Some novels have attained a wide circulation by means of one scene. In recollecting "Anna Karenina," powerful scenes crowd into the memory--introspective and analytic as it is, it is filled with dramatic climaxes. The sheer force of some of these scenes is almost terrifying. The first meeting of Anna and Vronsky at the railway station, the midnight interview in the storm on the way back to Petersburg, the awful dialogue between them after she has fallen (omitted from the first American translation), the fearful excitement of the horse race, the sickness of Anna, Karenin's forgiveness, the humiliation of Vronsky, the latter's attempt at suicide, the steadily increasing scenes of jealousy with the shadow of death coming nearer, the clairvoyant power of the author in describing the death of Anna, and the departure of Vronsky, where the railway station reminds him with intrusive agony of the contrast between his first and last view of the woman he loved. No one but Tolstoi would ever have given his tragic character a toothache at that particular time; but the toothache, added to the heartache, gives the last touch of reality. No reader has ever forgotten Vronsky, as he stands for the last time by the train, his heart torn by the vulture of Memory, and his face twisted by the steady pain in his tooth. Every character in the book, major and minor, is a living human being. Stepan, with his healthy, pampered body, and his inane smile at Dolly's reproachful face; Dolly, absolutely commonplace and absolutely real; Yashvin, the typical officer; the English trainer, Cord; Betsy, always cheerful, always heartless, probably the worst character in the whole book, Satan's own spawn; Karenin himself, not ridiculous, like an English Restoration husband, but with an overwhelming power of creating ennui, in which he lives and moves and has his being. From the first day of his acquaintance with Anna, Vronsky steadily rises, and Anna steadily falls. This is in accordance with the fundamental, inexorable moral law. Vronsky, a handsome man with no purpose in life, who has had immoral relations with a large variety of women, now falls for the first time really in love, and his love for one woman strengthens his mind and heart, gives him an object in life, and concentrates the hitherto scattered energies of his soul. His development as a man, his rise in dignity and force of character, is one of the notable features of the whole book. When we first see him, he is colourless, a mere fashionable type; he constantly becomes more interesting, and when we last see him, he has not only our profound sympathy, but our cordial respect. He was a figure in a uniform, and has become a man. Devotion to one woman has raised him far above trivialities.