Anna Karenina Study Guide
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Part One, Chapter 29

Chapter Summary

Relieved to have said farewell to her brother Oblonsky, Anna settles into her sleeping-carriage for the overnight journey back to St. Petersburg. She attempts to read an English novel but finds herself unable to concentrate, distracted first by the snowstorm outside and then by a restless, visceral longing to live rather than merely observe. When her reading triggers an unexpected surge of shame connected to her memories of Vronsky, she interrogates herself but cannot fully name what disturbs her.

As the train presses on through the blizzard, Anna slips into a waking delirium — the carriage, its passengers, and even her own identity dissolve into hallucinatory impressions of sound, light, and sensation. She struggles to distinguish reality from dream. At a station stop she steps onto the platform, where the fierce wind and frozen air bring a momentary, exhilarating clarity, and she breathes deeply, looking about her with heightened alertness.

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Original Text
“Come, it’s all over, and thank God!” was the first thought that came to Anna Arkadyevna, when she had said good-bye for the last time to her brother, who had stood blocking up the entrance to the carriage till the third bell rang. She sat down on her lounge beside Annushka, and looked about her in the twilight of the sleeping-carriage. “Thank God! tomorrow I shall see Seryozha and Alexey Alexandrovitch, and my life will go on in the old way, all nice and as usual.” Still in the same anxious frame of mind, as she had been all that day, Anna took pleasure in arranging herself for the journey with great care. With her little deft hands she opened and shut her little red bag, took out a cushion, laid it on her knees, and carefully wrapping up her feet, settled herself comfortably. An invalid lady had already lain down to sleep. Two other ladies began talking to Anna, and a stout elderly lady tucked up her feet, and made observations about the heating of the train. Anna answered a few words, but not foreseeing any entertainment from the conversation, she asked Annushka to get a lamp, hooked it onto the arm of her seat, and took from her bag a paper-knife and an English novel. At first her reading made no progress. The fuss and bustle were disturbing; then when the train had started, she could not help listening to the noises; then the snow beating on the left window and sticking to the pane, and the sight of the muffled guard passing by, covered with snow on one side, and the conversations about the terrible snowstorm raging outside, distracted her attention. Farther on, it was continually the same again and again: the same shaking and rattling, the same snow on the window, the same rapid transitions from steaming heat to cold, and back again to heat, the same passing glimpses of the same figures in the twilight, and the same voices, and Anna began to read and to understand what she read. Annushka was already dozing, the red bag on her lap, clutched by her broad hands, in gloves, of which one was torn. Anna Arkadyevna read and understood, but it was distasteful to her to read, that is, to follow the reflection of other people’s lives. She had too great a desire to live herself. If she read that the heroine of the novel was nursing a sick man, she longed to move with noiseless steps about the room of a sick man; if she read of a member of Parliament making a speech, she longed to be delivering the speech; if she read of how Lady Mary had ridden after the hounds, and had provoked her sister-in-law, and had surprised everyone by her boldness, she too wished to be doing the same. But there was no chance of doing anything; and twisting the smooth paper-knife in her little hands, she forced herself to read. The hero of the novel was already almost reaching his English happiness, a baronetcy and an estate, and Anna was feeling a desire to go with him to the estate, when she suddenly felt that he ought to feel ashamed, and that she was ashamed of the same thing. But what had he to be ashamed of? “What have I to be ashamed of?” she asked herself in injured surprise. She laid down the book and sank against the back of the chair, tightly gripping the paper-cutter in both hands. There was nothing. She went over all her Moscow recollections. All were good, pleasant. She remembered the ball, remembered Vronsky and his face of slavish adoration, remembered all her conduct with him: there was nothing shameful. And for all that, at the same point in her memories, the feeling of shame was intensified, as though some inner voice, just at the point when she thought of Vronsky, were saying to her, “Warm, very warm, hot.” “Well, what is it?” she said to herself resolutely, shifting her seat in the lounge. “What does it mean? Am I afraid to look it straight in the face? Why, what is it? Can it be that between me and this officer boy there exist, or can exist, any other relations than such as are common with every acquaintance?” She laughed contemptuously and took up her book again; but now she was definitely unable to follow what she read. She passed the paper-knife over the window pane, then laid its smooth, cool surface to her cheek, and almost laughed aloud at the feeling of delight that all at once without cause came over her. She felt as though her nerves were strings being strained tighter and tighter on some sort of screwing peg. She felt her eyes opening wider and wider, her fingers and toes twitching nervously, something within oppressing her breathing, while all shapes and sounds seemed in the uncertain half-light to strike her with unaccustomed vividness. Moments of doubt were continually coming upon her, when she was uncertain whether the train were going forwards or backwards, or were standing still altogether; whether it were Annushka at her side or a stranger. “What’s that on the arm of the chair, a fur cloak or some beast? And what am I myself? Myself or some other woman?” She was afraid of giving way to this delirium. But something drew her towards it, and she could yield to it or resist it at will. She got up to rouse herself, and slipped off her plaid and the cape of her warm dress. For a moment she regained her self-possession, and realized that the thin peasant who had come in wearing a long overcoat, with buttons missing from it, was the stoveheater, that he was looking at the thermometer, that it was the wind and snow bursting in after him at the door; but then everything grew blurred again.... That peasant with the long waist seemed to be gnawing something on the wall, the old lady began stretching her legs the whole length of the carriage, and filling it with a black cloud; then there was a fearful shrieking and banging, as though someone were being torn to pieces; then there was a blinding dazzle of red fire before her eyes and a wall seemed to rise up and hide everything. Anna felt as though she were sinking down. But it was not terrible, but delightful. The voice of a man muffled up and covered with snow shouted something in her ear. She got up and pulled herself together; she realized that they had reached a station and that this was the guard. She asked Annushka to hand her the cape she had taken off and her shawl, put them on and moved towards the door. “Do you wish to get out?” asked Annushka. “Yes, I want a little air. It’s very hot in here.” And she opened the door. The driving snow and the wind rushed to meet her and struggled with her over the door. But she enjoyed the struggle. She opened the door and went out. The wind seemed as though lying in wait for her; with gleeful whistle it tried to snatch her up and bear her off, but she clung to the cold door post, and holding her skirt got down onto the platform and under the shelter of the carriages. The wind had been powerful on the steps, but on the platform, under the lee of the carriages, there was a lull. With enjoyment she drew deep breaths of the frozen, snowy air, and standing near the carriage looked about the platform and the lighted station.
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
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Chapter 29 is one of Tolstoy's most technically accomplished passages, functioning as a psychological threshold in which Anna crosses, almost imperceptibly, from social propriety into the dangerous interior territory of desire. The chapter's narrative method shifts from external observation to a sustained free indirect discourse that collapses the distance between narrator and character, drawing the reader into Anna's consciousness without ever fully stabilising it. The result is a prose equivalent of the train's own motion: relentless, rhythmic, and slightly vertiginous.

The English novel Anna attempts to read operates as a mirror and a foil simultaneously. Her inability to remain a passive consumer of fiction — her longing to nurse the sick man, deliver the speech, ride after the hounds — reveals a self whose appetite for experience exceeds the boundaries her social role permits. The novel's hero moving toward 'English happiness, a baronetcy and an estate' ironises the very domestic resolution Anna is ostensibly returning to; the shame she feels bleeds from the fictional hero onto herself before she can name its source, suggesting that conscience operates below the threshold of rational articulation.

Tolstoy deploys the train journey as a sustained symbol of modernity, fate, and erotic momentum. The train cannot be stopped or reversed — a fact Anna herself enacts when she loses the ability to tell whether it is moving forward, backward, or standing still. This spatial disorientation externalises her moral disorientation: the certainties of her Petersburg life are already in motion away from her. The snowstorm pressing against the left window, the muffled guard, the peasant stove-heater with missing buttons — these figures accumulate into a gothic dreamscape that anticipates the novel's later imagery of death and dissolution.

The paper-knife Anna repeatedly handles is a quietly insistent symbol: smooth, cool, and sharp, it is an instrument for opening what is sealed. Her gesture of pressing its flat surface to her cheek — a displaced, almost erotic touch — signals the repressed sensuality that the chapter refuses to name directly. Similarly, the metaphor of 'nerves as strings being strained tighter and tighter on some sort of screwing peg' renders desire as a physical, mechanical force, consistent with Tolstoy's materialist understanding of passion as something that happens to the body rather than being chosen by the will.

The chapter closes on a moment of sublime struggle: Anna fights the wind at the carriage door and enjoys the fight. This brief, exhilarating contest with an elemental force prefigures her larger struggle with social convention and with Vronsky, and it introduces the novel's central paradox — that what is dangerous is also what makes Anna feel most alive. The frozen air that restores her self-possession is the same storm that threatens to sweep her away, a duality Tolstoy will sustain to the novel's catastrophic conclusion.

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✎ Mr. Shifflett's Note
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