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

Part Two, Chapter 28

Chapter Summary

At the military steeplechase, Anna sits in the pavilion with Princess Betsy while Alexey Alexandrovitch arrives and joins the assembled society. Anna watches her husband's social maneuvering with contempt and listens with torment to his measured, loquacious conversation with an adjutant-general about the merits of military sport. Stepan Arkadyevitch calls up bets from below; Betsy and Anna are named for Kuzovlev, while Vronsky's name is openly spoken.

When the race begins, Anna fixes her gaze entirely on Vronsky, her face white and rigid. Alexey Alexandrovitch, though feigning indifference, cannot stop his eyes from returning to his wife's face, where her feelings for Vronsky are unmistakably written. He reads what he does not wish to know. The race proves disastrous—more than half the riders are thrown—and the Tsar himself is displeased.

Translation Style
✨ Character Voice Translations PREMIUM
Original Text
When Alexey Alexandrovitch reached the race-course, Anna was already sitting in the pavilion beside Betsy, in that pavilion where all the highest society had gathered. She caught sight of her husband in the distance. Two men, her husband and her lover, were the two centers of her existence, and unaided by her external senses she was aware of their nearness. She was aware of her husband approaching a long way off, and she could not help following him in the surging crowd in the midst of which he was moving. She watched his progress towards the pavilion, saw him now responding condescendingly to an ingratiating bow, now exchanging friendly, nonchalant greetings with his equals, now assiduously trying to catch the eye of some great one of this world, and taking off his big round hat that squeezed the tips of his ears. All these ways of his she knew, and all were hateful to her. “Nothing but ambition, nothing but the desire to get on, that’s all there is in his soul,” she thought; “as for these lofty ideals, love of culture, religion, they are only so many tools for getting on.” From his glances towards the ladies’ pavilion (he was staring straight at her, but did not distinguish his wife in the sea of muslin, ribbons, feathers, parasols and flowers) she saw that he was looking for her, but she purposely avoided noticing him. “Alexey Alexandrovitch!” Princess Betsy called to him; “I’m sure you don’t see your wife: here she is.” He smiled his chilly smile. “There’s so much splendor here that one’s eyes are dazzled,” he said, and he went into the pavilion. He smiled to his wife as a man should smile on meeting his wife after only just parting from her, and greeted the princess and other acquaintances, giving to each what was due—that is to say, jesting with the ladies and dealing out friendly greetings among the men. Below, near the pavilion, was standing an adjutant-general of whom Alexey Alexandrovitch had a high opinion, noted for his intelligence and culture. Alexey Alexandrovitch entered into conversation with him. There was an interval between the races, and so nothing hindered conversation. The adjutant-general expressed his disapproval of races. Alexey Alexandrovitch replied defending them. Anna heard his high, measured tones, not losing one word, and every word struck her as false, and stabbed her ears with pain. When the three-mile steeplechase was beginning, she bent forward and gazed with fixed eyes at Vronsky as he went up to his horse and mounted, and at the same time she heard that loathsome, never-ceasing voice of her husband. She was in an agony of terror for Vronsky, but a still greater agony was the never-ceasing, as it seemed to her, stream of her husband’s shrill voice with its familiar intonations. “I’m a wicked woman, a lost woman,” she thought; “but I don’t like lying, I can’t endure falsehood, while as for him (her husband) it’s the breath of his life—falsehood. He knows all about it, he sees it all; what does he care if he can talk so calmly? If he were to kill me, if he were to kill Vronsky, I might respect him. No, all he wants is falsehood and propriety,” Anna said to herself, not considering exactly what it was she wanted of her husband, and how she would have liked to see him behave. She did not understand either that Alexey Alexandrovitch’s peculiar loquacity that day, so exasperating to her, was merely the expression of his inward distress and uneasiness. As a child that has been hurt skips about, putting all his muscles into movement to drown the pain, in the same way Alexey Alexandrovitch needed mental exercise to drown the thoughts of his wife that in her presence and in Vronsky’s, and with the continual iteration of his name, would force themselves on his attention. And it was as natural for him to talk well and cleverly, as it is natural for a child to skip about. He was saying: “Danger in the races of officers, of cavalry men, is an essential element in the race. If England can point to the most brilliant feats of cavalry in military history, it is simply owing to the fact that she has historically developed this force both in beasts and in men. Sport has, in my opinion, a great value, and as is always the case, we see nothing but what is most superficial.” “It’s not superficial,” said Princess Tverskaya. “One of the officers, they say, has broken two ribs.” Alexey Alexandrovitch smiled his smile, which uncovered his teeth, but revealed nothing more. “We’ll admit, princess, that that’s not superficial,” he said, “but internal. But that’s not the point,” and he turned again to the general with whom he was talking seriously; “we mustn’t forget that those who are taking part in the race are military men, who have chosen that career, and one must allow that every calling has its disagreeable side. It forms an integral part of the duties of an officer. Low sports, such as prize-fighting or Spanish bull-fights, are a sign of barbarity. But specialized trials of skill are a sign of development.” “No, I shan’t come another time; it’s too upsetting,” said Princess Betsy. “Isn’t it, Anna?” “It is upsetting, but one can’t tear oneself away,” said another lady. “If I’d been a Roman woman I should never have missed a single circus.” Anna said nothing, and keeping her opera-glass up, gazed always at the same spot. At that moment a tall general walked through the pavilion. Breaking off what he was saying, Alexey Alexandrovitch got up hurriedly, though with dignity, and bowed low to the general. “You’re not racing?” the officer asked, chaffing him. “My race is a harder one,” Alexey Alexandrovitch responded deferentially. And though the answer meant nothing, the general looked as though he had heard a witty remark from a witty man, and fully relished la pointe de la sauce. “There are two aspects,” Alexey Alexandrovitch resumed: “those who take part and those who look on; and love for such spectacles is an unmistakable proof of a low degree of development in the spectator, I admit, but....” “Princess, bets!” sounded Stepan Arkadyevitch’s voice from below, addressing Betsy. “Who’s your favorite?” “Anna and I are for Kuzovlev,” replied Betsy. “I’m for Vronsky. A pair of gloves?” “Done!” “But it is a pretty sight, isn’t it?” Alexey Alexandrovitch paused while there was talking about him, but he began again directly. “I admit that manly sports do not....” he was continuing. But at that moment the racers started, and all conversation ceased. Alexey Alexandrovitch too was silent, and everyone stood up and turned towards the stream. Alexey Alexandrovitch took no interest in the race, and so he did not watch the racers, but fell listlessly to scanning the spectators with his weary eyes. His eyes rested upon Anna. Her face was white and set. She was obviously seeing nothing and no one but one man. Her hand had convulsively clutched her fan, and she held her breath. He looked at her and hastily turned away, scrutinizing other faces. “But here’s this lady too, and others very much moved as well; it’s very natural,” Alexey Alexandrovitch told himself. He tried not to look at her, but unconsciously his eyes were drawn to her. He examined that face again, trying not to read what was so plainly written on it, and against his own will, with horror read on it what he did not want to know. The first fall—Kuzovlev’s, at the stream—agitated everyone, but Alexey Alexandrovitch saw distinctly on Anna’s pale, triumphant face that the man she was watching had not fallen. When, after Mahotin and Vronsky had cleared the worst barrier, the next officer had been thrown straight on his head at it and fatally injured, and a shudder of horror passed over the whole public, Alexey Alexandrovitch saw that Anna did not even notice it, and had some difficulty in realizing what they were talking of about her. But more and more often, and with greater persistence, he watched her. Anna, wholly engrossed as she was with the race, became aware of her husband’s cold eyes fixed upon her from one side. She glanced round for an instant, looked inquiringly at him, and with a slight frown turned away again. “Ah, I don’t care!” she seemed to say to him, and she did not once glance at him again. The race was an unlucky one, and of the seventeen officers who rode in it more than half were thrown and hurt. Towards the end of the race everyone was in a state of agitation, which was intensified by the fact that the Tsar was displeased.
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 constructed around a geometry of triangulated surveillance: Anna watches Vronsky, Alexey Alexandrovitch watches Anna, and the reader watches all three. Tolstoy withholds direct access to the race itself, filtering it almost entirely through Anna's reactions and her husband's reading of those reactions. The technique transforms the steeplechase into a psychological drama in which the real contest is between concealment and exposure within a marriage.

Alexey Alexandrovitch's incessant talk about military sport functions as a masterpiece of displacement. Tolstoy explicitly glosses the mechanism—comparing Karenin to a hurt child who skips about to drown pain in muscular movement—yet the gloss does not diminish the irony; it deepens it. The reader understands Karenin's suffering even as Anna, blinded by passion and contempt, cannot. This asymmetry of understanding is central to Tolstoy's moral architecture: the novel refuses to let Anna's perspective be simply correct.

Anna's interior monologue—"I'm a wicked woman, a lost woman"—is one of the chapter's most charged moments. Her self-condemnation is immediately qualified by her insistence that she cannot endure falsehood, which she projects entirely onto Karenin. The word "falsehood" (lozh') recurs as a thematic keyword throughout the novel, and here it is weaponised by Anna to exonerate herself while indicting her husband. Yet the narrative gently undercuts her: it is Anna who is performing propriety in public, not Karenin, whose social mask is at least consistent with his character.

The fan Anna clutches convulsively is a small but precise symbol: a social accessory designed for display and concealment that here betrays the very emotion it should screen. Similarly, Karenin's "chilly smile" that "uncovered his teeth, but revealed nothing more" is a recurring emblem of his emotional inaccessibility—a smile that is pure social sign, emptied of feeling. The contrast between these two involuntary and voluntary performances of self-control structures the chapter's tension.

The chapter closes with a double catastrophe: the race's carnage and the Tsar's displeasure. The public spectacle of violence mirrors the private violence of the Karenin marriage reaching a point of no return. Alexey Alexandrovitch has now read Anna's face with certainty; the knowledge he has been evading has forced itself upon him. The chapter thus marks a decisive threshold in the novel's plot, after which the pretence of a functioning marriage becomes untenable for all parties.

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