Anna Karenina Study Guide
Color Theme
Font Style
Sans Serif System Mono Accessible
Text Size

Part Two, Chapter 3

Chapter Summary

Dolly visits Kitty in her room and attempts to offer comfort about Vronsky's rejection. Kitty initially denies any suffering, then erupts in furious humiliation, lashing out at Dolly and cruelly alluding to Dolly's own marital disgrace. When Levin's name is raised, Kitty's self-control collapses entirely. She flings her clasp to the floor and accuses Dolly of torturing her.

The outburst is followed by remorse: Kitty falls to her knees, weeping, and the sisters reconcile through tears. In the calmer conversation that follows, Kitty describes a pervasive spiritual coarseness that has overtaken her perception of everything and everyone. She eventually comes to stay with Dolly during the children's scarlatina, but her health does not improve, and the Shcherbatsky family departs abroad during Lent.

Translation Style
✨ Character Voice Translations PREMIUM
Original Text
When she went into Kitty’s little room, a pretty, pink little room, full of knick-knacks in vieux saxe, as fresh, and pink, and white, and gay as Kitty herself had been two months ago, Dolly remembered how they had decorated the room the year before together, with what love and gaiety. Her heart turned cold when she saw Kitty sitting on a low chair near the door, her eyes fixed immovably on a corner of the rug. Kitty glanced at her sister, and the cold, rather ill-tempered expression of her face did not change. “I’m just going now, and I shall have to keep in and you won’t be able to come to see me,” said Dolly, sitting down beside her. “I want to talk to you.” “What about?” Kitty asked swiftly, lifting her head in dismay. “What should it be, but your trouble?” “I have no trouble.” “Nonsense, Kitty. Do you suppose I could help knowing? I know all about it. And believe me, it’s of so little consequence.... We’ve all been through it.” Kitty did not speak, and her face had a stern expression. “He’s not worth your grieving over him,” pursued Darya Alexandrovna, coming straight to the point. “No, because he has treated me with contempt,” said Kitty, in a breaking voice. “Don’t talk of it! Please, don’t talk of it!” “But who can have told you so? No one has said that. I’m certain he was in love with you, and would still be in love with you, if it hadn’t....” “Oh, the most awful thing of all for me is this sympathizing!” shrieked Kitty, suddenly flying into a passion. She turned round on her chair, flushed crimson, and rapidly moving her fingers, pinched the clasp of her belt first with one hand and then with the other. Dolly knew this trick her sister had of clenching her hands when she was much excited; she knew, too, that in moments of excitement Kitty was capable of forgetting herself and saying a great deal too much, and Dolly would have soothed her, but it was too late. “What, what is it you want to make me feel, eh?” said Kitty quickly. “That I’ve been in love with a man who didn’t care a straw for me, and that I’m dying of love for him? And this is said to me by my own sister, who imagines that ... that ... that she’s sympathizing with me!... I don’t want these condolences and humbug!” “Kitty, you’re unjust.” “Why are you tormenting me?” “But I ... quite the contrary ... I see you’re unhappy....” But Kitty in her fury did not hear her. “I’ve nothing to grieve over and be comforted about. I am too proud ever to allow myself to care for a man who does not love me.” “Yes, I don’t say so either.... Only one thing. Tell me the truth,” said Darya Alexandrovna, taking her by the hand: “tell me, did Levin speak to you?...” The mention of Levin’s name seemed to deprive Kitty of the last vestige of self-control. She leaped up from her chair, and flinging her clasp on the ground, she gesticulated rapidly with her hands and said: “Why bring Levin in too? I can’t understand what you want to torment me for. I’ve told you, and I say it again, that I have some pride, and never, never would I do as you’re doing—go back to a man who’s deceived you, who has cared for another woman. I can’t understand it! You may, but I can’t!” And saying these words she glanced at her sister, and seeing that Dolly sat silent, her head mournfully bowed, Kitty, instead of running out of the room as she had meant to do, sat down near the door, and hid her face in her handkerchief. The silence lasted for two minutes: Dolly was thinking of herself. That humiliation of which she was always conscious came back to her with a peculiar bitterness when her sister reminded her of it. She had not looked for such cruelty in her sister, and she was angry with her. But suddenly she heard the rustle of a skirt, and with it the sound of heart-rending, smothered sobbing, and felt arms about her neck. Kitty was on her knees before her. “Dolinka, I am so, so wretched!” she whispered penitently. And the sweet face covered with tears hid itself in Darya Alexandrovna’s skirt. As though tears were the indispensable oil, without which the machinery of mutual confidence could not run smoothly between the two sisters, the sisters after their tears talked, not of what was uppermost in their minds, but, though they talked of outside matters, they understood each other. Kitty knew that the words she had uttered in anger about her husband’s infidelity and her humiliating position had cut her poor sister to the heart, but that she had forgiven her. Dolly for her part knew all she had wanted to find out. She felt certain that her surmises were correct; that Kitty’s misery, her inconsolable misery, was due precisely to the fact that Levin had made her an offer and she had refused him, and Vronsky had deceived her, and that she was fully prepared to love Levin and to detest Vronsky. Kitty said not a word of that; she talked of nothing but her spiritual condition. “I have nothing to make me miserable,” she said, getting calmer; “but can you understand that everything has become hateful, loathsome, coarse to me, and I myself most of all? You can’t imagine what loathsome thoughts I have about everything.” “Why, whatever loathsome thoughts can you have?” asked Dolly, smiling. “The most utterly loathsome and coarse: I can’t tell you. It’s not unhappiness, or low spirits, but much worse. As though everything that was good in me was all hidden away, and nothing was left but the most loathsome. Come, how am I to tell you?” she went on, seeing the puzzled look in her sister’s eyes. “Father began saying something to me just now.... It seems to me he thinks all I want is to be married. Mother takes me to a ball: it seems to me she only takes me to get me married off as soon as may be, and be rid of me. I know it’s not the truth, but I can’t drive away such thoughts. Eligible suitors, as they call them—I can’t bear to see them. It seems to me they’re taking stock of me and summing me up. In old days to go anywhere in a ball dress was a simple joy to me, I admired myself; now I feel ashamed and awkward. And then! The doctor.... Then....” Kitty hesitated; she wanted to say further that ever since this change had taken place in her, Stepan Arkadyevitch had become insufferably repulsive to her, and that she could not see him without the grossest and most hideous conceptions rising before her imagination. “Oh, well, everything presents itself to me, in the coarsest, most loathsome light,” she went on. “That’s my illness. Perhaps it will pass off.” “But you mustn’t think about it.” “I can’t help it. I’m never happy except with the children at your house.” “What a pity you can’t be with me!” “Oh, yes, I’m coming. I’ve had scarlatina, and I’ll persuade mamma to let me.” Kitty insisted on having her way, and went to stay at her sister’s and nursed the children all through the scarlatina, for scarlatina it turned out to be. The two sisters brought all the six children successfully through it, but Kitty was no better in health, and in Lent the Shtcherbatskys went abroad.
Source text: Project Gutenberg #1399. Public domain worldwide. Translated by Constance Garnett (1901)
Modern English
Select a style above to load the modern English translation.

This chapter is structured as a miniature drama of wounded pride and sisterly reconciliation, moving through confrontation, explosion, and tearful resolution. Tolstoy carefully stages the scene in Kitty's room—described as "fresh, and pink, and white, and gay" in a way that now reads as ironic contrast to its occupant's inner desolation. The room's cheerful vieux saxe décor is a relic of a self that no longer exists, and Dolly's memory of decorating it "with what love and gaiety" underlines how completely Kitty's romantic defeat has altered her interiority.

Kitty's outburst is rendered with precise physical notation: the flushing, the rapid finger-movements, the pinching of the belt clasp, the flinging of that clasp to the floor. These gestures are not mere melodrama; they constitute a somatic language that Tolstoy uses throughout the novel to signal states too intense or too shameful for direct speech. Dolly's recognition of her sister's habit of clenching her hands under excitement shows the intimacy of sisterly knowledge, even as that knowledge fails to prevent the cruelty that follows.

The chapter's most structurally significant moment is Kitty's inadvertent attack on Dolly—accusing her of going back to "a man who's deceived you." The line is devastating precisely because it is true, and Tolstoy dwells on Dolly's silent, bowed head to register the wound. Yet the scene pivots immediately: Kitty sees what she has done, and the physical gesture of kneeling before her sister and hiding her face in Dolly's skirt is one of the novel's most tender images of penitence and female solidarity. The narrator's simile—"as though tears were the indispensable oil, without which the machinery of mutual confidence could not run smoothly"—is characteristically Tolstoyan in its blend of mechanical metaphor and emotional precision.

Kitty's subsequent confession of "loathsome thoughts" introduces a theme of spiritual contamination that will deepen as the novel progresses. Her inability to see her parents, suitors, or even Stiva without coarse or hideous associations is not mere adolescent self-pity; it is a crisis of perception in which romantic disillusionment has poisoned her entire moral and aesthetic world. Tolstoy frames this not as sin but as illness—"That's my illness. Perhaps it will pass off"—locating the pathology in the social and emotional damage inflicted on a young woman whose worth has been measured entirely by her marriageability.

The chapter closes with a brief narrative summary—the scarlatina nursing, the Lenten departure abroad—that deliberately deflates the emotional intensity of the scene. This compression is a structural technique Tolstoy uses to signal that no resolution has truly been reached; Kitty's spiritual recovery will require far more than sisterly tears or a change of air. The chapter thus functions as both a character study and a thematic hinge, connecting Kitty's private suffering to the novel's broader interrogation of social performance, female identity, and the costs of misplaced love.

Loading quotes...

Loading tags...

Ask the Reader

Click any tag to explore where it appears across the book, then ask the Reader to explain how it works in this chapter.

Exploring tag...
The Reader's Take
Ask the Reader to explain how this element appears in this chapter
Click a tag to search.
Ask the Reader about this chapter
Type at least 2 characters to search
Characters & Figures
Loading figures...
✎ Mr. Shifflett's Note
SIS Teachers
Sign in with your @siskorea.org email for free full access to this guide and all GradeWise study guides — every chapter, translation, and premium feature.
Sign In with SIS Email