Anna Karenina Parts 4 and 5 by Leo Tolstoy - Book Summary, Analysis, Review

All right, we've had a lot of changes. Do you have a favorite character yet? I don't want to say because I'm going to get so much grief for it. OK, well, let me ask it differently. Who would you grab a beer with? Stifa? Stifa? Stifa? Yeah. Stifa would be a lot of fun. He'd throw a good party. But we've had a lot of changes. OK, we are entering into parts four and five discussion today, leaving parts one and three behind. See ya, farming and the slow life. We are entering the fast lane with these two chapters, because, holy crap, did a lot happen in these chapters. It's kind of like he took some of the stuff in three and pulled it out, I think, on purpose and put it into four. So we're going to have to talk about that today. Four and five have to be like the crux of the entire story. There's so much to unpack here. So let's do our discussions book for plot summary and then kind of discuss that and then book five. But the assumption is that you've read parts four and five for today's discussion. Yeah, I think they're very interconnected. So let's do it. All right. Part four, we continue with Anna and Vronsky and Karenin playing three's company. Vronsky and Anna can see each other, just not in the house. And in this triangle, we see just how miserable they are. Actually, you remember that story that we read, the lady with the toy dog by Anton Shekhov, and we were told it was like a homage to Anna Karenina. Like you could really see that in this section about public versus private life and how miserable it can be when you're like cheating and being immoralistic. I know it is a good comparison. Now, when you look at it, I agree. Yeah. Retrospective, like, yes, 100%. So one day when Vronsky comes over to the house where he is forbidden, of course, he passes, wouldn't you know it, Karenin? Bum, bum, bum, bum. Now, later, Karenin tells Anna, yeah, divorce is on, girl. And he goes and sees the divorce lawyer and he finds taking the kid and he's taking the kid. And he finds out he's going to need more physical evidence of the affair than just some love letters. Karenin heads out for work and stops in Moscow at the Oblonsky home, as one does. That's where the party is, right? And we have we everyone's invited, including Levin and Kitty, who finally reconcile and get engaged at this party. Whoo! But that's not enough. Levin needs Kitty to know the truth. So here's his dirty secrets, including that he is not a virgin and a nonbeliever in his diary that he hands over to her. Fun fact, Tolstoy actually did that to his wife, too. Believe it or not. Karenin returns home upon request from Anna to find that she's given birth to Vronsky's little girl. Anna lays near death and Karenin is moved to compassion and promises not to leave Anna like, hey, divorce is off the table again, girl. But we're good. Now, Vronsky returns home and attempts suicide with his revolver, but fails to hit his own heart. I mean, how hard how hard is that? Like, you got to be a pretty bad shot. I don't know. Definitely not. Definitely no bear hunting for Vronsky. I'm just saying. All right. Luckily, everybody recovers except Karenin's heart because Oblonsky visits. And after their talk, divorce is back on the table again. Right. Oh, flippity flop, flippity flop. Yeah, you make everything so much smoother, Oblonsky. Thank you. Dramatically, Vronsky abandons his military post, rushes to Anna upon hearing the divorce news, breaks into their home with no care who's there, embraces her in a kiss, symbolically starting their new life, which actually was a very beautifully written scene. That's probably wow. That was very, very highlight-ish for us, I think, so far in this book of scenes so far. I know that we were, you know, a little bit jovial with the recap there of the plot, but there are some very tender and touching moments in part four of the book. So Anna and Levin, it has become more apparent to me that Tolstoy loves writing these two stories to kind of be connected. Would you agree? 100%. It's very interesting to me that how the more that Levin is honest, his life gets better and how much more worse Anna's life gets as she falls into not more deceitfulness, but more accepting of the quote sins that she believes that she has committed. Are you saying Tolstoy is a moralist? That's so shocking. I might be. I don't know. Well, we're coming out of what I think a lot of people would say is a slower part three. Come call me crazy going out on a limb there. But at the same time at the same time, well, even if I was crazy, I don't know if that proves it at the same time. I think this reinforces. I think some of Tolstoy's views on how Levin lives. It's serene. It's calm. It's peaceful. It's centered in a sense, if not eccentric in Anna's life and in Vronsky's all it's crazy like things are just happening. Left and right things are moving quick. And they're also the ones that I think, you know, Tolstoy kind of he wants you to sympathize with those characters, but he wants you to see their downfall and the immorality of their choices and the the pain that it can cause in us in a community not even just to them as a family, but to the community to how their reaction to them is and it's almost like polar opposites Levin and Anna at this point in time because Anna's it's accelerating at a breakneck speed. I don't know if we're going to make it to part eight at this rate. I have a question for you though. Do you think although both of them are being honest because maybe they're not being honest with themselves at least Anna isn't but Levin is very much honest with himself and with Kitty that that's why there seems to be more positivity happening for one over the other take a look at last year's Tolstoy triggered project every time a character did the right thing the moralistically correct thing according to you know, what Tolstoy's beliefs would be good things happen to them right and sometimes the good things could be death but it could be them reaching heaven great salvation that sort of thing, but it's always the in terms of genre fiction. It's kind of like a comedy where evil is punished and good is rewarded is a lot of the way Tolstoy writes things. We talked about this for right where if you are connected to the land and it makes you more pure and wholesome and you are you know, your hands are down in the dirt then good things are going to come to you. And if you're more interested in those riches, you can't take those to heaven with you that that you're going to be punished for those things and I feel like even though on a seems to try to be making the right choices for herself and her family. She is still so attached to that Russian lifestyle. She just can't give that up and she is making somewhat of a selfish choice here now a little bit that changes in part 5 and we'll get there and I know we're going to be jumping back and forth but Levin just always seems to hold true to his moral values of you know, I'm going to farm. I'm going to tell the truth and as he moves forward his life is just progressively getting better. You know what at the end of the day though? I just want a shirt that just says Oblonsky made me do it because because this guy comes in that's good and just and just mucks things up every time Oblonsky to me is the epitome. I don't even think on is like the lowest right? Like like we have compassion for Anna. Oblonsky though is like do you going to do something constructive because he constantly screws everything up for people but he's social. He's fun. I definitely bit grab a beer with him, right? I don't know. I feel like he'd get you in trouble. He is he everybody has that one friend and he's the one friend that I would not invite to my house party because he's going to hit on my wife. Most assuredly. All right, let's talk about moving on from Levin. We'll come back to him, of course, but let's talk about Anna and Bronski, right? Because these two have a connection to where they have the shared dream. What do you think about that thing? Yeah, the dream is a lot to unpack as well, right? So we have these Russian peasants that are speaking French and why do they speak French? Well, this is something that they would do to almost have like a secret message to be able to hide information. It was a way to Lord over, you know, their education or intellect over maybe the peasants and they're speaking French in the dream. I wasn't sure exactly how to interpret that except for again. They're always coming back to this idea that their class is so important to them and important to them in Russia at the time period in 19th century. Well in French was the language of the courts at the time to write. It wasn't even just like like learning a secret language. It was aristocracy like like that was the language of aristocracy and of the you know, starting from Peter the Great you had a lot of czars that would flip back and forth on liberalization and traditionalism of Russia at the time. So I thought it was really interesting that the peasant spoke French that seems very significant. And obviously the usage of French and whether they're being intimate or whether they're being casual with their French is a point that is belabored throughout this novel that I don't know if I know where that's going exactly yet, but it's something that we clearly have to track. Maybe the whole point of the dream is just Tolstoy's way of foreshadowing that she's pulling a Padme and you're not getting out of childbirth lady. I don't know maybe. I'm not feeling good for Anna after the last part with the horse races to where the horse broke its back. It's not looking good for our heroine at this point in time. I'll say that. Well, maybe she just ends up in a wheelchair. You can have a great life. No problem, Anna. You still go wheeled around all the balls. Well, okay now speaking for her though when she was suffering she suffered for three days three days being the same number of days that Christ was dead before being reborn right death is definitely a key element to these chapters and we have even Vronsky attempting suicide and failing at it, right and then you know, if you may allow me to skip ahead, you know, the pull from 0.5 real quick. We have Nikolai's death. We have a lot of death in this section as well. So for me, I go to Tolstoy himself. He has renounced religion and maybe he's starting to try to grasp on to straws here back at his religion as he's moving forward with the writing of the story and maybe he's questioning this idea in the dream and the idea of predestination or that our lives are all mapped out for us and we can't do anything to control that and life is kind of what you make it and you don't get a choice or do you get a choice and with Anna and 11 we kind of see both of them making choices and none of it really matter both these things are happening to him whether they want to or not, you know 18 he renounced Christianity and it's not like what 10 years later after this that he kind of goes it back. So it's a journey for him, you know, which is always kind of strange when you when you look at Tolstoy's life and his writings because you know, you can classify people but there's a scale there's there's days that you feel will more than one way than the other but one thing that Tolstoy does really well is sometimes you use maladies and you're writing to represent. I think problems, you know, we talked about that with the story of an hour by Kate Chopin and the heart means something. Well, what if we apply that lens to Vronsky here? What does it mean that he can't find his own heart? What does it mean that he missed his own heart and the fact that he's not understanding his own emotions maybe even at this point in time. Do you think one of the emotions here is forgiveness? Oh my gosh, give forgiveness and compassion for sure. Yeah, we see the flippity-flop back and forth and I know that a lot of people are going to be mad for me saying this but old Alexei Karenin and he has the most growth he is bitter and angry and we're going to find out why in part 5 in a moment and that just adds more to me understanding him and empathizing with him and he forgives and he gives Anna her son and we see that Levin is trying to ask for forgiveness for Kitty from you know, for what he sees as a fault of his own man. There's there's so much forgiveness and compassion in part 4 and 5 it really hits you in the heart and sees how much these characters develop and for me old Alexei develops the most of all and has become the most intriguing character for me over Anna and Levin and I know that's you know, maybe bad but again that's just my opinion. You know what I told my wife about our great legendary two-for-one shirt sale joke on Karenin last time and she brought up a good point that like we don't fully understand Karenin yet. Like we don't know the background was he ever more caring was he ever more loving because even with information being presented to us. It's not while omniscient. It's not necessarily totally reliable because information is constantly withheld from us by various characters and I think you're right. I I also felt more with understanding Karenin though. I still I'm still mad at him if that makes sense. Like I can I can understand him as a character but I can disagree with with what he does but he is also the one to self-reflect and maybe change his actions right and I don't think Anna or Vronsky can change their actions at this point like they're they're on the train and that trains taken off and there's no going back to the the way that society would view them in terms of a wholesome marriage. They're now going to be shunned and Karenin makes that choice. He's one of the people that you know to your point you talked about choice earlier that could make that choice and it's it's difficult. I think as a reader to kind of juggle all these emotional private feelings because kind of like in the beginning Karenin was so focused on public life and that was going great but his private life was was going down into the poop chute right and and now he's making these choices where now his private life is increasing like I think like he's going to be happier. I think separate or at least looking at general happiness, but his public life just starts to go tank. I guess explaining myself on the idea of why I find Karenin so fascinating the idea of forgiveness is not a fix-all. It doesn't make him a perfect person. It's not his redemption that I think that oh now he's going to be the hero of the story. It isn't like he has become the great guy that I wanted him to be or something. It is not going to be that but it definitely sees remorse and I think growth of this character and as you pointed out, we really never know somebody until we walk in their shoes and the more that this story unfolds the more we are walking in all of these characters shoes is and understanding them a little bit better. Yeah, I agree. I think I need to hone that into I think I side with you on life is what you make it but it also matters who you share it with man. That should be on a fortune cookie. Or a shirt without on the back of the shirt. All right part 5 plot with there was some women's education stuff in there. Let's see if we can wrap that up here in choices and into her part 5 discussion. So the wedding cometh and Levin the non-believer goes to confession and sees Kitty against tradition against tradition on their wedding day already more than happened now in the beginning of five and all part three. Anyways, their wedding goes off without a hitch over the next few months. They get used to each other's moots and quarrels soon Levin learns that his brother Nikolai is dying and Kitty protests that she goes with Levin even though Levin doesn't want her to in the end he brings her along and he sees her compassion as she cares for Nikolai Kitty has also become pregnant Oh Nikolai dies. Meanwhile, Anna and Vronsky tour Italy now super heartless, right? They there they meet Vronsky's pseudo friend Golonyshev and renowned painter Mikhailov Vronsky starts painting Anna. But when Mikhailov does a better job of painting her he just quits painting. They return home where Vronsky has some business and Anna wants to see Suryosha. Meanwhile, Mr. Karenin's career is heading down the poop chute and he's becoming inside joke. Delete that. Yeah, Gulag doesn't exist yet. All right, chill out people. Yeah. All right. He's become romantic with Countess Lydia Ivanovna and they try to lie to Suryosha that Anna is dead. Suryosha however doesn't believe it and feels like he sees his mother everywhere as they walk around and his grades start to drop kind of sad kind of just a little bit. I almost cried at the same time touching for sure at the same time Anna sneaks in to see her son on his birthday and she's unable to love her new daughter the same way that she loves her son Karenin catches him by the way, right? Vronsky is feeling a cold shoulder from the public opinion about his relationship with Anna now being public and Anna causes a disturbance at the opera and then they leave. All right and plot. Let's do five. So well, she leaves because that's important to talk about she leaves and he chases after her. Sure. So if you didn't pick it up on earlier how connected on 11 are you have to now right because they're both in their new relationship mood like, you know, Anna and Vronsky are touring around Italy and Levin and Katie are doing their new country life and adapting to this of each other and they both kind of struggle with well, I thought this is what I wanted and I thought this is what we make me happy but it's different and I think Levin's more accepting and maybe a little bit more happier than I think Anna was and Vronsky even of what they thought this relationship was going to be. I think we start to see a lot of the impact of the character start to affect each other's kind of psyche at this time period and we really see Anna struggled the most with everything as she's kind of bombarded with all these different emotions of her son and her daughter her ex-husband her new husband, and I think it's a little bit overbearing for her. Of course. She's being, you know, shunned by all the aristocrats and her supposed friends at the Opera, but she leaves and she's feeling very isolated. I think at this point in time, and I think that's you know weighing down on her because she doesn't know what she wants to do. She was supposed to be happy. This was supposed to be. Yes. I'm going to lose maybe my status and people are going to talk bad about me, but I'm going to have you know, my Vronsky. I'm going to have my children life's going to be okay and it's not and that's really kind of heartbreaking. And of course Vronsky tries to comfort her and it doesn't work and I'm very nervous for where you know on a story is going to go for you know, almost the next half of the book. What do you think of Vronsky's painting hideous? I didn't get to see it. You know what? It reminds me a little bit of that situation in earlier part with Kitty and how she if you remember she was trying to like care for help a painter and we saw a little bit about how she had intentions of wanting to help but maybe the results were something that she couldn't control right of him falling in love causing harm the wife chasing him out. I think it's similar here with Vronsky to where he has these attitudes of wanting to see Anna to see and paint her beauty, but he's he's not having the right impact on life, right? He's he's failing to see how his choices can harm others and in your same point of how they're very connected. I think it's that old idea that the grass is always greener on the other side. This was something that he coveted something that he wanted a person that he wanted and now that he has it he's like man and it's kind of like dude you broke up like a family. Maybe not a happy family, but it takes two to tango and you help contribute to kind of quote this mess is my interpretation of it. Well, could we even compare that earlier Vronsky missed his heart earlier? He didn't understand his emotions. Does he maybe have some parts of himself that are passionate that mean well, but aren't necessarily true love. Yeah, I mean it could be their own insecurities. It could be their own past as you pointed out earlier. We don't have the entire picture. We don't know Vronsky's background of what he went through. It could be something like that. Sure, but don't bump on not having the whole picture. Oh, but but unintended but to your point Mikhailov says that anyone can fake a painting but an artist only an artist can capture a soul. So what is it that Vronsky's failing at with capturing on a soul here is kind of my question. I don't know. I I guess the more I think about it. The painting seemed to be more materialistic possession and the idea of wealth only rich people got paintings poor people were buying food and bread and trying to survive only the rich and the wealthy were ones that were able to afford paintings at the time and maybe this is more kind of a social class divide thing that that Tolstoy is throwing in here at us. Well, that brings me into this. This is what my PhD paper is going to be on for Tolstoy here. You ready for this one? We talked about this in the death of Ivan Ilyich, which was probably two three years ago now at this point. I can't even quite remember almost two years ago. Yeah, I'm not making the argument that Tolstoy is trying to represent Kierkegaard's thoughts. What my point is being is that these two have I think very similar ways of thinking about some aspects of life and I'm going to bring up again Kierkegaard's three spheres of existence. Okay, I don't remember them. So you have to remind me. So there's the three spheres are the the Atheist the ethical and religion. So the first one the Atheist they're all about pleasure. They're all about the immediacy of gratification. It's not a hedonist. Well, hedonist can be Atheist. It's a it's a scale. Okay, and they're into immediate and physical things per se like what could be paintings stuff like that things that excite them if you will. So let's talk about our party boy. Mr. Spring Break Oblonsky himself. That's a good name. I like that. That's funny. He's the life of the party but his personal life is an absolute shambles, right? But all he's doing is constantly looking for that thing. That's going to give him pleasure in this chapter right here. It's really strange that he just kind of starts like it's very flirty even with like Betsy like it's kind of strange that he'll just kind of flirt randomly for no big deal at all. And I think he's just constantly looking for those things that give him excitement right rather than fixing up the house the important thing to do to invest into that. He's like, I'm going to buy a sweet looking curtains. I'm going to decorate this thing is going to be party central, right? Yeah. Well, he wants the attention, right? He's the not a thrill seeker, but he's an attention seeker. It's me me me me look over here. Look over here. And you know, it doesn't matter if it's the curtains or his dress or a painting or whatever. He needs you looking and giving him the attention at all times. It's kind of like that dopamine addiction, right? That's what gives him. Yeah is is that's his excitement levels, right? And for as exactly Kierkegaard's comment on them, which I imagine Tolstoy would agree with I think their moralities align well in his writings and Kierkegaard's is that these are the people that don't necessarily adhere to morals. They're the people that just do what's pleasurable, right? Fransky doesn't care that Anna was married. Well, Polanski doesn't care that he's married. They're going to go out and do the things that are pleasurable to them specifically and that's the problem is that it's this constant loop of looking for the new excitement that they can get bored. They would I mean, okay to the point of part three when a Polanski goes out to the country. He's bored as heck and views it. No, no, it's not Polanski. It's who's it Krosnichev that goes out to the country in part three. I think it's Krosnichev. So either way whoever it was they were viewing the country as pleasure, right as opposed to the hard work in life that Levin viewed it. They looked at life totally different than the way Levin viewed that the wins that he needed to live there. All right. All right, keep rolling. I feel you. I feel you give it to me country boy. So Kierkegaard believed that this was the most unstable form of life because you're to that point constantly searching and to our other great Russian writer. Dostoevsky everything's permitted because we're all our own Superman. We're all making our own pleasure decisions and that's what makes a society unstable when we're all just looking out for ourselves and all just looking for the things that maximizes pleasure. Yeah, these guys I don't know. They're they're definitely the ones you're not rooting for you have his sister dying and he decides to go off and go on his RPG side quest like really who does that like family supposed to be the most important thing you have right? Absolutely. So that brings us to our next fear the ethical sphere, which some people call the societal role feel and the idea is that you're in this fear. You're willing to uphold morality that there is good. There is evil, but there's also roles that you have to fulfill when you're a husband when you're a school teacher when you are someone who is playing the role of a scout leader or something like that. These all put pressures on you on what your expectations are in those expectations become chains, which means that a person who is in the ethical sphere is constantly searching not for pleasure like you did in the a state fear but for freedom because every time you agree and commit to doing something from a societal pressure, which again when these these commitments and these things that you do these are creations of society. These aren't creations of the person and you you commit to these different roles that you can start to feel like a fractured mirror and that's our boy Karenin, right? He has his own personal desires. His wife has his desires, but all he's focused on is the public life. What's the public going to think about me? How's my career going to advance? He's got lots of different roles of I'm a father. Oh, well, maybe I should have on a take the child. I'm a husband. Well, you know, Vronsky is a better better Vronsky is the one that she won't that I know my wife wants to love instead. I've got my career Karenin is fractured from an ethical sphere is the point of existence and pulled from all these different levels and maybe that's part of the problem with understanding him is that he is pulled in so many different ways at this point in time. I think this is where it's vitally important to understand a little bit of Russian history to enjoy this some more or get more out of it. In my opinion is this idea of how influential Russian society was in the 19th century and how important it was to these people and this idea of that, you know, you didn't get divorced. That was a big no-no at the time period and that your public life was important and that your private life was just Schmidt at the time period and this is where I see the huge character development for Karenin is that we learn about his background and that he was an orphan. He never had a stable family and above anything else. He feels like I'm not going to get a divorce because that's wrong in the Russian religion. I'm going to keep my family together. I'm not going to let my child have a single mom or I'm not going to let my child be an orphan one day. I'm going to keep this family together at all costs because it's something he didn't have. I mean that's something we didn't know before that change that's got to change your whole perspective on this guy. It just it almost broke my heart a little bit of like I was too harsh on this guy in the beginning and I remember on the live stream. I was and like I want to apologize to him. Well, that's that's the blessing and the curse of going through this having never read it. We don't know where to guide. We don't know where to go. We just get raw reactions, right into going back to the ethical sphere. One of the problems that Kierkegaard believes with is to the point that you exactly elucidated right here is that there's going to be a breaking point. You only have so much willpower to inflict what you want and what society's needs of you are at some point. You will break and just do what is ultimately pleasurable and that is why people constantly, you know, like there's like I just need to do what I want to do and they like you see that in real life all the time and that's why this part so powerful for me is because then you do start seeking that thing and then you're like, well, I could be better than this and you start, you know, reaching out to those roles again. It's this circular existence that kind of exists that I think Kierkegaard has elucidated and Tolstoy has drawn very well and frequently draws very well is that pull between societal expectations and the personal pleasurable moments that you might seek for in life. Oblonski is the kid that goes on his rumspringa and doesn't go back to his family. He stays out and just continues partying the rest of his life, right? Right and and when we come to Vronsky, he's complicated too because I think we see him kind of flip back and forth between the two. He knows these roles. He also knows what he wants and he gets confused. I think I'm who he wants to be now. Here's my controversial part. You ready for this? And this is this is I think is a fun part of us having never read the story and being able to make predictions the last fear the religious fear we've we've talked about how dangerous it is to do biographical analysis particularly because it seems like Tolstoy's evolving and we have not read. I haven't read this era. I've only read his post-religious crisis era part of his biography. Here's my prediction for you and I'm going to embarrass myself on the internet. You ready for this one? I'm ready. The religious side is when to escape this circle is you have to start taking this what's called leap of faith. You have to believe you have to live for others. It's not just about you. It's not just about society. It's about having a central focus view for him Kierkegaard. It was Christianity. And of course Tolstoy had, you know, Russian Orthodox to Christianity in his life from up until 18 and then he renounced it and it's not till 10 years after the city starts up again. I think we're seeing a journey for Tolstoy as a character who we've already said is represented in Levin, right? So here's my prediction that Levin is the one that is thinking of others. He is the one that upholds truth that upholds morality, even though he has sinned right and hasn't gone to confession. He's a non-believer. That's obviously a pretty big sin for being a Christian. You can't be a Christian if you're not believe it right like inconclusive, right? So this is why this is controversial. I'm putting Levin in my religious fear and I'm taking I'm putting bets. Okay on the future because I have read his a confession. That's like a little story by not a story but a confession from Tolstoy himself about why he turned back towards Christianity. And what we're going to see I think is we're going to see Levin turned back to religion. I think I think Levin is representing everything that the religious fear of living for others living for God is supposed to represent and I think we're going to see Levin eventually realize that and make that turn towards Christianity in the story. If I'm wrong, obviously my paper fails here. I think you have a really good thesis there. Obviously, we know what happens in Tolstoy's real life. We know that Tolstoy's first name is Lev. He's writing a little bit autobiography in here. I think that you're probably hit the nail on the head. That's probably what happens. But you know, we've been wrong before so it may be wrong but it's the hope that that will happen, right? We want to see him turn out happy in all regards of his life, not just with his life with Kitty. I would argue a little bit though that I think when you said if I'm correct me if I'm wrong if I'm putting words in your mouth that he he cares what Kitty thinks but I think he's doing it just to please her a little bit. It's kind of back. It's where he bounces back and forth between that that that pleasure. I mean, he's doing it for her pleasure and maybe his own happiness. I don't know. No, that's much different when you do it for something that you want versus thinking about others first. Very very different and that's the thing is that he is thinking about Kitty because he wants to make sure that she does love him and she's not loving him just so that she can fill the role of being the wife. The ethical solution would be if she just wanted to bury to be the wife, right? He wants her to live for others and such and and I think that's an important point in Tolstoy and writing is living and loving others. So it's I guess it's the idea here of we're looking at Levin in one regard of his the the social institutions that he's bouncing around in with religion and Christianity and Russian aristocrats and then the other side of it of his own spiritual journey and you're saying that he's going to complete that journey and become a believer. I think so. I think he's going to represent a religious fear of believing in taking that leap of faith if you will. So religious Redemption almost is his story and Anna would be the one that loses. I think so. I think okay. I don't know. I don't think things are looking good with the Padmé scene in this one and the Vronsky horror. Things are not looking good for Anna at all. That's for sure. All right guys, if you enjoyed this and you haven't already hit that like button, we really appreciate it as it helps out the channel and of course hit that subscribe button to join us because we gotta we gotta wrap this baby up. We got part 6 through 8 coming up next. We got one more video and then we're going to wrap this up with of course the before you read to kind of you know, what were the things that we wish we knew beforehand, of course without spoilers. So if that sounds like you we'd love to have you on that journey. Oona out.