n Tolstoy’s oeuvre, illness often serves as a moment of revelation about profound questions of human existence and the limits of knowledge and positivist science. Levin facing the problem of death at the sight of his brother, stricken with tuberculosis, and Ivan Il’ich reconsidering his entire life in the process of his prolonged, lethal illness are perhaps the most intense and memorable examples. My goal in this paper, however, is to focus on an entirely different and seemingly banal example of illness in Tolstoy: banal both because the disease is successfully cured and because it is a traditional literary topos, almost a cliché. The disease in question is the love-sickness from which Kitty Shcherbatskaia suffers and recovers in Part II of Anna Karenina. A close examination of the way her illness is presented in the novel and how her medical evaluation and the process of her recovery are depicted sheds significant light on Tolstoy’s position on the limitations of the positivist understanding of the human being.
The topos of love-sickness has a long history, both in medicine and literature. Its roots in the Western literary and medical traditions and the interaction between the two are explored in detail in Massimo Ciavolella’s comprehensive study, La “Malattia d’Amore” dall’ Antichità al Medioevo. To summarize briefly, the scientific concept of love-sickness has its roots in the Hippocratic theory of humors, later developed by Galen, the Platonic doctrine of the tri-partite structure of the soul, and the Aristotelian psychology and physiology of passion.