This chapter functions as Tolstoy's most concentrated satirical assault on Petersburg mysticism and the religious charlatanism that has captured Karenin. By filtering the séance entirely through Stepan Arkadyevitch's bewildered, cognac-fogged consciousness, Tolstoy deploys free indirect discourse to devastating comic effect: Oblonsky's fragmented interior monologue—lurching from Marie Sanina's dead child to the desire for a cigarette to the absurdity of Landau's alias—enacts the scene's essential meaninglessness while simultaneously exposing the narrator's own ironic distance from the proceedings.
The motif of sleep operates on multiple levels. Both Oblonsky and Landau drift toward unconsciousness, yet one state is shameful and the other sacred. Tolstoy uses this symmetry to collapse the distinction between genuine spiritual receptivity and mere somnolence, implying that the trance Lidia Ivanovna venerates is indistinguishable from ordinary drowsiness. The Frenchman's "moist hand" making "faint movements, as though trying to catch something" is rendered with clinical precision that undercuts any supernatural reading.
The chapter's language politics are pointed. The séance's decisive utterances are delivered in French—the language of Petersburg's cosmopolitan elite—while Oblonsky's confused vernacular thoughts remain in Russian. That Anna's fate, a deeply Russian domestic tragedy, should be decided by a French medium's mumbled command is Tolstoy's sharpest indictment of the alienation of the ruling class from authentic moral life. Lidia Ivanovna's whispered "mon ami" to Karenin, slipping from formal address in her excitement, reveals how thoroughly pseudo-religious fervor has displaced rational judgment.
Structurally, the chapter enacts a descent and failed recovery. Oblonsky flees "as though from a plague-stricken house," seeks restoration in theater and champagne, yet remains "quite unlike himself." The drunken Pyotr Oblonsky carried upstairs by servants mirrors Stepan Arkadyevitch's own moral weightlessness, and the juxtaposition of two forms of stupefaction—mystical and alcoholic—reinforces Tolstoy's suggestion that Petersburg society offers only different varieties of self-deception. The chapter closes with the novel's most consequential off-page event: the divorce refusal that seals Anna's doom, delivered as a flat, almost bureaucratic sentence, its horror amplified by understatement.
The theme of authenticity versus performance runs throughout. Tolstoy refuses to adjudicate whether Landau is "asleep or pretending to be asleep," and Oblonsky cannot determine whether Lidia Ivanovna's eyes are "artless—or perhaps artful." This deliberate ambiguity is not agnosticism but indictment: in a world where performance and sincerity have become indistinguishable, genuine human need—Anna's need for legal freedom—is crushed by theatrical ritual.