The treatment of eye brightness in Tolstoy's Anna Karenin is read to reveal a centuries-old Western eye code of love. This eye code is then used as a test of interaction theories essayed by Mead and by Goffman and of subjectivities left faceless by Foucault, Mulvey, Sartre and Lacan. The implications of Tolstoy's eye code are followed through to the conclusion that a woman in love (such as Anna Karenin) is a Nazi in the image of Hitler.