Anna Karenina Study Guide
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Part Four, Chapter 18

Chapter Summary

Shattered by his encounter with the magnanimous Alexey Alexandrovitch, Vronsky leaves the Karenin house in a daze, overwhelmed by shame and the sudden reversal of his self-image. He returns home, collapses onto his sofa, and attempts to sleep, but is tormented by a relentless cycle of memories—Anna's face, Karenin's words, his own humiliated expression—that he cannot suppress.

As the sleepless hours pass, Vronsky's thoughts spiral toward despair. He surveys the ruins of his former ambitions—career, society, the court—and finds them meaningless. He retrieves a revolver, reasons himself into a fatal logic, and shoots himself in the chest. He misses his heart, falls to the floor bleeding, and is eventually discovered by his servant. An hour later his sister-in-law Varya arrives with three doctors and takes charge of his care.

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Original Text
After the conversation with Alexey Alexandrovitch, Vronsky went out onto the steps of the Karenins’ house and stood still, with difficulty remembering where he was, and where he ought to walk or drive. He felt disgraced, humiliated, guilty, and deprived of all possibility of washing away his humiliation. He felt thrust out of the beaten track along which he had so proudly and lightly walked till then. All the habits and rules of his life that had seemed so firm, had turned out suddenly false and inapplicable. The betrayed husband, who had figured till that time as a pitiful creature, an incidental and somewhat ludicrous obstacle to his happiness, had suddenly been summoned by her herself, elevated to an awe-inspiring pinnacle, and on the pinnacle that husband had shown himself, not malignant, not false, not ludicrous, but kind and straightforward and large. Vronsky could not but feel this, and the parts were suddenly reversed. Vronsky felt his elevation and his own abasement, his truth and his own falsehood. He felt that the husband was magnanimous even in his sorrow, while he had been base and petty in his deceit. But this sense of his own humiliation before the man he had unjustly despised made up only a small part of his misery. He felt unutterably wretched now, for his passion for Anna, which had seemed to him of late to be growing cooler, now that he knew he had lost her forever, was stronger than ever it had been. He had seen all of her in her illness, had come to know her very soul, and it seemed to him that he had never loved her till then. And now when he had learned to know her, to love her as she should be loved, he had been humiliated before her, and had lost her forever, leaving with her nothing of himself but a shameful memory. Most terrible of all had been his ludicrous, shameful position when Alexey Alexandrovitch had pulled his hands away from his humiliated face. He stood on the steps of the Karenins’ house like one distraught, and did not know what to do. “A sledge, sir?” asked the porter. “Yes, a sledge.” On getting home, after three sleepless nights, Vronsky, without undressing, lay down flat on the sofa, clasping his hands and laying his head on them. His head was heavy. Images, memories, and ideas of the strangest description followed one another with extraordinary rapidity and vividness. First it was the medicine he had poured out for the patient and spilt over the spoon, then the midwife’s white hands, then the queer posture of Alexey Alexandrovitch on the floor beside the bed. “To sleep! To forget!” he said to himself with the serene confidence of a healthy man that if he is tired and sleepy, he will go to sleep at once. And the same instant his head did begin to feel drowsy and he began to drop off into forgetfulness. The waves of the sea of unconsciousness had begun to meet over his head, when all at once—it was as though a violent shock of electricity had passed over him. He started so that he leaped up on the springs of the sofa, and leaning on his arms got in a panic onto his knees. His eyes were wide open as though he had never been asleep. The heaviness in his head and the weariness in his limbs that he had felt a minute before had suddenly gone. “You may trample me in the mud,” he heard Alexey Alexandrovitch’s words and saw him standing before him, and saw Anna’s face with its burning flush and glittering eyes, gazing with love and tenderness not at him but at Alexey Alexandrovitch; he saw his own, as he fancied, foolish and ludicrous figure when Alexey Alexandrovitch took his hands away from his face. He stretched out his legs again and flung himself on the sofa in the same position and shut his eyes. “To sleep! To forget!” he repeated to himself. But with his eyes shut he saw more distinctly than ever Anna’s face as it had been on the memorable evening before the races. “That is not and will not be, and she wants to wipe it out of her memory. But I cannot live without it. How can we be reconciled? how can we be reconciled?” he said aloud, and unconsciously began to repeat these words. This repetition checked the rising up of fresh images and memories, which he felt were thronging in his brain. But repeating words did not check his imagination for long. Again in extraordinarily rapid succession his best moments rose before his mind, and then his recent humiliation. “Take away his hands,” Anna’s voice says. He takes away his hands and feels the shamestruck and idiotic expression of his face. He still lay down, trying to sleep, though he felt there was not the smallest hope of it, and kept repeating stray words from some chain of thought, trying by this to check the rising flood of fresh images. He listened, and heard in a strange, mad whisper words repeated: “I did not appreciate it, did not make enough of it. I did not appreciate it, did not make enough of it.” “What’s this? Am I going out of my mind?” he said to himself. “Perhaps. What makes men go out of their minds; what makes men shoot themselves?” he answered himself, and opening his eyes, he saw with wonder an embroidered cushion beside him, worked by Varya, his brother’s wife. He touched the tassel of the cushion, and tried to think of Varya, of when he had seen her last. But to think of anything extraneous was an agonizing effort. “No, I must sleep!” He moved the cushion up, and pressed his head into it, but he had to make an effort to keep his eyes shut. He jumped up and sat down. “That’s all over for me,” he said to himself. “I must think what to do. What is left?” His mind rapidly ran through his life apart from his love of Anna. “Ambition? Serpuhovskoy? Society? The court?” He could not come to a pause anywhere. All of it had had meaning before, but now there was no reality in it. He got up from the sofa, took off his coat, undid his belt, and uncovering his hairy chest to breathe more freely, walked up and down the room. “This is how people go mad,” he repeated, “and how they shoot themselves ... to escape humiliation,” he added slowly. He went to the door and closed it, then with fixed eyes and clenched teeth he went up to the table, took a revolver, looked round him, turned it to a loaded barrel, and sank into thought. For two minutes, his head bent forward with an expression of an intense effort of thought, he stood with the revolver in his hand, motionless, thinking. “Of course,” he said to himself, as though a logical, continuous, and clear chain of reasoning had brought him to an indubitable conclusion. In reality this “of course,” that seemed convincing to him, was simply the result of exactly the same circle of memories and images through which he had passed ten times already during the last hour—memories of happiness lost forever. There was the same conception of the senselessness of everything to come in life, the same consciousness of humiliation. Even the sequence of these images and emotions was the same. “Of course,” he repeated, when for the third time his thought passed again round the same spellbound circle of memories and images, and pulling the revolver to the left side of his chest, and clutching it vigorously with his whole hand, as it were, squeezing it in his fist, he pulled the trigger. He did not hear the sound of the shot, but a violent blow on his chest sent him reeling. He tried to clutch at the edge of the table, dropped the revolver, staggered, and sat down on the ground, looking about him in astonishment. He did not recognize his room, looking up from the ground, at the bent legs of the table, at the wastepaper basket, and the tiger-skin rug. The hurried, creaking steps of his servant coming through the drawing-room brought him to his senses. He made an effort at thought, and was aware that he was on the floor; and seeing blood on the tiger-skin rug and on his arm, he knew he had shot himself. “Idiotic! Missed!” he said, fumbling after the revolver. The revolver was close beside him—he sought further off. Still feeling for it, he stretched out to the other side, and not being strong enough to keep his balance, fell over, streaming with blood. The elegant, whiskered manservant, who used to be continually complaining to his acquaintances of the delicacy of his nerves, was so panic-stricken on seeing his master lying on the floor, that he left him losing blood while he ran for assistance. An hour later Varya, his brother’s wife, had arrived, and with the assistance of three doctors, whom she had sent for in all directions, and who all appeared at the same moment, she got the wounded man to bed, and remained to nurse him.
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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This chapter marks one of the novel's most psychologically intense passages, functioning as a dark mirror to Anna's own later crisis. Tolstoy renders Vronsky's mental state through a technique that anticipates stream of consciousness: the narrative follows the involuntary cycling of images—the medicine spoon, the midwife's hands, Karenin on the floor—with the same compulsive repetition Vronsky himself experiences. The phrase "To sleep! To forget!" becomes a kind of failed incantation, exposing the gap between the will and the psyche.

The chapter's central irony is the reversal of moral hierarchy. Vronsky had constructed his identity around aristocratic superiority and romantic heroism; Karenin had been mentally filed as a "pitiful creature" and a "ludicrous obstacle." The encounter forces a complete inversion: Karenin rises to a "awe-inspiring pinnacle" of magnanimity while Vronsky sinks into "baseness and pettiness." Tolstoy is careful to show that this recognition is genuine—Vronsky is not self-pitying but morally lucid—which makes his suffering more, not less, acute.

The attempted suicide is framed not as a melodramatic gesture but as the product of circular, entrapped reasoning. Tolstoy explicitly notes that Vronsky's apparent logical conclusion—"Of course"—is in reality "simply the result of exactly the same circle of memories and images through which he had passed ten times already." This authorial intrusion is significant: it diagnoses suicidal ideation as a cognitive loop rather than a rational decision, anticipating modern psychological understanding and connecting thematically to the novel's broader critique of self-deception.

The tiger-skin rug, glimpsed from the floor after the shot, is a quietly loaded detail. Associated elsewhere in the novel with Vronsky's masculine, predatory self-image, it now frames his collapse—the hunter brought low, looking up at the furniture of his own life from the ground. The revolver itself, touched only after Vronsky has mentally exhausted every other category of meaning ("Ambition? Serpuhovskoy? Society? The court?"), signals that identity without love is, for him, literally unlivable.

Structurally, the chapter closes with a note of dark comedy: the "elegant, whiskered manservant" who constantly complained of his delicate nerves abandons his bleeding master in panic. This deflating detail prevents the scene from tipping into pure tragedy and keeps Tolstoy's characteristic ironic distance intact, reminding the reader that even the most extreme private suffering is embedded in the mundane social world.

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✎ Mr. Shifflett's Note
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