Anna Karenina

Anna Karenina

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Count Alexei Kirillovich Vronsky Character Analysis

Vronsky is a dashing young military officer whom Anna falls in love with. Their passionate affair causes Anna to leave her husband, Karenin; eventually, the affair spirals into despair, and Anna commits suicide due to the tumultuous consequences of obsession. Vronsky is a fine physical specimen who takes pride in his vitality. He enjoys the trappings of society. Tolstoy does not give the reader much insight into Vronsky’s psychology: we do not know why exactly he jilted Kitty, for example, nor are we quite sure how he feels about his relationship with Anna. Yet even though Vronsky is somewhat two-dimensional, Tolstoy depicts him as a characteristic romantic protagonist, a strapping officer who lives by his passions, but does not get so deeply attached to anything that it consumes and destroys him. Indeed, one of the reasons Tolstoy does not let the reader know too much about Vronsky or become too attached is because Vronsky himself remains a slightly aloof figure throughout. Vronsky lacks desire for commitment and does not seem to want to settle down and establish a family; rather, he remains fundamentally single, even throughout his long relationship with Anna. Although he does seem to begin to desire children and a family toward the end of the novel, when he begins pressing Anna for a divorce so any future children can belong legally to him, Vronsky is primarily a lone figure, not a family man; for example, he never seems to display fatherly tendencies toward his daughter, Annie.

Count Alexei Kirillovich Vronsky Quotes in Anna Karenina

The Anna Karenina quotes below are all either spoken by Count Alexei Kirillovich Vronsky or refer to Count Alexei Kirillovich Vronsky. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
Marriage and Family Life  Theme Icon
). Note: all page and citation info for the quotes below refers to the Viking edition of Anna Karenina published in 2000.
Part 1, Chapter 18 Quotes

In that brief glance Vronsky had time to notice the restrained animation that played over her face and fluttered between her shining eyes and the barely noticeable smile that curved her red lips. It was as if a surplus of something so overflowed in her being that it expressed itself beyond her will, now in the brightness of her glance, now in her smile.

Related Characters: Anna Arkadyevna Karenina, Count Alexei Kirillovich Vronsky
Related Symbols: Trains
Page Number: 61
Explanation and Analysis:

Vronsky first sees Anna Karenina at a train station, which foreshadows her eventual tragic end. On the one hand, their first glance has all the hallmarks of stereotypical “love at first sight”: even though they lock eyes only for a moment, both have the impression of being profoundly changed. Anna’s “shining eyes” and “red lips” are common characteristics of a beautiful woman in love. However, the relationship between Vronsky and Anna also has a spiritual dimension that goes beyond the mere cliché. Behind Anna’s expression is a “surplus of something,” suggesting a spiritual dimension that is beyond the capacities of language to express. The limitation of language is a common theme throughout Anna Karenina: the most powerful forces are not ones that can be stated in words, but rather exceed the constraints of speech.

The word “animation” is also crucial throughout the novel as signifying the life force or inner spirit within everyone. The fact that Anna must keep her animation “restrained” suggests that she is being constrained by the conventions of Russian society. From the very beginning, the animation between Vronsky and Anna must be outwardly restrained due to the laws and customs of their society. However, the tension between the outward restraint and the inner emotion only makes their love burn more strongly. Indeed, without the tension that the restraint provides, the animation itself might warp or dim.

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Part 2, Chapter 7 Quotes

“Don’t you know that you are my whole life? But I know no peace and cannot give you any. All of myself, my love...yes. I cannot think of you and myself separately. You and I are one for me. And I do not see the possibility of peace ahead either for me or for you. I see the possibility of despair, of unhappiness... or I see the possibility of happiness, such happiness!...Isn’t it possible?” he added with his lips only; but she heard him.

Related Characters: Count Alexei Kirillovich Vronsky (speaker), Anna Arkadyevna Karenina
Related Symbols: Written Language, Foreign Language, and Communication
Page Number: 139
Explanation and Analysis:

In this scene, Vronsky and Anna communicate through a mixture of directly saying what they believe and letting many things go unsaid, but they both understand exactly what the other one is thinking. The bond between Anna and Vronsky is so strong that they can communicate with each other through gesture and thought, rather than merely through words. Although Anna and Vronsky often say out loud what they believe they should say to each other, what goes unsaid is more powerful than what they are pretending to say. Anna and Vronsky give lip service to the idea that they should separate and that Vronsky should try to make things right with Kitty, but their actions speak louder than their words, and the bond between them is stronger than societal conventions. When Vronsky articulates the love between Anna and himself, he says out loud that they are probably doomed to despair and unhappiness, but he and Anna both believe in the possibility that he does not say, which is the (unlikely) hope that they can be happy together.

Part 2, Chapter 11 Quotes

And he felt as a murderer must feel when he looks at the body he has deprived of life. This body deprived of life was their love, the first period of their love... Shame at her spiritual nakedness weighed on her and communicated itself to him. But, despite all the murderer’s horror before the murdered body, he had to cut this body into pieces and hide it, he had to make use of what the murderer had gained by his murder.

Related Characters: Anna Arkadyevna Karenina, Count Alexei Kirillovich Vronsky
Page Number: 149
Explanation and Analysis:

Just after Anna and Vronsky have sex for the first time, Vronsky compares the act to murdering the first stage of their relationship. Tolstoy does not describe the scene in which Anna and Vronsky consummate their relationship. Instead, he places a row of ellipses in the novel, which lets the reader know that they have made love, but also makes the reader responsible for assuming that they did so and for imagining the details of how this action occurred (and allows Tolstoy to escape the censorship of his time).

After Vronsky and Anna have had sex, the nature of their relationship changes. Although the couple are still bonded, and, in some ways, more closely tied together than ever, they have also confirmed their guilt through concrete action. There is no turning back at this point. Anna and Vronsky have objectively committed a societal trespass, and now their relationship moves from one of innuendo and possibility to one of dealing with real consequences.

“Not a word more,” she repeated, and with an expression of cold despair on her face, which he found strange, she left him. She felt that at that moment she could not put into words her feeling of shame, joy, and horror before this entry into a new life, and she did not want to speak of it, to trivialize this feeling with imprecise words. But later, too, the next day and the day after that, she not only found no words in which she could express all the complexity of these feelings, but was unable even to find thoughts in which she could reflect with herself on all that was in her soul.

Related Characters: Anna Arkadyevna Karenina (speaker), Count Alexei Kirillovich Vronsky
Related Symbols: Written Language, Foreign Language, and Communication
Page Number: 150
Explanation and Analysis:

Throughout the novel, events that go unspoken typically carry far more emotional weight than events that occur in words. On the one hand, Anna does not want to trivialize her experience with Vronsky by bringing it into the realm of mere language. She wants, instead, to retain the full mystery and complex nature of the event. Bringing the event into spoken language would also force Anna to reckon with the full consequences of her actions.

Anna does not want to process all of the complicated emotions she has as a result of having consummated her relationship with Vronsky, because that would force her to make choices that she does not want to make. When Vronsky and Anna had not slept together, their relationship could still dwell in the realm of plausible deniability. Anna rationalizes to herself that she is not processing their relationship fully by claiming to herself that she will do so in the future, but she continues to make more and more excuses for herself. Rather than letting the full weight of their action become something that Anna confronts and reckons with, the action becomes more and more powerful the longer it remains in the realm of the secretive and unspoken. When an action or emotion is put into words, it is abbreviated and made weaker, but when it goes unspoken, it can contain everything, so it gets stronger, for either good or for ill.

Part 2, Chapter 25 Quotes

She flew over the ditch as if without noticing it; she flew over like a bird; but just then Vronsky felt to his horror that, having failed to keep up with the horse’s movement, he, not knowing how himself, had made a wrong, an unforgivable movement as he lowered himself into the saddle. ... The awkward movement Vronsky had made had broken her back. But he understood that much later.

Related Characters: Count Alexei Kirillovich Vronsky (speaker), Frou-Frou
Related Symbols: Natural World
Page Number: 199
Explanation and Analysis:

The relationship between Vronsky and his horse serves as a symbol for the shifts that have occurred in his life as a result of his affair with Anna. Vronsky believes that he is a master of the universe, that he can do anything and he will always triumph. However, he is no longer in sync with his horse, Frou-Frou. Vronsky and the horse used to be as one. Now that Vronsky and Anna have consummated their bond, however, which causes a rupture in social as well as moral codes, Vronsky has experienced an existential fissure from his beloved animal. All it takes is one tiny slip, one moment in which Vronsky stops paying careful attention, and everything that he has taken for granted in his life is altered irrevocably.

Throughout the novel, characters’ relationships with the physical, natural world serve as a good barometer for their inner harmony and the state of their own moral contentment. When Vronsky loses his deep connection with his horse, making the fatal error here, it is not because he makes a huge, deliberate mistake, but because his perception of the universe and the physical world he inhabits are different in a way that he cannot see but is deeply significant. Frou-Frou’s fall foreshadows the irrevocable crack in Vronsky and Anna’s relationship that will only continue to widen and deepen.

Part 4, Chapter 2 Quotes

“What was that? What? What was that terrible thing I saw in my dream? Yes, yes. The muzhik tracker, I think, small, dirty, with a disheveled beard, was bending down and doing something, and he suddenly said some strange words in French. Yes that’s all there was to the dream,” he said to himself. “But why was it so horrible?”

Related Characters: Count Alexei Kirillovich Vronsky (speaker)
Related Symbols: Written Language, Foreign Language, and Communication, Dreams and Spiritualism
Page Number: 355
Explanation and Analysis:

Although Vronsky pretends to put on a brave face to the outside world, he feels increasingly fraught with an impending doom that he perceives looming over his life, and he projects this fear into the interpretation of his night visions. Rather than brushing aside dreams, Vronsky takes them seriously. The fact that Vronsky cannot interpret the words of the muzhik (Russian peasant) in his dream fills him with dread. Tolstoy frequently underscores the inability of language to express great emotions throughout the novel: when characters want to express something truly profound or moving, they say nothing at all. However, the inability to understand a spoken language triggers a different set of emotions: fear, anxiety, and dread. When the unspoken is mutually understood, the non-verbal communication creates a shared language between the speakers. But since Vronsky cannot understand what the muzhik is saying, he creates the worst possible scenario in his imagination.

The muzhik’s use of unintelligible French also creates the sense that the social order has been unsettled. In nineteenth-century Russia, French was the language of high culture, and people spoke in French to elevate their positions in society. However, in the dream, the peasant is speaking the language of the aristocracy that Vronsky can no longer understand, which ominously portends Vronsky’s own fall from grace.

Part 4, Chapter 3 Quotes

“And this something turned, and I saw it was a muzhik with a disheveled beard, small and frightening. I wanted to run away, but he bent over a sack and rummaged in it with his hands...” And she showed how he rummaged in the sack. There was horror on her face. And Vronsky, recalling his dream, felt the same horror filling his soul.

Related Characters: Anna Arkadyevna Karenina (speaker), Count Alexei Kirillovich Vronsky
Related Symbols: Written Language, Foreign Language, and Communication, Dreams and Spiritualism
Page Number: 361
Explanation and Analysis:

Vronsky and Anna have shared the shame dream. When Anna tells Vronsky about her dream of the French-speaking, bearded muzhik rummaging in a sack, unbeknownst to her, she is describing the same person that Vronsky saw in his nightmare. The two lovers are seemingly so bonded that they share a subconscious mind, but the figure in their shared dream arouses horror within both of them. Anna tells Vronsky that Karenin has read the dream to indicate that she will die in childbirth. Karenin’s role in the relationship is already quite shaky: he keeps up the façade of their marriage because he doesn’t want to ruin his reputation, yet he knows that this sham cannot last forever, and so he perceives the vision as causing an end to this fragile state of affairs. The fact that Anna is relaying Karenin’s version of the dream to Vronsky and seeking Vronsky’s reassurance underscores the complicated power dynamic between all of them: though Anna is psychologically and physically bonded with Vronsky, she is still socially bound to Karenin.

However, when Anna is telling Vronsky about the dream, she feels the first stirrings of her child kicking inside her, and her emotions change suddenly from horror to joy. Since Vronsky cannot share the physical cause of her joy, he is puzzled by her sudden shift. Despite the ominous nightmare, Anna, at this point, is still capable of experiencing happiness brought on by the physical world: though she is worried and superstitious, she hasn’t yet surrendered herself completely to omens and dreams.

Part 7, Chapter 24 Quotes

“Respect was invented to cover the empty place where love should be. But if you don’t love me, it would be better to say so.”

Related Characters: Anna Arkadyevna Karenina (speaker), Count Alexei Kirillovich Vronsky
Related Symbols: Written Language, Foreign Language, and Communication
Page Number: 744
Explanation and Analysis:

When Vronsky wants to delay traveling and getting married for a few days so that he can take care of business for his mother, Anna becomes hysterical, accusing Vronsky of using respect as an excuse to avoid committing himself to her. The leap of logic between Vronsky’s accusation that she doesn’t respect his mother and Anna’s assertion that Vronsky doesn’t love her makes little sense. Anna herself realizes that she’s going too far in making this link, but she cannot stop herself, even though she knows that she is going beyond the bounds of reason. Anna’s jealousy has warped her love for Vronsky into irrational, addictive possessiveness.

Tolstoy often uses the ability, or lack thereof, of characters to communicate without words as a barometer that demonstrates the strength of their relationship. In the beginning of their relationship, Anna and Vronsky hardly needed words at all to communicate, since their thoughts and emotions were in sync. With just the flicker of a glance across the platform at the railway station, they understood their love for each other and their bond to each other. However, as the novel progresses, Anna grows increasingly jealous and increasingly anxious about her relationship with Vronsky. She reads every situation as an opportunity to find a demonstration of how his love for her has dimmed.

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Count Alexei Kirillovich Vronsky Character Timeline in Anna Karenina

The timeline below shows where the character Count Alexei Kirillovich Vronsky appears in Anna Karenina. The colored dots and icons indicate which themes are associated with that appearance.
Part 1, Chapter 11
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Oblonsky tells Levin that a rival suitor is courting Kitty: Count Vronsky, a rich, handsome charming military officer. Oblonsky advises Levin to propose to Kitty the next... (full context)
Part 1, Chapter 12
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...society. Though all the men are in love with her, Kitty’s two serious suitors are Vronsky and Levin. Kitty’s mother, Princess Shcherbatsky, strongly favors Vronsky; however, it is no longer the... (full context)
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Princess Shcherbatsky knows that Kitty loves Vronsky and is worried that Vronsky is just flirting with Kitty. Kitty tells the Princess that... (full context)
Part 1, Chapter 13
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...and proposes to her. Love floods through her for a moment, but then she remembers Vronsky and says, “It cannot be...forgive me.” (full context)
Part 1, Chapter 14
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Vronsky arrives and they all discuss the merits of city versus country life. They then move... (full context)
Part 1, Chapter 15
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...but concludes that she acted as she had to because she is still waiting for Vronsky’s proposal. Her parents get into an argument. The Prince favors Levin because he believes that... (full context)
Part 1, Chapter 16
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Vronsky has never had a family life; he essentially grew up in the Corps of Pages,... (full context)
Part 1, Chapter 17
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The next morning, Oblonsky and Vronsky both arrive at the train station: Oblonsky is there to fetch Anna, and Vronsky is... (full context)
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Vronsky tells Oblonsky that he met Levin and found him somewhat angry and edgy. Oblonsky suggests... (full context)
Part 1, Chapter 18
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Vronsky enters the train car to look for his mother, but as he does so, a... (full context)
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Vronsky’s mother, the Countess Vronsky, introduces her to him. The woman is Anna Karenina, Oblonsky’s sister.... (full context)
Part 1, Chapter 20
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Anna mentions that she met Vronsky at the train station, and Kitty blushes. Anna talks about Vronsky’s mother, and Anna says... (full context)
Part 1, Chapter 21
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...to fetch a picture album. While she crosses the landing, a visitor arrives: it is Vronsky. They glance at each other and feel both pleasure and fear. Vronsky finds out the... (full context)
Part 1, Chapter 22
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...the ball, beautifully dressed in pink and bedecked with roses and a black velvet ribbon. Vronsky dances the first dance with her. Anna arrives in a low-cut black velvet dress, and... (full context)
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An officer asks Anna to dance, and she initially refuses. Vronsky approaches and bows to her, but Anna does not respond to the bow, turning to... (full context)
Part 1, Chapter 23
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Kitty and Vronsky dance several waltzes together, and Kitty turns down five invitations for the final mazurka, the... (full context)
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...the evening is ruined. Kitty is crushed and broods on the interaction between Anna and Vronsky. Instead of admiring Anna wholeheartedly, Kitty now sees something threatening in her. (full context)
Part 1, Chapter 28
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Anna tells Dolly that Kitty is jealous of Anna because of Vronsky’s attentions to Anna at the ball, but Anna emphasizes that nothing serious is going on... (full context)
Part 1, Chapter 29
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...live her own. As she reads, she begins to feel ashamed, recalling her time with Vronsky. Because of the snowstorm outside, objects in the train take on strange shapes, and she... (full context)
Part 1, Chapter 30
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As Anna stands on the train platform in the snowstorm, Vronsky suddenly appears. He has followed her from Moscow. The news both terrifies and thrills her:... (full context)
Part 1, Chapter 31
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Vronsky has not slept on the train either, but he feels invigorated and pleased with the... (full context)
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Anna introduces Vronsky and Karenin to each other, and Vronsky asks if he might call on the Karenins.... (full context)
Part 1, Chapter 32
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...Anna begins to feel less agitated. She tells herself that nothing has really happened with Vronsky and that there is nothing, therefore, to tell her husband about. (full context)
Part 1, Chapter 34
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Vronsky had lent his Petersburg apartment to his friend and comrade Petritsky, a young, carousing lieutenant.... (full context)
Part 2, Chapter 2
...Shcherbatsky still believes that medicines might cure Kitty, the Prince blames his wife for trusting Vronsky in the first place. Dolly believes that Kitty is so unhappy because she refused Levin... (full context)
Part 2, Chapter 3
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...room is cheerful, pink, and filled with dolls. When Dolly asks about Kitty’s relationship with Vronsky, at first Kitty bitterly cries that she could never stay with a man whom she... (full context)
Part 2, Chapter 4
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...and more time with Princess Betsy’s set, which entails spending more and more time with Vronsky, as this is his group. One night, they all go to the French Theater to... (full context)
Part 2, Chapter 5
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At the French Theater, Vronsky tells Princess Betsy a titillating story about two officers, Petritsky and a friend, who are... (full context)
Part 2, Chapter 6
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After the opera, Princess Betsy hosts her social set at her house. Before Vronsky, Anna, and Karenin arrive, several people gossip about the love triangle. Another society lady defends... (full context)
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Vronsky arrives from the “Bouffe,” or the French comic opera, which is more entertaining but a... (full context)
Part 2, Chapter 7
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Anna arrives at Princess Betsy’s. Vronsky and an ambassador’s wife begin to argue about love and marriage: she says the only... (full context)
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Anna tells Vronsky that she has received word that Kitty is ill. She and Vronsky go to a... (full context)
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Karenin arrives at the party, but Vronsky and Anna continue to sit apart. The entire room gossips about Vronsky and Anna; only... (full context)
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After supper, Vronsky tells Anna that he wants her love, not her friendship. She tells Vronsky that the... (full context)
Part 2, Chapter 8
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Although Karenin found nothing improper with his wife and Vronsky sitting privately, he realizes that everyone else thought it was peculiar, and so he resolves... (full context)
Part 2, Chapter 9
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Karenin warns Anna that she has been too carefree and animated in her interactions with Vronsky. Anna lightly mocks him, but Karenin continues seriously, saying that he loves her and that... (full context)
Part 2, Chapter 10
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...a change in their relationship. Anna spends more and more time with Princess Betsy and Vronsky. Karenin feels powerless but cannot speak seriously to Anna. (full context)
Part 2, Chapter 11
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...the ellipses that mark the break after chapter 10 and before chapter 11, Anna and Vronsky sleep together, although there is no explicit description of the event. (full context)
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Anna is sobbing, wracked with shame, guilt, and humiliation. Vronsky feels like a murderer contemplating the body he has just murdered. Anna tells Vronsky that... (full context)
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Anna tells herself that she will contemplate her relationship with Vronsky and the mixture of shame, joy, and horror later, when she has more time, but... (full context)
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Anna has a recurring dream in which she is married to both Karenin and Vronsky, and though the situation seems wonderful in the dream, it haunts her like a nightmare... (full context)
Part 2, Chapter 17
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Levin asks Oblonsky about Vronsky. Oblonsky says that Vronsky is the perfect aristocrat, and Levin disagrees, saying that Vronsky’s family... (full context)
Part 2, Chapter 18
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Ever since the affair with Anna, Vronsky’s external life has continued in exactly the same fashion as before: he spends time with... (full context)
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Vronsky’s mother is initially pleased with the liaison, but is disappointed when she realizes that the... (full context)
Part 2, Chapter 19
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On the day of the race, Vronsky eats lunch alone and schemes about how he can visit Anna to ask if she... (full context)
Part 2, Chapter 20
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Vronsky lives in a cottage with Petritsky, his young, carousing friend; Petritsky is still asleep in... (full context)
Part 2, Chapter 21
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Vronsky visits Frou-Frou, his new mare; the horse gets more agitated as Vronsky comes near, and... (full context)
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Vronsky tells the Englishman that he is going to visit a fellow officer before the race;... (full context)
Part 2, Chapter 22
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Vronsky arrives at Anna’s country house and enters through the garden. He is excited to see... (full context)
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Vronsky speaks to Anna in French, as “you” in Russian is either too intimate or too... (full context)
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Anna thinks that Vronsky will understand the significance of the event in the same way that she does, but... (full context)
Part 2, Chapter 23
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Vronsky stresses to Anna that he thinks she should confess everything to Karenin and leave him.... (full context)
Part 2, Chapter 24
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Although he is late, Vronsky manages to visit his officer friend and make it back to the racetrack just in... (full context)
Part 2, Chapter 25
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...Gladiator. Near the end, Frou-Frou, jumping beautifully, passes Gladiator. Only one simple ditch remains and Vronsky, concentrating on trying to beat Gladiator by a long margin, doesn’t pay attention to the... (full context)
Part 2, Chapter 26
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...refuses to visit Anna and hints to Karenin about the inappropriateness of Anna’s relationship with Vronsky. (full context)
Part 2, Chapter 28
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...the officers’ steeplechase, Karenin only has eyes for Anna, but Anna only has eyes for Vronsky, and despite not wanting to know her true feelings, Karenin reads with horror Anna’s love... (full context)
Part 2, Chapter 29
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When Vronsky falls, Anna is extremely shaken and feels like a trapped bird. She begins to weep.... (full context)
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...will laugh away his suspicions. However, she confirms Karenin’s accusations, telling him that she is Vronsky’s mistress, that she is in love with Vronsky, and that she hates Karenin. (full context)
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Karenin stiffly asks Anna to keep up appearances. Anna receives a note from Vronsky saying that he would still come that night, and her husband seems like a dim... (full context)
Part 3, Chapter 13
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Karenin muses about female infidelity in society. He dismisses the idea of a duel with Vronsky. Karenin also dismisses separation or formal divorce, because of the societal scandal that would ensue.... (full context)
Part 3, Chapter 15
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...not need to lie. However, the next morning, she is horrified. She did not tell Vronsky that she’d told Karenin, and she feels paralyzed with shame. (full context)
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...explaining that she is leaving for Moscow with their son. She begins a letter to Vronsky but tears it up. (full context)
Part 3, Chapter 17
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...these ladies would be there, but she wanted to go to the party to see Vronsky. However, after she arrives, she sees Vronsky’s footman deliver a note and remembers too late... (full context)
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Betsy tells Anna that Vronsky is not coming to the party. Betsy writes a note to give to Vronsky’s footman,... (full context)
Part 3, Chapter 18
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...Although Anna is at ease being the sparkling center of this company, she knows that Vronsky is waiting at the rendezvous she has arranged on Betsy’s note. (full context)
Part 3, Chapter 19
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Even though Vronsky appears to be a frivolous social gadabout, he actually keeps his affairs in scrupulous order,... (full context)
Part 3, Chapter 20
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Vronsky has very clear codes of conduct that he follows throughout his life. His relationship with... (full context)
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Vronsky also realizes that his affair with Anna has distracted him from his career ambitions. His... (full context)
Part 3, Chapter 21
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Petrisky comes into the cottage that he and Vronsky share and says that Serpukhovskoy has arrived; there is a raucous party for Serpukhovskoy at... (full context)
Part 3, Chapter 22
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So as not to be recognized, Vronsky uses another man’s hired carriage instead of his own to meet Anna. He is joyful... (full context)
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Vronsky says that Anna must divorce Karenin. Anna says that this is impossible because of her... (full context)
Part 3, Chapter 23
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...she doesn’t have to perform her wifely duties, but that he never wants to see Vronsky in the house so that neither society nor the servants can ever accuse her. (full context)
Part 4, Chapter 1
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Though Anna and Karenin continue to live together formally, they are completely estranged; Vronsky never visits the Karenin house, but Anna continues to see him. The situation is painful,... (full context)
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That winter, Vronsky has to escort a foreign prince for a week around Petersburg and show him the... (full context)
Part 4, Chapter 2
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Vronsky receives a note from Anna one evening requesting that he meet her at her home... (full context)
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Vronsky does not believe that his relationship with Anna will come to an end. His career... (full context)
Part 4, Chapter 3
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Anna is jealous that a particular actress was at a party Vronsky had attended, which makes Vronsky feel less affectionate toward her. Anna’s beauty has faded since... (full context)
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...she had about a peasant with a dirty beard who speaks in French, just like Vronsky’s dream. Although she is horrified, all at once her face changes from horror to bliss... (full context)
Part 4, Chapter 4
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After Karenin sees Vronsky, Karenin goes to the opera, is seen by the requisite members of society, and returns... (full context)
Part 4, Chapter 8
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...a letter to the lawyer to act at his discretion, enclosing the love letters from Vronsky to Anna. Oblonsky arrives, and Karenin turns down the dinner invitation, telling Oblonsky that he... (full context)
Part 4, Chapter 17
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...and that she is alive, but only barely. Karenin realizes that he still loves her. Vronsky is there as well, weeping. Karenin goes into the bedroom, where Anna speaks deliriously to... (full context)
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Anna calls for Vronsky, who enters hiding his face in his hands. Anna asks Karenin to forgive them both,... (full context)
Part 4, Chapter 18
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Vronsky feels humiliated. According to the rules by which he leads his life, the cuckolded husband... (full context)
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When Vronsky goes home, he is unable to sleep; events with Anna and his humiliation turn around... (full context)
Part 4, Chapter 19
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...but he still retains the spiritual joy that comes with his forgiveness. He forgives Anna, Vronsky, and the baby girl. However, he realizes that his relations with his wife are strained.... (full context)
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...taking better care of her daughter. Karenin overhears Anna and Betsy having a conversation about Vronsky; he enters the room, and Anna tells them both that she has refused to allow... (full context)
Part 4, Chapter 20
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...crying. He tells her that he is grateful that she has decided not to receive Vronsky. Anna learns about the business with the wet nurse, and she is indignant that she... (full context)
Part 4, Chapter 22
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...him as well. To Karenin, granting Anna a divorce would sanctify her illegal relationship with Vronsky and force their son into a depraved family. Oblonsky keeps pressuring Karenin, and finally, Karenin... (full context)
Part 4, Chapter 23
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Vronsky’s wound missed the heart, but it was still dangerous; he is touch-and-go for a while,... (full context)
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Betsy tells Vronsky that Karenin is granting Anna a divorce, and Vronsky rushes to visit the Karenins’ house.... (full context)
Part 5, Chapter 7
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Vronsky and Anna have been traveling through Europe for three months, and they have arrived at... (full context)
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...acceptance of the situation. He says that she looks like a Tintoretto in the palazzo Vronsky has just rented, and they go to look. Golenishchev begins talking about his book, which... (full context)
Part 5, Chapter 8
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...transferred her former love for her son onto her daughter, and she is infatuated with Vronsky. She fears losing him and thus never leaves his side. Vronsky, however, feels trapped, and... (full context)
Part 5, Chapter 9
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The palazzo that Anna and Vronsky have moved into helps Vronsky enter into the role of a cosmopolitan artist rather than... (full context)
Part 5, Chapter 10
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When Vronsky’s and Golenishchev’s calling cards arrive at Mikhailov’s studio, he is working hard; he has had... (full context)
Part 5, Chapter 11
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...he intended. Anna compliments Christ’s expression, seeing the pity in it; Mikhailov is again delighted. Vronsky, however, compliments an aspect of technique, and Mikhailov is dejected, as the praise is only... (full context)
Part 5, Chapter 12
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Anna and Vronsky admire a small painting, which Mikhailov says he had forgotten about; it is out because... (full context)
Part 5, Chapter 13
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Vronsky buys the small painting and commissions Mikhailov to do Anna’s portrait. The painter captures Anna’s... (full context)
Part 5, Chapter 23
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...with distinguished men all the time; now, she’s in love with Karenin. Lydia discovers that Vronsky and Anna are in Petersburg, but hides the fact from Karenin. Anna sends Lydia a... (full context)
Part 5, Chapter 28
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Vronsky and Anna stay in separate hotel suites in Petersburg. Vronsky has been deluding himself regarding... (full context)
Part 5, Chapter 31
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...and spiritually. She takes out an album of photographs of her son. She thinks of Vronsky, and though she feels a surge of love, she is also angry that he has... (full context)
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When Vronsky and the guest arrive, Vronsky looks at the pictures of Seryozha, but Anna quickly takes... (full context)
Part 5, Chapter 32
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Vronsky returns home to find that Anna is out with a lady. Her behavior has seemed... (full context)
Part 5, Chapter 33
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Vronsky is vexed that Anna appears to deliberately refuse to understand her position in society. Appearing... (full context)
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...agitated and leaves; it is clear that she is humiliated to be seen near Anna. Vronsky goes to his brother’s box to find out what exactly is happening. Vronsky’s mother says... (full context)
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When Vronsky returns home, Anna has already arrived. She says that the woman in the box next... (full context)
Part 6, Chapter 2
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...jam, and they chat about their marriage proposals. Dolly says that Kitty was lucky that Vronsky met Anna, while this event was unfortunate for Anna; Kitty, however, says she refuses to... (full context)
Part 6, Chapter 7
...shooting the next morning. Veslovsky says he’s been to see Anna and that she and Vronsky are just fifty miles away. Levin interprets every innocuous move Kitty makes as being a... (full context)
Part 6, Chapter 17
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...the coachman stops to ask a peasant for direction, four people on horseback appear: Anna, Vronsky, Veslovsky, and Princess Varvara (Anna’s elderly aunt). Dolly is at first slightly taken aback to... (full context)
Part 6, Chapter 18
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...love people, you love them as they are, not who you want them to be. Vronsky’s country estate is very luxuriously and lavishly appointed. Anna speaks in French to Vronsky and... (full context)
Part 6, Chapter 20
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...Varvara speaks to Dolly in a very patronizing, condescending manner; she happily condones Anna and Vronsky’s relationship. Dolly recognizes that Princess Varvara doesn’t care what Anna and Vronsky are doing so... (full context)
Part 6, Chapter 21
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Vronsky asks Dolly to speak with him. He wants to legalize his arrangement with Anna; if... (full context)
Part 6, Chapter 22
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...preparations have taken a great deal of work, and she shrewdly recognizes that it is Vronsky, not Anna, who makes all the household arrangements, whereas Anna is the hostess who guides... (full context)
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When the conversation turns to Levin, Dolly defends him. Vronsky has many responsibilities in government, to Anna’s chagrin. Dolly feels uncomfortable during dinner; she also... (full context)
Part 6, Chapter 23
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...with Dolly completely appalled. Anna says that she has chosen to stay beautiful to keep Vronsky, rather than be pregnant and unattractive. Dolly thinks ruefully of her own lack of beauty,... (full context)
Part 6, Chapter 24
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...do it, she’ll lose custody of her son. She wants to have both Seryozha and Vronsky, but this is impossible. When Dolly goes to bed, she is eager to see her... (full context)
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...returns to Levin’s estate. During the ride home, her servants agree with her that the Vronsky estate is luxurious but extremely stiff. When Dolly comes home, she is so happy to... (full context)
Part 6, Chapter 25
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Vronsky and Anna continue to spend the summer and part of the autumn in the same... (full context)
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Vronsky, Oblonsky, Levin, Sviyazhsky, and Koznyshev, among others, are all eligible to vote in the provincial... (full context)
Part 6, Chapter 29
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...want to join in, and he doesn’t want to talk to his own people, because Vronsky is with them. Levin sees a landowner of his acquaintance, whom he had met while... (full context)
Part 6, Chapter 30
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...but both of these men have already been nominated and Sviyazhsky has lost. Oblonsky and Vronsky, on the contrary, love the election. (full context)
Part 6, Chapter 31
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Nevedovsky and many others from the victorious party dine at Vronsky’s that night. Vronsky is very pleased with his own political prowess: every nobleman besides Levin... (full context)
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The men prepare to go out for more amusement after dinner. Vronsky’s butler brings in a letter from Anna, which already annoys him, since he knows it... (full context)
Part 6, Chapter 32
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Although Anna tries to remain composed and mature when Vronsky goes to the elections, the stern look he gives her before he leaves breaks her... (full context)
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When Vronsky returns, she feels ashamed of her clinginess, but she’s glad to have him back in... (full context)
Part 7, Chapter 1
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One evening, Kitty meets Vronsky again; though she blushes at first, she comports herself well. Although Levin is angry at... (full context)
Part 7, Chapter 7
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...arrives late, and they all relax and joke. Levin is even friendly and warm towards Vronsky and discusses breeds of cattle with him. (full context)
Part 7, Chapter 8
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...bored and goes off to find Oblonsky and other friends. Oblonsky is discussing Anna with Vronsky, and Oblonsky insists that Levin and Vronsky be friends. After playing cards, Oblonsky insists that... (full context)
Part 7, Chapter 11
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...way home, Levin obsessively thinks about Anna. He tells Kitty that he has reconciled with Vronsky, and admits, blushing, that he has seen Anna; she immediately can tell that he has... (full context)
Part 7, Chapter 12
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...contact with lately. The only man who does not seem swayed by her charms is Vronsky, who grows colder and colder to her. She is in a state of suspense: all... (full context)
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When Vronsky returns, Anna does not want to fight with him, but she inevitably enters into a... (full context)
Part 7, Chapter 23
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...tells the reader, spouses must either be in complete discord or complete harmony. Anna and Vronsky are in an uncomfortable middle state. Both want to leave Moscow and live in the... (full context)
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Anna and Vronsky have quarreled over the education of the little English girl Anna is caring for. Vronsky... (full context)
Part 7, Chapter 24
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When Vronsky returns, he and Anna are both in good spirits, but their moods quickly sour when... (full context)
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Anna storms off in a jealous rage, believing that Vronsky is in love with another woman because he wants to put off their departure for... (full context)
Part 7, Chapter 25
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Anna begins preparing for departure; though she’s in a good mood, Vronsky’s mentioning that he’s going to see his mother stings her. Vronsky receives a telegram and... (full context)
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Just as the argument escalates, a friend of Vronsky’s arrives, and they all chat with a forced lightness about the friend’s gambling habits. Before... (full context)
Part 7, Chapter 26
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Anna and Vronsky had never before had a quarrel that lasted a whole day. Anna imagines that Vronsky... (full context)
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Anna drinks opium and imagines Vronsky’s remorse if she were to die. She looks at him tenderly as he sleeps in... (full context)
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Anna tells Vronsky that he is going to the country tomorrow. He says that they cannot live like... (full context)
Part 7, Chapter 27
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Anna gives a servant a note to Vronsky, telling him that she is to blame and asking him to come back. She goes... (full context)
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...that she had wanted to go to Dolly’s, but Anna is still distracted, waiting for Vronsky. The servant returns, holding Anna’s note: he had been unable to catch Vronsky. She instructs... (full context)
Part 7, Chapter 28
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...reminded of Seryozha when she sees children playing on the street. She decides to leave Vronsky, even though leaving a second man will definitely mean that she is to blame and... (full context)
Part 7, Chapter 29
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At home, there is a telegram from Vronsky, saying that he cannot come before ten; not realizing he had only received the telegram... (full context)
Part 7, Chapter 30
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...as hopeless and doomed. She determines that the zest is gone from her relationship with Vronsky, and she think he’ll be glad that she’s going to leave. While her love is... (full context)
Part 7, Chapter 31
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...most innocuous conversations around her seem hideous and horrible. When she arrives at the platform, Vronsky’s servant has a note for her from Vronsky, saying that he hadn’t received Anna’s first... (full context)
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...the man who was run over by the train on the day that she met Vronsky, and she knows what she must do. She gets ready to jump under the first... (full context)
Part 8, Chapter 2
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The railway station is crowded with volunteers supporting the Slavic movement. Koznyshev learns that Vronsky is on the train, having volunteered and now headed out to war. Someone makes a... (full context)
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When Oblonsky sees Vronsky, he forgets about the Vronsky who sobbed over Anna’s dead body and only sees Vronsky... (full context)
Part 8, Chapter 4
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During a train stop, Koznyshev walks past Vronsky’s apartment and sees Vronsky’s mother, though not Vronsky. She tells him that after Anna’s death,... (full context)
Part 8, Chapter 5
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Vronsky is pacing and pretends not to see Koznyshev; Koznyshev thinks it is his duty to... (full context)
Part 8, Chapter 15
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They talk about the Serbian war; Dolly mentions that Vronsky is volunteering for the cause. The old Prince is skeptical of the Slavic cause, but... (full context)