Anna Karenina Study Guide
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Part Seven, Chapter 27

Chapter Summary

After Vronsky leaves following their quarrel, Anna stands at the window overwhelmed by dread. She writes him a note begging him to return, then visits the nursery, where the sight of their daughter unexpectedly recalls Vronsky rather than comforting her. She watches the clock obsessively, calculating when he might return. When the messenger comes back having missed Vronsky, she redirects the note to Countess Vronskaya's house and sends a telegram to Dolly.

Anna catches a frightening glimpse of her own reflection in the pier-glass, barely recognising herself. She confides her distress to her maid Annushka, then resolves to leave the house rather than endure the mental turmoil alone. She orders the carriage and directs it to the Oblonskys', seeking human company as a refuge from her spiralling thoughts.

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Original Text
“He has gone! It is over!” Anna said to herself, standing at the window; and in answer to this statement the impression of the darkness when the candle had flickered out, and of her fearful dream mingling into one, filled her heart with cold terror. “No, that cannot be!” she cried, and crossing the room she rang the bell. She was so afraid now of being alone, that without waiting for the servant to come in, she went out to meet him. “Inquire where the count has gone,” she said. The servant answered that the count had gone to the stable. “His honor left word that if you cared to drive out, the carriage would be back immediately.” “Very good. Wait a minute. I’ll write a note at once. Send Mihail with the note to the stables. Make haste.” She sat down and wrote: “I was wrong. Come back home; I must explain. For God’s sake come! I’m afraid.” She sealed it up and gave it to the servant. She was afraid of being left alone now; she followed the servant out of the room, and went to the nursery. “Why, this isn’t it, this isn’t he! Where are his blue eyes, his sweet, shy smile?” was her first thought when she saw her chubby, rosy little girl with her black, curly hair instead of Seryozha, whom in the tangle of her ideas she had expected to see in the nursery. The little girl sitting at the table was obstinately and violently battering on it with a cork, and staring aimlessly at her mother with her pitch-black eyes. Answering the English nurse that she was quite well, and that she was going to the country tomorrow, Anna sat down by the little girl and began spinning the cork to show her. But the child’s loud, ringing laugh, and the motion of her eyebrows, recalled Vronsky so vividly that she got up hurriedly, restraining her sobs, and went away. “Can it be all over? No, it cannot be!” she thought. “He will come back. But how can he explain that smile, that excitement after he had been talking to her? But even if he doesn’t explain, I will believe. If I don’t believe, there’s only one thing left for me, and I can’t.” She looked at her watch. Twenty minutes had passed. “By now he has received the note and is coming back. Not long, ten minutes more.... But what if he doesn’t come? No, that cannot be. He mustn’t see me with tear-stained eyes. I’ll go and wash. Yes, yes; did I do my hair or not?” she asked herself. And she could not remember. She felt her head with her hand. “Yes, my hair has been done, but when I did it I can’t in the least remember.” She could not believe the evidence of her hand, and went up to the pier-glass to see whether she really had done her hair. She certainly had, but she could not think when she had done it. “Who’s that?” she thought, looking in the looking-glass at the swollen face with strangely glittering eyes, that looked in a scared way at her. “Why, it’s I!” she suddenly understood, and looking round, she seemed all at once to feel his kisses on her, and twitched her shoulders, shuddering. Then she lifted her hand to her lips and kissed it. “What is it? Why, I’m going out of my mind!” and she went into her bedroom, where Annushka was tidying the room. “Annushka,” she said, coming to a standstill before her, and she stared at the maid, not knowing what to say to her. “You meant to go and see Darya Alexandrovna,” said the girl, as though she understood. “Darya Alexandrovna? Yes, I’ll go.” “Fifteen minutes there, fifteen minutes back. He’s coming, he’ll be here soon.” She took out her watch and looked at it. “But how could he go away, leaving me in such a state? How can he live, without making it up with me?” She went to the window and began looking into the street. Judging by the time, he might be back now. But her calculations might be wrong, and she began once more to recall when he had started and to count the minutes. At the moment when she had moved away to the big clock to compare it with her watch, someone drove up. Glancing out of the window, she saw his carriage. But no one came upstairs, and voices could be heard below. It was the messenger who had come back in the carriage. She went down to him. “We didn’t catch the count. The count had driven off on the lower city road.” “What do you say? What!...” she said to the rosy, good-humored Mihail, as he handed her back her note. “Why, then, he has never received it!” she thought. “Go with this note to Countess Vronskaya’s place, you know? and bring an answer back immediately,” she said to the messenger. “And I, what am I going to do?” she thought. “Yes, I’m going to Dolly’s, that’s true or else I shall go out of my mind. Yes, and I can telegraph, too.” And she wrote a telegram. “I absolutely must talk to you; come at once.” After sending off the telegram, she went to dress. When she was dressed and in her hat, she glanced again into the eyes of the plump, comfortable-looking Annushka. There was unmistakable sympathy in those good-natured little gray eyes. “Annushka, dear, what am I to do?” said Anna, sobbing and sinking helplessly into a chair. “Why fret yourself so, Anna Arkadyevna? Why, there’s nothing out of the way. You drive out a little, and it’ll cheer you up,” said the maid. “Yes, I’m going,” said Anna, rousing herself and getting up. “And if there’s a telegram while I’m away, send it on to Darya Alexandrovna’s ... but no, I shall be back myself.” “Yes, I mustn’t think, I must do something, drive somewhere, and most of all, get out of this house,” she said, feeling with terror the strange turmoil going on in her own heart, and she made haste to go out and get into the carriage. “Where to?” asked Pyotr before getting onto the box. “To Znamenka, the Oblonskys’.”
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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This chapter is a masterclass in psychological realism, as Tolstoy renders Anna's consciousness almost entirely from the inside. The narrative moves in tight, anxious circles — note-writing, clock-watching, window-gazing — mirroring the recursive quality of obsessive thought. Each action Anna takes is immediately undercut: the note misses Vronsky, the nursery offers no comfort, the mirror returns a stranger's face. Tolstoy uses this accumulation of failed gestures to dramatise how completely emotional dependency has eroded Anna's autonomous selfhood.

The mirror scene is the chapter's most charged moment. Anna fails to recognise her own reflection — "Why, it's I!" — a literalisation of the psychological fragmentation that has been building throughout Part Seven. The "swollen face with strangely glittering eyes" is not vanity's object but alienation's emblem; the self has become opaque to itself. This anticipates the dissociative episodes that will culminate in Anna's death and belongs to a tradition of mirror imagery in the novel that consistently links self-perception with self-deception.

The nursery visit introduces a pointed irony: Anna goes seeking maternal solace and finds instead a reminder of Vronsky. Her daughter's eyebrows and laugh "recalled Vronsky so vividly" that Anna flees. The child — unnamed, dark-eyed, emphatically not Seryozha — represents the life Anna has built with Vronsky, yet even that life now only intensifies her anguish. Maternity, which elsewhere in the novel anchors women like Dolly and Kitty, offers Anna no stable ground.

Tolstoy's handling of time in this chapter is formally significant. Anna's obsessive calculation of minutes — "twenty minutes had passed," "ten minutes more," "fifteen minutes there, fifteen minutes back" — transforms clock time into a measure of psychological torment. The watch becomes a prop of self-torture rather than practical utility, and the gap between subjective and objective time underscores how thoroughly anxiety has colonised her perception of reality.

The chapter closes with Anna's decision to flee the house, framed not as agency but as desperation: "I mustn't think, I must do something." The destination — Dolly's — is significant; Dolly represents the social and familial order Anna has transgressed, and her instinct to run toward it signals both a longing for normalcy and the impossibility of recovering it. The final exchange with the coachman, clipped and mundane, throws Anna's inner chaos into sharp relief through bathos.

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✎ Mr. Shifflett's Note
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