes between imitated virtue and authentic virtue, a distinction Kitty has not yet fully grasped.

The princess's French interjection, "Il ne faut jamais rien outrer" (one must never go to extremes), functions as the voice of social pragmatism against Kitty's idealism. Kitty's silent rebuttal—that Christianity by its very nature demands extremity, citing the Sermon on the Mount—reveals her growing interior independence from her mother's world. Yet Tolstoy also shows that this independence is not yet mature: Kitty conceals her new convictions not from indifference but because her mother represents the old self she is trying to transcend. The concealment is itself a form of self-protection.

The chapter's most psychologically acute passage is Kitty's retrospective reconstruction of her relationship with Petrov. Tolstoy renders her dawning realisation through a stream of remembered images—the thin neck, the questioning blue eyes, the rug, the portrait, the look of "confusion and tenderness"—building toward a conclusion Kitty cannot quite articulate even to herself. The phrase "one of those things which one knows but which one can never speak of even to oneself" is a precise formulation of self-deception and shame, and it connects Kitty's situation to the novel's broader exploration of the gap between social surfaces and inner life. Her charity, it turns out, was not without an unconscious erotic dimension, or at least was perceived to have one.

The final line—"This doubt poisoned the charm of her new life"—is structurally significant. The word "charm" (obayanie) carries connotations of enchantment, suggesting that Kitty's spiritual phase has been partly a romantic idealisation of a different kind, a displacement of her capacity for passionate attachment onto a religious programme. The chapter thus prepares the reader for Kitty's eventual return to the ordinary human world of love and marriage, implying that no purely spiritual solution can resolve the conflicts Tolstoy has set in motion.

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✎ Mr. Shifflett's Note
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