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Similes
Part 1, Chapter 2
Explanation and Analysis—Stiva's Horse Collar:
When one of the Oblonsky servants Matvei helps Stiva dress himself, the story uses an ironic simile to comment on the behavior of privileged Russian society:
‘Well, all right, go now,’ said Stepan Arkadyich, suddenly blushing. ‘Let’s get me dressed.’ He turned to Matvei and resolutely threw off his dressing gown. Matvei was already holding the shirt like a horse collar, blowing away something invisible, and with obvious pleasure he clothed the pampered body of his master in it.
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Part 2, Chapter 11
Explanation and Analysis—The Nightmare:
After Anna sleeps with Vronsky for the first time, she feels an unparalleled wash of shame. Soon, nightmares begin to accompany her torment, and the narrative uses situational irony to paint her guilt within these dreams:
Unlock with LitCharts A+She dreamed that they were both her husbands, that they both lavished their caresses on her. Alexei Alexandrovich wept, kissing her hands and saying: ‘It’s so good now!’ And Alexei Vronsky was right there, and he, too, was her husband. And, marvelling that it had once seemed impossible to her, she laughingly explained to them that this was much simpler and that now they were both content and happy. But this dream weighed on her like a nightmare, and she would wake up in horror.
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Part 5, Chapter 7
Explanation and Analysis—Understanding Happiness:
When Anna and Vronsky travel to a small town in Italy, they meet Vronsky's former comrade, Golenishchev, who comments on the couple's beauty and cheerfulness. Golenishchev's perception of Anna is an example of situational irony:
Unlock with LitCharts A+But he especially liked that she at once, as if on purpose, called Vronsky simply Alexei, so that there could be no misunderstandings in the presence of a stranger, and said that they were moving together to a newly rented house, known locally as a palazzo. Golenishchev liked this direct and simple attitude to her position. Observing Anna’s good-naturedly cheerful, energetic manner, and knowing both Alexei Alexandrovich and Vronsky, Golenishchev felt that he fully understood her. It seemed to him that he understood what she was quite unable to - namely, how it was that she, having caused the unhappiness of her husband, having abandoned him and their son, and having lost her own good name, could still feel energetically cheerful and happy.
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Part 7, Chapter 16
Explanation and Analysis—A Fearful Joy:
Upon the birth of Kitty and Levin's child, Levin feels conflicting and unexpected emotions, demonstrating situational irony:
Unlock with LitCharts A+What he felt for this small being was not at all what he had expected. There was nothing happy or joyful in this feeling; on the contrary, there was a new tormenting fear. There was an awareness of a new region of vulnerability. And this awareness was so tormenting at first, the fear lest this helpless being should suffer was so strong, that because of it he scarcely noticed the strange feeling of senseless joy and even pride he had experienced when the baby sneezed.
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Part 7, Chapter 30
Explanation and Analysis—The Search for Happiness:
While on her way to the train station, Anna's mental state deteriorates even further, demonstrated by the irony of her thoughts and situation:
Unlock with LitCharts A+‘Well, I’ll get the divorce and be Vronsky’s wife. What, then? Will Kitty stop looking at me as she did today? No. And will Seryozha stop asking or thinking about my two husbands? And between me and Vronsky what new feeling will I think up? Is anything—not even happiness but just not torment—possible? No, nothing!’ she answered herself now without the least hesitation. ‘Impossible! Our lives are parting ways, and I have become his unhappiness and he mine, and it’s impossible to remake either him or me. All efforts have been made; the screw is stripped. Ah, a beggar woman with a child. She thinks she’s to be pitied. Aren’t we all thrown into the world only in order to hate each other and so to torment ourselves and others.’
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