arms herself when she looks in the mirror. “She returned to her husband and saw that another woman, a shadow woman had taken her place” (181). In contrast, the final even takes place in perfect sequential order, and as a consequence Anna leaves the event with a clearer understanding of herself and the way she relates to the rest of the world. When she leaves her lover for the final time, she is content and no longer confused, she even seems happy. “Suddenly, joyfully, she felt miraculously calm” (190). The confusing sequence of events is wrapped up nicely with the sequential order of the ending, which culminates with a clearer minded Anna. Anna’s unusual character development also lends itself to the image of confusion. She doesn’t seem to be able to make up her mind between her feelings of loyalty for her husband and the care she feels for her lover. After she sees him at the theater, she spends the evening with her husband, yet her mind is wondering to the time she has spent with the other man. “She shut her eyes and thought of that other man, as if betraying him would give her life a center” (179). Anna is ashamed of what she has done, and afraid of the pain it will cause her husband, yet she feels compelled to do it again, even going so far as to describe her lover as her real husband. She seems so confused and even baffled that at one point she cuts her wrist in an attempt to help herself return to reality. “She would rush home and strike a razor across the inside of her arm, and free that pressure, that fever” (189). Anna seems to completely lose her grip as the story spirals toward the inevitable conclusion. And then in the midst of the maelstrom of emotion and confusion, she finds peace and calmness. She understands that she can love one man and be with another, and he can act likewise. And while this is an unusual way to develop her character, it is a wel...
