Anna Karenina Study Guide
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Part One, Chapter 26

Chapter Summary

Konstantin Levin leaves Moscow and returns to his country estate. As he rides home by sledge, the familiar sights of his coachman, horses, and village news gradually dissolve the confusion and shame he felt in the city. He makes a series of private resolutions: to abandon fantasies of extraordinary happiness, to resist low passion, to keep watch over his ailing brother Nikolay, and to work harder while living more simply in solidarity with the peasants.

Arriving home, Levin is welcomed by his housekeeper Agafea Mihalovna, his servant Kouzma, and his dog Laska. In his study, familiar objects momentarily threaten to drag him back into old habits of self-doubt, but he asserts his will by lifting dumbbells. The bailiff reports a minor mishap with the drying machine, then the joyful news that his prize cow Pava has calved. Levin goes to the cowhouse, tenderly examines the newborn calf, and returns to the house to attend to estate business.

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Original Text
In the morning Konstantin Levin left Moscow, and towards evening he reached home. On the journey in the train he talked to his neighbors about politics and the new railways, and, just as in Moscow, he was overcome by a sense of confusion of ideas, dissatisfaction with himself, shame of something or other. But when he got out at his own station, when he saw his one-eyed coachman, Ignat, with the collar of his coat turned up; when, in the dim light reflected by the station fires, he saw his own sledge, his own horses with their tails tied up, in their harness trimmed with rings and tassels; when the coachman Ignat, as he put in his luggage, told him the village news, that the contractor had arrived, and that Pava had calved,—he felt that little by little the confusion was clearing up, and the shame and self-dissatisfaction were passing away. He felt this at the mere sight of Ignat and the horses; but when he had put on the sheepskin brought for him, had sat down wrapped up in the sledge, and had driven off pondering on the work that lay before him in the village, and staring at the side-horse, that had been his saddle-horse, past his prime now, but a spirited beast from the Don, he began to see what had happened to him in quite a different light. He felt himself, and did not want to be anyone else. All he wanted now was to be better than before. In the first place he resolved that from that day he would give up hoping for any extraordinary happiness, such as marriage must have given him, and consequently he would not so disdain what he really had. Secondly, he would never again let himself give way to low passion, the memory of which had so tortured him when he had been making up his mind to make an offer. Then remembering his brother Nikolay, he resolved to himself that he would never allow himself to forget him, that he would follow him up, and not lose sight of him, so as to be ready to help when things should go ill with him. And that would be soon, he felt. Then, too, his brother’s talk of communism, which he had treated so lightly at the time, now made him think. He considered a revolution in economic conditions nonsense. But he always felt the injustice of his own abundance in comparison with the poverty of the peasants, and now he determined that so as to feel quite in the right, though he had worked hard and lived by no means luxuriously before, he would now work still harder, and would allow himself even less luxury. And all this seemed to him so easy a conquest over himself that he spent the whole drive in the pleasantest daydreams. With a resolute feeling of hope in a new, better life, he reached home before nine o’clock at night. The snow of the little quadrangle before the house was lit up by a light in the bedroom windows of his old nurse, Agafea Mihalovna, who performed the duties of housekeeper in his house. She was not yet asleep. Kouzma, waked up by her, came sidling sleepily out onto the steps. A setter bitch, Laska, ran out too, almost upsetting Kouzma, and whining, turned round about Levin’s knees, jumping up and longing, but not daring, to put her forepaws on his chest. “You’re soon back again, sir,” said Agafea Mihalovna. “I got tired of it, Agafea Mihalovna. With friends, one is well; but at home, one is better,” he answered, and went into his study. The study was slowly lit up as the candle was brought in. The familiar details came out: the stag’s horns, the bookshelves, the looking-glass, the stove with its ventilator, which had long wanted mending, his father’s sofa, a large table, on the table an open book, a broken ashtray, a manuscript book with his handwriting. As he saw all this, there came over him for an instant a doubt of the possibility of arranging the new life, of which he had been dreaming on the road. All these traces of his life seemed to clutch him, and to say to him: “No, you’re not going to get away from us, and you’re not going to be different, but you’re going to be the same as you’ve always been; with doubts, everlasting dissatisfaction with yourself, vain efforts to amend, and falls, and everlasting expectation, of a happiness which you won’t get, and which isn’t possible for you.” This the things said to him, but another voice in his heart was telling him that he must not fall under the sway of the past, and that one can do anything with oneself. And hearing that voice, he went into the corner where stood his two heavy dumbbells, and began brandishing them like a gymnast, trying to restore his confident temper. There was a creak of steps at the door. He hastily put down the dumbbells. The bailiff came in, and said everything, thank God, was doing well; but informed him that the buckwheat in the new drying machine had been a little scorched. This piece of news irritated Levin. The new drying machine had been constructed and partly invented by Levin. The bailiff had always been against the drying machine, and now it was with suppressed triumph that he announced that the buckwheat had been scorched. Levin was firmly convinced that if the buckwheat had been scorched, it was only because the precautions had not been taken, for which he had hundreds of times given orders. He was annoyed, and reprimanded the bailiff. But there had been an important and joyful event: Pava, his best cow, an expensive beast, bought at a show, had calved. “Kouzma, give me my sheepskin. And you tell them to take a lantern. I’ll come and look at her,” he said to the bailiff. The cowhouse for the more valuable cows was just behind the house. Walking across the yard, passing a snowdrift by the lilac tree, he went into the cowhouse. There was the warm, steamy smell of dung when the frozen door was opened, and the cows, astonished at the unfamiliar light of the lantern, stirred on the fresh straw. He caught a glimpse of the broad, smooth, black and piebald back of Hollandka. Berkoot, the bull, was lying down with his ring in his lip, and seemed about to get up, but thought better of it, and only gave two snorts as they passed by him. Pava, a perfect beauty, huge as a hippopotamus, with her back turned to them, prevented their seeing the calf, as she sniffed her all over. Levin went into the pen, looked Pava over, and lifted the red and spotted calf onto her long, tottering legs. Pava, uneasy, began lowing, but when Levin put the calf close to her she was soothed, and, sighing heavily, began licking her with her rough tongue. The calf, fumbling, poked her nose under her mother’s udder, and stiffened her tail out straight. “Here, bring the light, Fyodor, this way,” said Levin, examining the calf. “Like the mother! though the color takes after the father; but that’s nothing. Very good. Long and broad in the haunch. Vassily Fedorovitch, isn’t she splendid?” he said to the bailiff, quite forgiving him for the buckwheat under the influence of his delight in the calf. “How could she fail to be? Oh, Semyon the contractor came the day after you left. You must settle with him, Konstantin Dmitrievitch,” said the bailiff. “I did inform you about the machine.” This question was enough to take Levin back to all the details of his work on the estate, which was on a large scale, and complicated. He went straight from the cowhouse to the counting house, and after a little conversation with the bailiff and Semyon the contractor, he went back to the house and straight upstairs to the drawing-room.
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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This chapter functions as a structural counterweight to the Moscow chapters that precede it, enacting what Tolstoy presents as a return to authenticity. The journey home is rendered as a gradual process of psychological clarification: the "confusion of ideas" that plagued Levin in the city dissolves not through rational argument but through sensory contact with the familiar—Ignat's turned-up collar, the tasselled harness, the smell of horses. Tolstoy's narrative technique here is almost phenomenological; identity is restored through embodied perception rather than through thought.

The resolutions Levin makes in the sledge are thematically significant but also gently ironic. They are presented with the qualifier "so easy a conquest over himself," and Tolstoy's phrase "pleasantest daydreams" subtly signals that these noble intentions are products of euphoria rather than tested will. This irony deepens when Levin enters his study and the familiar objects seem to speak: "No, you're not going to get away from us." The pathetic fallacy animating the stag's horns, the broken ashtray, and the manuscript is one of the novel's most striking passages of interiority, externalising the psyche's resistance to self-transformation.

The dumbbell episode that follows is darkly comic and psychologically precise. Levin's response to existential doubt is physical exertion—a displacement activity that reveals both his earnestness and the limits of willpower as a tool for self-reform. The arrival of the bailiff immediately tests his new equanimity and he fails, becoming irritated over the scorched buckwheat. Tolstoy thus demonstrates within a single page the gap between resolution and practice, a gap between ideal and reality that structures Levin's entire arc in the novel.

The cowhouse scene provides the chapter's emotional resolution and introduces one of the novel's central symbols of natural vitality. The newborn calf, described with precise agricultural detail—"long and broad in the haunch"—grounds Levin's happiness in biological process rather than social aspiration. The contrast with Kitty's rejection is implicit: where romantic love has failed him, the cycle of animal birth offers an uncomplicated joy. Pava licking her calf with a "rough tongue" and the calf "stiffening her tail out straight" are rendered with the same attentive realism Tolstoy applies to human emotion, suggesting a continuity between human and natural life that is central to his moral vision.

The chapter also advances the novel's critique of social alienation. Levin's discomfort in Moscow is not merely personal shyness but a symptom of the inauthenticity he associates with urban aristocratic life. His thought about the "injustice of his own abundance" in relation to peasant poverty links him to the novel's broader social concerns and anticipates the agrarian philosophy he will develop later. The estate, with its practical problems of drying machines and contractors, is presented not as an idyll but as a site of meaningful, grounded labour—the opposite of the drawing-room world in which Anna and Vronsky will eventually be consumed.

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✎ Mr. Shifflett's Note
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