The next morning, Levin shows Veslovsky around the estate, after which Veslovsky speaks to Kitty in the drawing room, which irks Levin. The Princess, Kitty’s mother, tries to discuss the preparations for Kitty’s baby with Levin, but he is uncomfortable and awkward with the discussion: he finds talking about something so mysterious and extraordinary in such ordinary terms to be deeply humiliating.
Even though Levin’s jealousy had been masked over by his good mood in the swamp, when he sees Veslovsky with Kitty, all the old jealousies flare up: Levin can’t help but recall subconsciously his old rivalry with Vronsky. Levin is ruled by passions, not pragmatics, and he finds it impossible to discuss deep emotions in normal terms, because these passions occur on a subverbal level.
Veslovsky discusses Anna’s situation with Kitty, which makes Kitty feel very unpleasant, because she can’t help but feel guilty, and she knows that Levin will interpret their interaction negatively—which he does. Kitty and Levin go into the garden to discuss their trouble, and though they appear extremely tragic, in just a few minutes, they have agreed that Veslovsky has made advances to Kitty, have made up, and are radiant.
Even though Veslovsky’s conversation with Kitty is innocent, Kitty is in such sync with her husband that she knows he will become jealous, so she feels guilty despite the fact that she’s done nothing wrong. Kitty and Levin’s emotions swing on an enormous, rapid pendulum: one minute, they’re in tragedy, and the next, domestic bliss.