Anna Karenina

nna, in that first period of her emancipation and rapid return to
health, felt herself unpardonably happy and full of the joy of life.
The thought of her husband’s unhappiness did not poison her happiness.
On one side that memory was too awful to be thought of. On the other
side her husband’s unhappiness had given her too much happiness to be
regretted. The memory of all that had happened after her illness: her
reconciliation with her husband, its breakdown, the news of Vronsky’s
wound, his visit, the preparations for divorce, the departure from her
husband’s house, the parting from her son—all that seemed to her like a
delirious dream, from which she had waked up alone with Vronsky abroad.
The thought of the harm caused to her husband aroused in her a feeling
like repulsion, and akin to what a drowning man might feel who has
shaken off another man clinging to him. That man did drown. It was an
evil action, of course, but it was the sole means of escape, and better
not to brood over these fearful facts.

One consolatory reflection upon her conduct had occurred to her at the
first moment of the final rupture, and when now she recalled all the
past, she remembered that one reflection. “I have inevitably made that
man wretched,” she thought; “but I don’t want to profit by his misery.
I too am suffering, and shall suffer; I am losing what I prized above
everything—I am losing my good name and my son. I have done wrong, and
so I don’t want happiness, I don’t want a divorce, and shall suffer
from my shame and the separation from my child.” But, however sincerely
Anna had meant to suffer, she was not suffering. Shame there was not.
With the tact of which both had such a large share, they had succeeded
in avoiding Russian ladies abroad, and so had never placed themselves
in a false position, and everywhere they had met people who pretended
that they perfectly understood their position, far better indeed than
they did themselves. Separation from the son she loved—even that did
not cause her anguish in these early days. The baby girl—his
child—was so sweet, and had so won Anna’s heart, since she was all that
was left her, that Anna rarely thought of her son.

The desire for life, waxing stronger with recovered health, was so
intense, and the conditions of life were so new and pleasant, that Anna
felt unpardonably happy. The more she got to know Vronsky, the more she
loved him. She loved him for himself, and for his love for her. Her
complete ownership of him was a continual joy to her. His presence was
always sweet to her. All the traits of his character, which she learned
to know better and better, were unutterably dear to her. His
appearance, changed by his civilian dress, was as fascinating to her as
though she were some young girl in love. In everything he said,
thought, and did, she saw something particularly noble and elevated.
Her adoration of him alarmed her indeed; she sought and could not find
in him anything not fine. She dared not show him her sense of her own
insignificance beside him. It seemed to her that, knowing this, he
might sooner cease to love her; and she dreaded nothing now so much as
losing his love, though she had no grounds for fearing it. But she
could not help being grateful to him for his attitude to her, and
showing that she appreciated it. He, who had in her opinion such a
marked aptitude for a political career, in which he would have been
certain to play a leading part—he had sacrificed his ambition for her
sake, and never betrayed the slightest regret. He was more lovingly
respectful to her than ever, and the constant care that she should not
feel the awkwardness of her position never deserted him for a single
instant. He, so manly a man, never opposed her, had indeed, with her,
no will of his own, and was anxious, it seemed, for nothing but to
anticipate her wishes. And she could not but appreciate this, even
though the very intensity of his solicitude for her, the atmosphere of
care with which he surrounded her, sometimes weighed upon her.

Vronsky, meanwhile, in spite of the complete realization of what he had
so long desired, was not perfectly happy. He soon felt that the
realization of his desires gave him no more than a grain of sand out of
the mountain of happiness he had expected. It showed him the mistake
men make in picturing to themselves happiness as the realization of
their desires. For a time after joining his life to hers, and putting
on civilian dress, he had felt all the delight of freedom in general of
which he had known nothing before, and of freedom in his love,—and he
was content, but not for long. He was soon aware that there was
springing up in his heart a desire for desires—ennui. Without
conscious intention he began to clutch at every passing caprice, taking
it for a desire and an object. Sixteen hours of the day must be
occupied in some way, since they were living abroad in complete
freedom, outside the conditions of social life which filled up time in
Petersburg. As for the amusements of bachelor existence, which had
provided Vronsky with entertainment on previous tours abroad, they
could not be thought of, since the sole attempt of the sort had led to
a sudden attack of depression in Anna, quite out of proportion with the
cause—a late supper with bachelor friends. Relations with the society
of the place—foreign and Russian—were equally out of the question owing
to the irregularity of their position. The inspection of objects of
interest, apart from the fact that everything had been seen already,
had not for Vronsky, a Russian and a sensible man, the immense
significance Englishmen are able to attach to that pursuit.

And just as the hungry stomach eagerly accepts every object it can get,
hoping to find nourishment in it, Vronsky quite unconsciously clutched
first at politics, then at new books, and then at pictures.

As he had from a child a taste for painting, and as, not knowing what
to spend his money on, he had begun collecting engravings, he came to a
stop at painting, began to take interest in it, and concentrated upon
it the unoccupied mass of desires which demanded satisfaction.

He had a ready appreciation of art, and probably, with a taste for
imitating art, he supposed himself to have the real thing essential for
an artist, and after hesitating for some time which style of painting
to select—religious, historical, realistic, or genre painting—he set to
work to paint. He appreciated all kinds, and could have felt inspired
by anyone of them; but he had no conception of the possibility of
knowing nothing at all of any school of painting, and of being inspired
directly by what is within the soul, without caring whether what is
painted will belong to any recognized school. Since he knew nothing of
this, and drew his inspiration, not directly from life, but indirectly
from life embodied in art, his inspiration came very quickly and
easily, and as quickly and easily came his success in painting
something very similar to the sort of painting he was trying to
imitate.

More than any other style he liked the French—graceful and
effective—and in that style he began to paint Anna’s portrait in
Italian costume, and the portrait seemed to him, and to everyone who
saw it, extremely successful.