Anna Karenina Study Guide
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Part Seven, Chapter 12

Chapter Summary

After her guests depart, Anna paces restlessly, aware she has successfully charmed Levin but consumed by anxiety over Vronsky's absence. She rehearses grievances in her mind—his coldness, her stagnant life in Moscow, the unanswered legal question about her divorce—and compares her waiting to the numbing effect of morphine. When Vronsky returns, she feigns composure with a book, then confronts him about breaking his promise to leave Yashvin.

The conversation escalates into a tense quarrel. Vronsky reaches for reconciliation, but Anna cannot surrender her antagonism. She deploys her despair as a weapon, confessing she fears herself and feels on the brink of calamity. Vronsky relents and asks for supper, but both recognize that his surrender has only deepened his resentment. Anna understands the weapon she used is too dangerous to wield again, and she perceives that alongside their love an evil spirit of strife now lives between them.

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Original Text
After taking leave of her guests, Anna did not sit down, but began walking up and down the room. She had unconsciously the whole evening done her utmost to arouse in Levin a feeling of love—as of late she had fallen into doing with all young men—and she knew she had attained her aim, as far as was possible in one evening, with a married and conscientious man. She liked him indeed extremely, and, in spite of the striking difference, from the masculine point of view, between Vronsky and Levin, as a woman she saw something they had in common, which had made Kitty able to love both. Yet as soon as he was out of the room, she ceased to think of him. One thought, and one only, pursued her in different forms, and refused to be shaken off. “If I have so much effect on others, on this man, who loves his home and his wife, why is it he is so cold to me?... not cold exactly, he loves me, I know that! But something new is drawing us apart now. Why wasn’t he here all the evening? He told Stiva to say he could not leave Yashvin, and must watch over his play. Is Yashvin a child? But supposing it’s true. He never tells a lie. But there’s something else in it if it’s true. He is glad of an opportunity of showing me that he has other duties; I know that, I submit to that. But why prove that to me? He wants to show me that his love for me is not to interfere with his freedom. But I need no proofs, I need love. He ought to understand all the bitterness of this life for me here in Moscow. Is this life? I am not living, but waiting for an event, which is continually put off and put off. No answer again! And Stiva says he cannot go to Alexey Alexandrovitch. And I can’t write again. I can do nothing, can begin nothing, can alter nothing; I hold myself in, I wait, inventing amusements for myself—the English family, writing, reading—but it’s all nothing but a sham, it’s all the same as morphine. He ought to feel for me,” she said, feeling tears of self-pity coming into her eyes. She heard Vronsky’s abrupt ring and hurriedly dried her tears—not only dried her tears, but sat down by a lamp and opened a book, affecting composure. She wanted to show him that she was displeased that he had not come home as he had promised—displeased only, and not on any account to let him see her distress, and least of all, her self-pity. She might pity herself, but he must not pity her. She did not want strife, she blamed him for wanting to quarrel, but unconsciously put herself into an attitude of antagonism. “Well, you’ve not been dull?” he said, eagerly and good-humoredly, going up to her. “What a terrible passion it is—gambling!” “No, I’ve not been dull; I’ve learned long ago not to be dull. Stiva has been here and Levin.” “Yes, they meant to come and see you. Well, how did you like Levin?” he said, sitting down beside her. “Very much. They have not long been gone. What was Yashvin doing?” “He was winning—seventeen thousand. I got him away. He had really started home, but he went back again, and now he’s losing.” “Then what did you stay for?” she asked, suddenly lifting her eyes to him. The expression of her face was cold and ungracious. “You told Stiva you were staying on to get Yashvin away. And you have left him there.” The same expression of cold readiness for the conflict appeared on his face too. “In the first place, I did not ask him to give you any message; and secondly, I never tell lies. But what’s the chief point, I wanted to stay, and I stayed,” he said, frowning. “Anna, what is it for, why will you?” he said after a moment’s silence, bending over towards her, and he opened his hand, hoping she would lay hers in it. She was glad of this appeal for tenderness. But some strange force of evil would not let her give herself up to her feelings, as though the rules of warfare would not permit her to surrender. “Of course you wanted to stay, and you stayed. You do everything you want to. But what do you tell me that for? With what object?” she said, getting more and more excited. “Does anyone contest your rights? But you want to be right, and you’re welcome to be right.” His hand closed, he turned away, and his face wore a still more obstinate expression. “For you it’s a matter of obstinacy,” she said, watching him intently and suddenly finding the right word for that expression that irritated her, “simply obstinacy. For you it’s a question of whether you keep the upper hand of me, while for me....” Again she felt sorry for herself, and she almost burst into tears. “If you knew what it is for me! When I feel as I do now that you are hostile, yes, hostile to me, if you knew what this means for me! If you knew how I feel on the brink of calamity at this instant, how afraid I am of myself!” And she turned away, hiding her sobs. “But what are you talking about?” he said, horrified at her expression of despair, and again bending over her, he took her hand and kissed it. “What is it for? Do I seek amusements outside our home? Don’t I avoid the society of women?” “Well, yes! If that were all!” she said. “Come, tell me what I ought to do to give you peace of mind? I am ready to do anything to make you happy,” he said, touched by her expression of despair; “what wouldn’t I do to save you from distress of any sort, as now, Anna!” he said. “It’s nothing, nothing!” she said. “I don’t know myself whether it’s the solitary life, my nerves.... Come, don’t let us talk of it. What about the race? You haven’t told me!” she inquired, trying to conceal her triumph at the victory, which had anyway been on her side. He asked for supper, and began telling her about the races; but in his tone, in his eyes, which became more and more cold, she saw that he did not forgive her for her victory, that the feeling of obstinacy with which she had been struggling had asserted itself again in him. He was colder to her than before, as though he were regretting his surrender. And she, remembering the words that had given her the victory, “how I feel on the brink of calamity, how afraid I am of myself,” saw that this weapon was a dangerous one, and that it could not be used a second time. And she felt that beside the love that bound them together there had grown up between them some evil spirit of strife, which she could not exorcise from his, and still less from her own heart.
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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This chapter is one of Tolstoy's most precise psychological studies of a relationship in terminal decline. The narrative is structured around a dialectic of power and vulnerability: Anna consciously stages her composure (the lamp, the open book) as a performance of indifference, yet the performance is itself an act of aggression. Tolstoy's free indirect discourse allows readers to inhabit Anna's self-aware but self-deceiving interior, where she simultaneously diagnoses her own manipulation—"she blamed him for wanting to quarrel, but unconsciously put herself into an attitude of antagonism"—and cannot stop enacting it.

The chapter develops the novel's pervasive motif of warfare with unusual explicitness. Tolstoy uses the language of military conflict—"rules of warfare," "surrender," "the upper hand," "weapon"—to reframe romantic love as a zero-sum contest. This militarization of intimacy is not merely metaphorical; it signals that the relationship has lost the grammar of mutual care and now operates only through dominance and capitulation. Anna's "victory" at the chapter's close is immediately revealed as self-defeating, since Vronsky's coldness intensifies precisely because he has yielded.

Anna's interior monologue in the second paragraph functions as a stream of anxious ratiocination, moving through jealousy, self-justification, self-pity, and a fleeting moment of genuine self-knowledge. The comparison of her diversions—"the English family, writing, reading"—to morphine is a quietly devastating piece of foreshadowing, linking her psychological dependency on Vronsky to the drug she will later abuse. Stasis and waiting emerge as her defining existential condition: "I am not living, but waiting for an event, which is continually put off and put off."

Levin's brief presence in the chapter serves a structural and thematic function. Anna's effortless seduction of a "married and conscientious man" confirms her power over men in general, which throws Vronsky's emotional withdrawal into sharper relief. Tolstoy also uses Levin as a foil: his domestic fidelity and moral seriousness implicitly contrast with the instability of Anna and Vronsky's irregular union, and Anna's recognition that Kitty could love both Levin and Vronsky hints at the qualities—passion combined with moral grounding—that her own relationship now lacks.

The chapter closes on the image of an "evil spirit of strife" that Anna cannot exorcise from either heart. This quasi-demonic personification externalizes what is in fact an internal psychological dynamic, suggesting that the destructive pattern has become autonomous—beyond the conscious will of either party. It anticipates the novel's tragic conclusion by establishing that the relationship's deterioration is no longer a series of correctable misunderstandings but a structural condition, as binding as the love itself.

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✎ Mr. Shifflett's Note
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