Anna Karenina: The Dialectic of Prophecy
One of the most impressive features of Anna Karenina is the way in which Tolstoy draws the reader's imagination beyond the literal level of the narrative into generalizations that seem mythical in a manner difficult to articulate. With Dostoevsky or Melville, one sees immediately a propensity for exploiting the symbolic value of things. With Tolstoy, things try, as it were, to resist conversion: they strive to maintain their “thingness” as empirical entities. A character in Dostoevsky is usually only half man; the other half is Christ or Satan. Moby Dick is obviously only half whale; the other half is Evil or some principle of Nature. But Anna Karenina is emphatically Anna Karenina. Like almost all of Tolstoy's characters, she has a proficiency in the husbandry of identity; she jealously hoards her own unique reality, so that it becomes difficult to say of her that she is a “type” of nineteenth-century Russian lady or a “symbol” of modern woman or an “archetypical” Eve or Lilith.