Anna Karénina, is, of all Tolstoy's heroines, the most perfect human being; she is a mature woman, possessed of wit, grace, and beauty, and above all, the gift of sympathy; she is one of those people who have strong affections, who love profoundly and appreciate readily all that is best in others, who are also possessed of keen intellectual powers, but who live mainly from impulse and not from principle. Such people are, perhaps, the most attractive characters in the world, and their impulses, springing from a warm heart, are usually right: but it is their peril that, in moments of moral stress, their emotions may be too much for them, and may fatally mislead them. There is a certain resemblance, though not too close, between Anna and Natasha Rostof; both possess the poetic and emotional temperament; they add, wherever they are, to the romance of life; it may be noted too that, though Natasha's fate is happier, that is due mainly to accident, and not to her own achievement, for she twice escaped the ruin of her life only by the intervention of others, and she also came very near to death by her own hand.
There is no surer proof of Anna's sweetness than the charm she possesses for members of her own sex. She appreciates the beauty of the young girl who is her unconscious rival, Kitty Shcherbatsky, and she can enter into the family griefs and troubles of Kitty's sister Dolly, who, although most virtuous herself, clings to Anna through all her ostracism. Even the frivolous and immoral Betsky Tverskáia is grieved to the heart when her own cowardice compels her to desert Anna.
Even before the heroine enters the story the effect of her presence is felt. Her brother who, owing to a matrimonial infidelity, has quarrelled with his wife, looks to her as his only hope; he and Dolly both love her dearly, and they hope that she may find for them a way out of the intolerable situation; she does, in fact, prevent the break-up of the home, though she cannot (and this is another example of Tolstoy's quiet ironic truth) either reform her brother or leave Dolly really happy. Tender and sympathetic as Anna at once shows herself to be, she has yet a void in her own life. When quite a young girl she had been married to a government official, Aleksei Karénin, who held an important position but who was twenty years her senior, stiff, dry, and cold; the marriage was entirely due to the intrigues of Anna's clever and unscrupulous aunt.
Anna has one child, her son Serozha, and in the effort to fill her life completely with her maternal affection, she has almost made it an affectation. Though she herself hardly suspects it, the real emotional capacities of her nature have never been developed. It is a stroke of tragic irony that Anna, who comes to Moscow to avert the destruction of her brother's home, should find there what is to prove the ruin of her own. She meets Count Aleksei Vronsky—young, handsome, attractive.
Vronsky has been regarded by everyone, including Kitty herself, as the suitor of Kitty Shcherbatsky, but he is not deeply stirred, and, the moment he meets Anna, he yields to her far greater charm.
Had there been the slightest disrespect in Vronsky's attentions, Anna would have known how to defend herself, but Vronsky is perfectly reverent. His family, on discovering the intrigue, consider Anna simply as an amusement for Vronsky, but he himself has never regarded her in that light; from the first moment he has loved her seriously and profoundly, with all the strength of his nature.
Against all the ordinary infidelities, the light and cheap loves of the society in which she lives, Anna is immune, but she is helplessly ensnared by this love, so immediate that she has no time to be on her guard, so tender and reverent that she cannot feel insulted.
The reader is, at first, somewhat inclined to resent Anna's overwhelming passion, and to consider Vronsky as commonplace, he seems so much the typical military dandy, his whole life's aim (as he avows even to himself) being the desire to be comme il faut in everything—in dress, speech, manners, and sentiments. He attempts to make his passion for Madame Karénina fit in the conventional framework, but Vronsky is finer than he himself suspects; he really is what Anna had, at the first glimpse, divined him to be—her nature's destined mate; under the exterior of the St. Petersburg dandy, he conceals a nature capable of extraordinary generosities and the most enduring devotion. He realises all the charm of Anna's nature; he realises that her heart is as yet unawakened and that he has the power to arouse it; there is nothing in his moral code to hold him back; he and his society consider the pursuit of a married woman as being quite comme il faut. Our first real surprise with regard to Vronsky does not occur in his relations to Anna, but comes when we discover that he has, with almost quixotic generosity, sacrificed the greater part of his fortune in favour of his younger brother, for no reason except that his brother wished to marry into a distinguished family, and the fortune would greatly aid.
With the same generosity, Vronsky, when he discovers the need, makes real sacrifices for Anna. He had at first regarded his passion for her as being only an additional joy in life, entailing no responsibility; but Tolstoy, with his unerring accuracy, shows that the responsibilities of an illicit love are not only as great as those of a legal one, but far more difficult and galling, because society, having ordained the responsibilities of marriage, assists the individual to execute them, whereas, in the other case, it incessantly hinders and impedes. Vronsky is compelled either to leave Anna or to sacrifice his ambition, hitherto the dearest thing in his life, and he gives up his ambition.
Matthew Arnold, in his criticisms on Anna Karénina, remarks that it is difficult to imagine an Englishwoman yielding herself as readily as Anna to an illicit love. But we may doubt if this is not a piece of British Pharasaism, for an emotional Englishwoman, living in a society as corrupt as Anna's (and many periods of English society have been as corrupt), would probably yield in the same way. Tolstoy, with his usual insight, has shown us how natural this yielding really is. Anna, though quite young, is well accustomed to marital infidelity; her own brother's, though it distresses, does not shock her; moreover, in the character of this brother, Stepan, we have a subtle side-light thrown upon Anna's; Stepan is a far inferior type, but there is undoubtedly a family affinity. Stepan is affectionate, kind-hearted, and cheerful; wherever he goes he is thoroughly liked; but he altogether fails to realise his obligations, even to those he loves, and in Anna's nature, incomparably more refined, there is, none the less, a touch of the same carelessness.