Anna Karenina Study Guide
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Part Five, Chapter 3

Chapter Summary

The church is packed with wedding guests and curious onlookers, all waiting for Levin and Kitty to arrive. Carriages line the street, candles illuminate the gilt icons, and the congregation cycles through anticipation, unease, and open dissatisfaction as the bridegroom fails to appear. Clergy and choristers grow visibly impatient, and one of the best men is finally dispatched to investigate.

The cause of the delay is revealed: Levin, half-dressed in his hotel room, is in a panic because his servant Kouzma packed his evening clothes but forgot a clean shirt. A farcical chain of errands ensues — shops are closed, a borrowed shirt is the wrong size, and the correct one must be retrieved from the Shtcherbatskys' luggage just in time. Kitty waits anxiously at home while Levin, frantic and self-reproaching, finally races to the church.

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Original Text
A crowd of people, principally women, was thronging round the church lighted up for the wedding. Those who had not succeeded in getting into the main entrance were crowding about the windows, pushing, wrangling, and peeping through the gratings. More than twenty carriages had already been drawn up in ranks along the street by the police. A police officer, regardless of the frost, stood at the entrance, gorgeous in his uniform. More carriages were continually driving up, and ladies wearing flowers and carrying their trains, and men taking off their helmets or black hats kept walking into the church. Inside the church both lusters were already lighted, and all the candles before the holy pictures. The gilt on the red ground of the holy picture-stand, and the gilt relief on the pictures, and the silver of the lusters and candlesticks, and the stones of the floor, and the rugs, and the banners above in the choir, and the steps of the altar, and the old blackened books, and the cassocks and surplices—all were flooded with light. On the right side of the warm church, in the crowd of frock coats and white ties, uniforms and broadcloth, velvet, satin, hair and flowers, bare shoulders and arms and long gloves, there was discreet but lively conversation that echoed strangely in the high cupola. Every time there was heard the creak of the opened door the conversation in the crowd died away, and everybody looked round expecting to see the bride and bridegroom come in. But the door had opened more than ten times, and each time it was either a belated guest or guests, who joined the circle of the invited on the right, or a spectator, who had eluded or softened the police officer, and went to join the crowd of outsiders on the left. Both the guests and the outside public had by now passed through all the phases of anticipation. At first they imagined that the bride and bridegroom would arrive immediately, and attached no importance at all to their being late. Then they began to look more and more often towards the door, and to talk of whether anything could have happened. Then the long delay began to be positively discomforting, and relations and guests tried to look as if they were not thinking of the bridegroom but were engrossed in conversation. The head deacon, as though to remind them of the value of his time, coughed impatiently, making the window-panes quiver in their frames. In the choir the bored choristers could be heard trying their voices and blowing their noses. The priest was continually sending first the beadle and then the deacon to find out whether the bridegroom had not come, more and more often he went himself, in a lilac vestment and an embroidered sash, to the side door, expecting to see the bridegroom. At last one of the ladies, glancing at her watch, said, “It really is strange, though!” and all the guests became uneasy and began loudly expressing their wonder and dissatisfaction. One of the bridegroom’s best men went to find out what had happened. Kitty meanwhile had long ago been quite ready, and in her white dress and long veil and wreath of orange blossoms she was standing in the drawing-room of the Shtcherbatskys’ house with her sister, Madame Lvova, who was her bridal-mother. She was looking out of the window, and had been for over half an hour anxiously expecting to hear from the best man that her bridegroom was at the church. Levin meanwhile, in his trousers, but without his coat and waistcoat, was walking to and fro in his room at the hotel, continually putting his head out of the door and looking up and down the corridor. But in the corridor there was no sign of the person he was looking for and he came back in despair, and frantically waving his hands addressed Stepan Arkadyevitch, who was smoking serenely. “Was ever a man in such a fearful fool’s position?” he said. “Yes, it is stupid,” Stepan Arkadyevitch assented, smiling soothingly. “But don’t worry, it’ll be brought directly.” “No, what is to be done!” said Levin, with smothered fury. “And these fools of open waistcoats! Out of the question!” he said, looking at the crumpled front of his shirt. “And what if the things have been taken on to the railway station!” he roared in desperation. “Then you must put on mine.” “I ought to have done so long ago, if at all.” “It’s not nice to look ridiculous.... Wait a bit! it will come round.” The point was that when Levin asked for his evening suit, Kouzma, his old servant, had brought him the coat, waistcoat, and everything that was wanted. “But the shirt!” cried Levin. “You’ve got a shirt on,” Kouzma answered, with a placid smile. Kouzma had not thought of leaving out a clean shirt, and on receiving instructions to pack up everything and send it round to the Shtcherbatskys’ house, from which the young people were to set out the same evening, he had done so, packing everything but the dress suit. The shirt worn since the morning was crumpled and out of the question with the fashionable open waistcoat. It was a long way to send to the Shtcherbatskys’. They sent out to buy a shirt. The servant came back; everything was shut up—it was Sunday. They sent to Stepan Arkadyevitch’s and brought a shirt—it was impossibly wide and short. They sent finally to the Shtcherbatskys’ to unpack the things. The bridegroom was expected at the church while he was pacing up and down his room like a wild beast in a cage, peeping out into the corridor, and with horror and despair recalling what absurd things he had said to Kitty and what she might be thinking now. At last the guilty Kouzma flew panting into the room with the shirt. “Only just in time. They were just lifting it into the van,” said Kouzma. Three minutes later Levin ran full speed into the corridor, not looking at his watch for fear of aggravating his sufferings. “You won’t help matters like this,” said Stepan Arkadyevitch with a smile, hurrying with more deliberation after him. “It will come round, it will come round ... I tell you.”
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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Tolstoy opens the chapter with a carefully staged theatrical spectacle: the illuminated church, ranked carriages, and costumed police officer form a backdrop of social ritual against which human fallibility will be comically exposed. The lavish inventory of gilt, silver, candlesticks, and embroidered vestments underscores the weight of institutional ceremony, making Levin's missing shirt all the more absurdly incongruous. The sacred and the mundane are placed in deliberate, ironic juxtaposition.

The crowd's psychology is rendered with sociological precision. Tolstoy traces its collective emotional arc — from indifference to unease to open complaint — in a passage that anticipates the crowd scenes of later modernist fiction. The congregation is not a backdrop but a social organism, its mood shifting in observable phases, its whispered conversation dying at each creak of the door. This technique of collective focalization distances the reader from any single consciousness and emphasizes how thoroughly marriage is a public institution as much as a private bond.

Levin's predicament is rendered through comic irony: the man who has wrestled with existential questions about love and meaning is undone by a forgotten dress shirt. Yet the comedy is not merely farcical. His frantic pacing, described as that of 'a wild beast in a cage,' signals genuine psychological distress; he is not simply embarrassed but tormented by self-consciousness and by anxious thoughts of what Kitty must think of him. The animal simile briefly punctures the comedy with authentic vulnerability.

Stepan Arkadyevitch functions as a foil throughout the scene. His serene smoking and repeated reassurance — 'it will come round' — contrast with Levin's 'smothered fury' and highlight two opposing temperaments: the worldly man at ease in social performance, and the earnest outsider for whom every convention is a potential catastrophe. Oblonsky's calm is not wisdom but a kind of cheerful superficiality, and Tolstoy's gentle irony touches him as well.

Kitty's brief appearance — already dressed, already waiting at the window for over half an hour — introduces a gendered asymmetry that the novel will continue to develop. She is prepared, composed, and dependent on information that must come to her secondhand, while Levin at least has the freedom to pace corridors and send servants. The chapter thus uses the wedding-day chaos to illuminate, beneath its comic surface, the structural inequalities and mutual anxieties that underpin the institution of marriage itself.

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✎ Mr. Shifflett's Note
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