Anna Karenina: Foreshadowing 4 key examples

At first glance, it seems like this line first applies strictly to the Oblonsky family, with Stiva's unfaithfulness and Dolly's unhappiness. However, throughout the novel, the reader learns that this line applies to effectively every family in the novel. Every family—the Shcherbatsky family, the Vronsky family, the Oblonsky family, the Karenin family, the Levin family—is unique in culture, size, morals, class, and more. As a result, Tolstoy tells the reader that all of these families are therefore also uniquely unhappy.

The novel's most interesting characters are often the most unhappy ones, as they all have their individual problems—infidelity, religion, loneliness, unrequited love, public love affairs. This opening line therefore foreshadows the unhappiness of all the novel's characters, despite their supposed happiness that others might see from the outside. Through the lens of some women, Anna is living a desirable life of lust and autonomy; however, the reader later learns that not even giving into desires can make someone completely happy, as Anna turns out to be the novel's most miserable character.

Anna points out that this watchman's death is a bad omen, which directly foreshadows her own suicide by train. The watchman's death does not necessarily advance the plot of the novel, indicating that it serves merely as a device for thought—a device that adds tension to the plot and contributes to Anna's characterization. Anna, after all, is visibly shaken by the incident, so it is unsurprising that it stays with her and eventually inspires her own death. This tragedy also demonstrates Anna’s tendency to be influenced by her observations and experiences, creating further justification for her unhappiness later in the novel. Anna's well-being and pride are too easily damaged by the opinions and treatments of others.

Anna's visible fear also exhibits her sensibility and humanity, perhaps making her a more sympathetic individual and allowing the reader to feel sympathy towards her situation. 

Vronsky describes his feelings as those of a murderer, comparing Anna to a victim. Now that Anna and Vronsky have slept together, their affair is permanently marked. In the 19th century, intercourse was a more serious step in relationships, making them official and unchangeable. In the same way that Vronsky cannot undo a murder, he cannot undo what he has done with Anna. As Vronsky sees it, he has blemished Anna's body, and she will be marked by him forever.

In this moment, it seems that Vronsky already regrets his new relationship with Anna but feels he must make use of her now. Vronsky's regret points to both the dangers that await the couple, as well as the moment where Anna’s body genuinely becomes deprived of life. The metaphor, therefore, foreshadows Anna's death, as Vronsky should be in love, not already thinking about Anna’s body as a corpse. Vronsky may not be Anna's actual murderer, but he certainly contributes to her downfall and eventual suicide.

Frou-Frou's fall foreshadows the similar demise of Anna. She, like Frou-Frou, is a prized possession of Vronsky, but she meets her end because of her relationship with him. They are both victims of Vronsky, yet somehow Vronsky does not understand how he can be responsible for either of their deaths.

With Frou-Frou, he shifts in his saddle and becomes too concentrated on winning the race, and this causes Frou-Frou to break her back. With a broken back, she is considered useless and is consequently shot. With Anna, he remains blind to her deteriorating mental state and does nothing to reassure her of his love when doubt consumes her. Without assurance of his devotion, Anna chooses to take her own life with the hope that death will make him love her forever. 

Vronsky cannot seem to fathom that his actions have effects on others, and he remains too blind to see the damage he inflicts. His ignorance in this regard plays a part in the demise of Anna and Frou-Frou.