Chapter 28 functions as a threshold scene, marking Anna's departure from Moscow and, symbolically, from the life of uncomplicated virtue she has briefly inhabited. Tolstoy structures the chapter around a series of confessions and self-contradictions: Anna tells Dolly she never doubts herself, and the narrator immediately undercuts her—"at the very moment she was uttering the words, she felt that they were not true." This technique of free indirect discourse exposes the gap between Anna's social performance and her inner reality, establishing the pattern of self-deception that will govern her trajectory throughout the novel.
The motif of departure accumulates emotional weight through repetition. Anna notes she did not want to leave Petersburg and now does not want to leave Moscow, a symmetry that hints at a restlessness deeper than circumstance. Her accelerated timetable—leaving today rather than tomorrow—is ostensibly practical but is revealed as flight from Vronsky, making the departure itself an act of moral awareness that is simultaneously an act of avoidance. Tolstoy thus presents Anna as neither wholly passive nor wholly culpable.
The exchange about skeletons ("Every heart has its own skeletons, as the English say") is pivotal. Dolly assumes Anna's skeleton must be trivial; Anna's "sly, ironical smile" and blush signal otherwise. The proverb, attributed pointedly to the English—the language of Anna's governess and of social propriety in the Oblonsky household—ironises the very decorum it invokes, suggesting that concealed guilt is universal and that Anna's is already more serious than she admits.
Dolly serves as both confessor and mirror in this scene. Her observation that Vronsky's capacity to fall in love with Anna in a single day makes him unsuitable for Kitty is delivered with apparent concern for her sister, yet it also, inadvertently, flatters Anna—"again a deep flush of pleasure came out on her face." Tolstoy's notation of this involuntary blush is a masterclass in psychological realism: Anna's body betrays desires her conscience has not yet fully acknowledged. The parallel between Anna and Stiva, drawn by Dolly's laughing comparison, introduces the novel's broader concern with moral symmetry and double standards—Anna bristles at the likeness, yet the narrator has already shown her capable of the same self-serving rationalisation.
The farewell between Anna and Dolly is rendered with genuine tenderness, yet Tolstoy frames it with quiet irony: Stepan Arkadyevitch arrives "late, rosy and good-humored, smelling of wine and cigars," his cheerful dissipation contrasting with the women's tearful sincerity. The chapter closes on Anna hiding her tears and unable to explain why she is moved—"I don't know why"—a phrase that encapsulates her condition: she is in the grip of forces she cannot yet name, departing a scene of domestic warmth for a future whose shape she both fears and desires.