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What happens when you cut yourself off from society, or are you cut away by it? Here is the most important question that Leo Tolstoy investigates in Anna Karenina. Isolated in society, Anna is ruined by means of a conflict of wills. The desire of the person is forced to give solution to society's limitations and requirements, reflected in the image of the rail. Those of us who don't conform to society will ultimately face death, a fate, that both Anna and Vronsky will not be able to outrun as a result of their illegitimate relationship. Besides personifying the necessity of living within the modern kingdom of expectations, the railroad serves a fundamental role in the organizational strategy of the novel. The major railroad scenes can be interpreted as columns supporting the arrangement of the publication by linking the Anna/Vronsky narrative. It is in a railway station where Anna is introduced into Vronsky, at which he admits that his love for her and at which Anna makes her first and final appearance. The recurrence of motifs and the last return to initial associations inside Anna Karenina function to produce the symmetrical structure of the work. The very first mention of the railroad is in context of children and their matches, which functions as a premonition of the events to come. The kids that are alert to the current distraught household are playing with a box, symbolizing a train. Stiva's eldest woman is heard telling her off younger sister, telling him that "[she] told [him] to not set the passengers on the roof", teaching him to "[pick them up !" (Anna Karenina p.7).) The kids games foreshadow not merely the accident at the station but Anna's suicide at the end of the novel. .