Anna Karenina Study Guide
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Part One, Chapter 27

Chapter Summary

Returning alone to his family estate after Kitty's rejection, Levin settles into his armchair with a book while his housekeeper Agafea Mihalovna brings tea and gossips about a peasant named Prohor. Though he tries to read Tyndall's scientific treatise, Levin's mind drifts irresistibly into daydreams of future family life—a wife, cattle, visitors, domestic happiness—even as he acknowledges he must give up his hopes.

Agafea Mihalovna perceptively notes that Levin is low-spirited, surprising him with her intuitive understanding of his inner state. His old dog Laska returns from the yard, settles contentedly at his feet, and her simple, satisfied repose prompts Levin to resolve that all is, or can be, well. He takes her animal contentment as a model for his own recovery.

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Original Text
The house was big and old-fashioned, and Levin, though he lived alone, had the whole house heated and used. He knew that this was stupid, he knew that it was positively not right, and contrary to his present new plans, but this house was a whole world to Levin. It was the world in which his father and mother had lived and died. They had lived just the life that to Levin seemed the ideal of perfection, and that he had dreamed of beginning with his wife, his family. Levin scarcely remembered his mother. His conception of her was for him a sacred memory, and his future wife was bound to be in his imagination a repetition of that exquisite, holy ideal of a woman that his mother had been. He was so far from conceiving of love for woman apart from marriage that he positively pictured to himself first the family, and only secondarily the woman who would give him a family. His ideas of marriage were, consequently, quite unlike those of the great majority of his acquaintances, for whom getting married was one of the numerous facts of social life. For Levin it was the chief affair of life, on which its whole happiness turned. And now he had to give up that. When he had gone into the little drawing-room, where he always had tea, and had settled himself in his armchair with a book, and Agafea Mihalovna had brought him tea, and with her usual, “Well, I’ll stay a while, sir,” had taken a chair in the window, he felt that, however strange it might be, he had not parted from his daydreams, and that he could not live without them. Whether with her, or with another, still it would be. He was reading a book, and thinking of what he was reading, and stopping to listen to Agafea Mihalovna, who gossiped away without flagging, and yet with all that, all sorts of pictures of family life and work in the future rose disconnectedly before his imagination. He felt that in the depth of his soul something had been put in its place, settled down, and laid to rest. He heard Agafea Mihalovna talking of how Prohor had forgotten his duty to God, and with the money Levin had given him to buy a horse, had been drinking without stopping, and had beaten his wife till he’d half killed her. He listened, and read his book, and recalled the whole train of ideas suggested by his reading. It was Tyndall’s Treatise on Heat. He recalled his own criticisms of Tyndall of his complacent satisfaction in the cleverness of his experiments, and for his lack of philosophic insight. And suddenly there floated into his mind the joyful thought: “In two years’ time I shall have two Dutch cows; Pava herself will perhaps still be alive, a dozen young daughters of Berkoot and the three others—how lovely!” He took up his book again. “Very good, electricity and heat are the same thing; but is it possible to substitute the one quantity for the other in the equation for the solution of any problem? No. Well, then what of it? The connection between all the forces of nature is felt instinctively.... It’s particulary nice if Pava’s daughter should be a red-spotted cow, and all the herd will take after her, and the other three, too! Splendid! To go out with my wife and visitors to meet the herd.... My wife says, ‘Kostya and I looked after that calf like a child.’ ‘How can it interest you so much?’ says a visitor. ‘Everything that interests him, interests me.’ But who will she be?” And he remembered what had happened at Moscow.... “Well, there’s nothing to be done.... It’s not my fault. But now everything shall go on in a new way. It’s nonsense to pretend that life won’t let one, that the past won’t let one. One must struggle to live better, much better.”... He raised his head, and fell to dreaming. Old Laska, who had not yet fully digested her delight at his return, and had run out into the yard to bark, came back wagging her tail, and crept up to him, bringing in the scent of fresh air, put her head under his hand, and whined plaintively, asking to be stroked. “There, who’d have thought it?” said Agafea Mihalovna. “The dog now ... why, she understands that her master’s come home, and that he’s low-spirited.” “Why low-spirited?” “Do you suppose I don’t see it, sir? It’s high time I should know the gentry. Why, I’ve grown up from a little thing with them. It’s nothing, sir, so long as there’s health and a clear conscience.” Levin looked intently at her, surprised at how well she knew his thought. “Shall I fetch you another cup?” said she, and taking his cup she went out. Laska kept poking her head under his hand. He stroked her, and she promptly curled up at his feet, laying her head on a hindpaw. And in token of all now being well and satisfactory, she opened her mouth a little, smacked her lips, and settling her sticky lips more comfortably about her old teeth, she sank into blissful repose. Levin watched all her movements attentively. “That’s what I’ll do,” he said to himself; “that’s what I’ll do! Nothing’s amiss.... All’s well.”
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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This chapter functions as an interior monologue rendered through free indirect discourse, allowing Tolstoy to move fluidly between Levin's ostensible reading and the associative daydreams that interrupt it. The juxtaposition of Tyndall's scientific prose—electricity, heat, equations—with Levin's pastoral fantasies about red-spotted cows and a wife who shares his enthusiasms enacts a central Tolstoyan argument: that rational, scientific modernity cannot satisfy the deepest human longings, which are instinctive and domestic rather than analytical.

The chapter develops Levin's idealization of marriage and family with unusual psychological precision. His mother exists only as a "sacred memory," an abstraction that shapes his conception of the ideal wife before any real woman has been identified. This reveals the danger of idealization as a psychological pattern: Levin does not love a person so much as a projected image, which is why Kitty's rejection, though painful, does not destroy the dream—he quickly reassures himself that "whether with her, or with another, still it would be."

Agafea Mihalovna and Laska serve parallel structural roles as intuitive, non-intellectual witnesses to Levin's emotional state. The housekeeper reads his grief without being told; the dog models uncomplicated contentment. Both figures belong to a world of instinct and loyalty that Tolstoy consistently privileges over the social performance of feeling. Laska's final settling—mouth open, lips smacking, sinking into "blissful repose"—is rendered with the same attentive detail Tolstoy gives to human psychology, suggesting that animal naturalness is not beneath human dignity but a standard it might aspire to.

The house itself operates as a symbol of continuity and inheritance. Levin knows it is wasteful to heat the whole building for one man, yet he cannot relinquish it because it embodies his parents' life and his own ideal of what life should be. The tension between rational economy and emotional fidelity to the past mirrors the larger tension between Levin's scientific reading and his pastoral dreaming, and anticipates the novel's broader critique of utilitarian modernity.

The chapter closes with Levin's self-directive—"That's what I'll do! Nothing's amiss.... All's well"—which reads less as genuine resolution than as an act of willed self-consolation. The ellipses in the text enact the incompleteness of this resolution; the reader understands that the wound is real even as Levin borrows Laska's contentment as a temporary emotional posture. This ironic gap between stated feeling and implied reality is characteristic of Tolstoy's narrative method throughout the novel.

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✎ Mr. Shifflett's Note
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