A he richness and ambiguity of Anna Karenina arises from the conflict between its sym pathy with both the adulteress and the family. In his novel Tolstoy at once empathizes with Anna and reaffirms the biblical understanding of adultery as sinful, while including a vi sion of family that could prevent it. Tolstoy's antidote to the decadence he found in the French novel of adultery is made up of the ideals of Rousseau and the eternal authority of the Gospels; he needed both to answer the question that increasingly tormented him as he was writing Anna Karenina?the meaning of life, and how to live. Tolstoy sets this conflict into dialogue against the background of a variety of literary, philosophical, and sacred texts; he builds his response by recasting the most minute details of each work in such a way that the novel both forgives Anna and enshrines the holy ideal of the family. Since Les Liaisons Dangeureuses first appeared, adultery has been a particularly French theme. To portray an adulteress Tolstoy, who followed French prose closely throughout his life, drew from Rousseau as well as from French works published during the twenty years preceding his writing Anna Karenina. Tolstoy's novel of adultery in the European style became a philosophico-moral one as he set the relationship among Karenin, Anna, and Vronsky into dialogue with the ideas of a range of French novels.1 Tolstoy's counterexample to the adulterous triangle, the story of the successful marriage of Kitty and Levin, explicitly contradicts the French models and uses the Gospels to suggest the mysteries of the sacra ment of marriage. Leo Tolstoy, 1880s