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Anna Karenina - Chapter 39

Leo Tolstoy

Anna Karenina

Chapter 39

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Summary

Chapter 39

Anna Karenina by Leo Tolstoy

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Vronsky is telling a story to someone (likely Betsy, given the previous chapter): "This is rather indiscreet, but it's so good it's an awful temptation to tell the story," he says, looking at her with laughing eyes. "I'm not going to mention any names." She responds: "But I shall guess, so much the better." This is pure society gossip - the thrill of sharing scandalous stories without technically naming names, knowing everyone will figure it out anyway. Vronsky begins: "Well, listen: two festive young men were driving—" She interrupts: "Officers of your regiment, of course?" He denies it coyly: "I didn't say they were officers,—two young men who had been lunching." She translates: "In other words, drinking." "Possibly," he admits. The story involves these young men driving to dinner, seeing a pretty woman in a hired sledge who overtakes them and looks round at them. The chapter is full of this kind of light social banter - amusing anecdotes, flirtation, witty exchanges. Later, someone skillfully maneuvers a retreat, "shoving Petritsky out before him." Then commentary: "It's a disgraceful story, but killing. Kedrov really can't fight the gentleman! Was he so awfully hot?" They're laughing about some scandal or conflict. Then the conversation shifts to Claire, a new French actress: "But what do you say to Claire today? She's marvelous. However often you see her, every day she's different. It's only the French who can do that." This chapter shows Vronsky in his element - the sophisticated, amusing officer who tells entertaining stories, knows all the gossip, appreciates French actresses. He's charming, witty, at ease in these social situations. This is important because it contrasts with what will happen to him once his affair with Anna becomes serious. Right now, he's the man everyone wants at their gathering - handsome, entertaining, socially adept. The ease and lightness of this chapter - the gossip, the laughter, the casual mention of actresses and scandals - represents a world that Vronsky will eventually lose access to when society turns against him and Anna. For now, though, he's enjoying himself, telling indiscreet stories and making people laugh.

Coming Up in Chapter 40

Anna's emotional spiral continues as she becomes increasingly convinced that Vronsky is slipping away from her. Her desperate attempts to hold onto him will lead to a confrontation that changes everything between them.

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An excerpt from the original text.(complete · 1345 words)

T

“his is rather indiscreet, but it’s so good it’s an awful temptation
to tell the story,” said Vronsky, looking at her with his laughing
eyes. “I’m not going to mention any names.”

“But I shall guess, so much the better.”

“Well, listen: two festive young men were driving—”

“Officers of your regiment, of course?”

“I didn’t say they were officers,—two young men who had been lunching.”

“In other words, drinking.”

“Possibly. They were driving on their way to dinner with a friend in
the most festive state of mind. And they beheld a pretty woman in a
hired sledge; she overtakes them, looks round at them, and, so they
fancy anyway, nods to them and laughs. They, of course, follow her.
They gallop at full speed. To their amazement, the fair one alights at
the entrance of the very house to which they were going. The fair one
darts upstairs to the top story. They get a glimpse of red lips under a
short veil, and exquisite little feet.”

“You describe it with such feeling that I fancy you must be one of the
two.”

“And after what you said, just now! Well, the young men go in to their
comrade’s; he was giving a farewell dinner. There they certainly did
drink a little too much, as one always does at farewell dinners. And at
dinner they inquire who lives at the top in that house. No one knows;
only their host’s valet, in answer to their inquiry whether any ‘young
ladies’ are living on the top floor, answered that there were a great
many of them about there. After dinner the two young men go into their
host’s study, and write a letter to the unknown fair one. They compose
an ardent epistle, a declaration in fact, and they carry the letter
upstairs themselves, so as to elucidate whatever might appear not
perfectly intelligible in the letter.”

“Why are you telling me these horrible stories? Well?”

“They ring. A maid-servant opens the door, they hand her the letter,
and assure the maid that they’re both so in love that they’ll die on
the spot at the door. The maid, stupefied, carries in their messages.
All at once a gentleman appears with whiskers like sausages, as red as
a lobster, announces that there is no one living in the flat except his
wife, and sends them both about their business.”

“How do you know he had whiskers like sausages, as you say?”

“Ah, you shall hear. I’ve just been to make peace between them.”

“Well, and what then?”

“That’s the most interesting part of the story. It appears that it’s a
happy couple, a government clerk and his lady. The government clerk
lodges a complaint, and I became a mediator, and such a mediator!... I
assure you Talleyrand couldn’t hold a candle to me.”

“Why, where was the difficulty?”

“Ah, you shall hear.... We apologize in due form: we are in despair, we
entreat forgiveness for the unfortunate misunderstanding. The
government clerk with the sausages begins to melt, but he, too, desires
to express his sentiments, and as soon as ever he begins to express
them, he begins to get hot and say nasty things, and again I’m obliged
to trot out all my diplomatic talents. I allowed that their conduct was
bad, but I urged him to take into consideration their heedlessness,
their youth; then, too, the young men had only just been lunching
together. ‘You understand. They regret it deeply, and beg you to
overlook their misbehavior.’ The government clerk was softened once
more. ‘I consent, count, and am ready to overlook it; but you perceive
that my wife—my wife’s a respectable woman—has been exposed to the
persecution, and insults, and effrontery of young upstarts,
scoundrels....’ And you must understand, the young upstarts are present
all the while, and I have to keep the peace between them. Again I call
out all my diplomacy, and again as soon as the thing was about at an
end, our friend the government clerk gets hot and red, and his sausages
stand on end with wrath, and once more I launch out into diplomatic
wiles.”

“Ah, he must tell you this story!” said Betsy, laughing, to a lady who
came into her box. “He has been making me laugh so.”

“Well, bonne chance!” she added, giving Vronsky one finger of the
hand in which she held her fan, and with a shrug of her shoulders she
twitched down the bodice of her gown that had worked up, so as to be
duly naked as she moved forward towards the footlights into the light
of the gas, and the sight of all eyes.

Vronsky drove to the French theater, where he really had to see the
colonel of his regiment, who never missed a single performance there.
He wanted to see him, to report on the result of his mediation, which
had occupied and amused him for the last three days. Petritsky, whom he
liked, was implicated in the affair, and the other culprit was a
capital fellow and first-rate comrade, who had lately joined the
regiment, the young Prince Kedrov. And what was most important, the
interests of the regiment were involved in it too.

Both the young men were in Vronsky’s company. The colonel of the
regiment was waited upon by the government clerk, Venden, with a
complaint against his officers, who had insulted his wife. His young
wife, so Venden told the story—he had been married half a year—was at
church with her mother, and suddenly overcome by indisposition, arising
from her interesting condition, she could not remain standing, she
drove home in the first sledge, a smart-looking one, she came across.
On the spot the officers set off in pursuit of her; she was alarmed,
and feeling still more unwell, ran up the staircase home. Venden
himself, on returning from his office, heard a ring at their bell and
voices, went out, and seeing the intoxicated officers with a letter, he
had turned them out. He asked for exemplary punishment.

“Yes, it’s all very well,” said the colonel to Vronsky, whom he had
invited to come and see him. “Petritsky’s becoming impossible. Not a
week goes by without some scandal. This government clerk won’t let it
drop, he’ll go on with the thing.”

Vronsky saw all the thanklessness of the business, and that there could
be no question of a duel in it, that everything must be done to soften
the government clerk, and hush the matter up. The colonel had called in
Vronsky just because he knew him to be an honorable and intelligent
man, and, more than all, a man who cared for the honor of the regiment.
They talked it over, and decided that Petritsky and Kedrov must go with
Vronsky to Venden’s to apologize. The colonel and Vronsky were both
fully aware that Vronsky’s name and rank would be sure to contribute
greatly to the softening of the injured husband’s feelings.

And these two influences were not in fact without effect; though the
result remained, as Vronsky had described, uncertain.

On reaching the French theater, Vronsky retired to the foyer with the
colonel, and reported to him his success, or non-success. The colonel,
thinking it all over, made up his mind not to pursue the matter
further, but then for his own satisfaction proceeded to cross-examine
Vronsky about his interview; and it was a long while before he could
restrain his laughter, as Vronsky described how the government clerk,
after subsiding for a while, would suddenly flare up again, as he
recalled the details, and how Vronsky, at the last half word of
conciliation, skillfully manœuvered a retreat, shoving Petritsky out
before him.

“It’s a disgraceful story, but killing. Kedrov really can’t fight the
gentleman! Was he so awfully hot?” he commented, laughing. “But what do
you say to Claire today? She’s marvelous,” he went on, speaking of a
new French actress. “However often you see her, every day she’s
different. It’s only the French who can do that.”

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Let's Analyse the Pattern

Pattern: Love Without Foundation
This chapter reveals a devastating pattern: when love becomes your entire identity, it transforms from connection into prison. Anna and Vronsky's relationship shows how passion without foundation crumbles under real-world pressure. The mechanism is insidious. Anna sacrificed everything—her child, her social standing, her sense of self—for this relationship. Now her entire worth depends on Vronsky's attention. When he seems distant, she doesn't just feel hurt; she feels like she's disappearing. Meanwhile, Vronsky feels trapped by the weight of her sacrifice and his own lost opportunities. Neither can be themselves anymore because 'themselves' got swallowed by 'the relationship.' The very intensity that drew them together now suffocates them. This pattern appears everywhere today. The employee who makes work their whole identity, then panics when criticized. The parent whose entire sense of worth comes from their children's achievements. The friend who drops everything for romantic partners, then wonders why they feel empty between relationships. The person who moves across the country for someone, then resents them for the isolation. When you recognize this pattern, protect your foundation first. Maintain your friendships, interests, and goals even when love feels all-consuming. If someone demands you sacrifice everything for them, that's not love—that's possession. Build relationships that add to your life rather than replace it. When conflicts arise, ask: 'Am I fighting about this issue, or am I fighting because I've lost myself?' Keep nurturing the person you were before this relationship, because that's who they fell in love with. When you can spot the difference between love that builds you up and love that swallows you whole, you're using amplified intelligence to navigate one of life's most dangerous traps.

When romantic love becomes your entire identity, it transforms from connection into a suffocating prison that destroys both partners.

Why This Matters

Connect literature to life

Skill: Recognizing Identity Erosion

This chapter teaches how to spot when a relationship is consuming your sense of self rather than enhancing it.

Practice This Today

This week, notice when you catch yourself changing core parts of yourself to please someone else, or when your mood depends entirely on one person's attention.

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Now let's explore the literary elements.

Key Quotes & Analysis

"Love? What is love? Love is the exclusive possession of another person."

— Anna

Context: Anna reflects on how her understanding of love has become twisted into possessiveness and control.

This reveals how Anna's desperation has corrupted her view of love from something generous into something grasping. Her fear of losing Vronsky has turned love into a prison for both of them.

In Today's Words:

If you really love me, you'll prove it by never wanting anyone or anything else.

"He was weary of the uncertainty, of the position of a man who was deceiving himself."

— Narrator

Context: Describing Vronsky's growing frustration with their situation and his own role in it.

This shows how Vronsky is starting to see their relationship clearly - that they're both lying to themselves about whether this is sustainable or healthy. The passion is wearing off and reality is setting in.

In Today's Words:

He was tired of pretending this mess was working when it obviously wasn't.

"She felt that beside the love that bound them together there had grown up between them some evil spirit of strife."

— Narrator

Context: Describing the toxic dynamic that has developed between Anna and Vronsky.

Tolstoy shows how love alone isn't enough when external pressures and internal fears create a cycle of conflict. The 'evil spirit' represents how their circumstances have poisoned what was once pure feeling.

In Today's Words:

Something mean and nasty had crept into their relationship, turning every conversation into a fight.

Thematic Threads

Identity

In This Chapter

Anna's sense of self has become completely dependent on Vronsky's attention and approval

Development

Evolved from her initial rebellion against social expectations to complete loss of independent identity

In Your Life:

You might recognize this when you realize you can't remember what you enjoyed before your current relationship.

Social Expectations

In This Chapter

Their isolation from society creates pressure that their love alone cannot withstand

Development

The consequences of defying social norms are now fully manifesting in their daily reality

In Your Life:

You see this when going against family expectations creates ongoing stress that affects your relationship.

Human Relationships

In This Chapter

Love transforms from passionate connection to mutual resentment and fear

Development

The relationship has moved from idealization through disillusionment to potential destruction

In Your Life:

You experience this when you and your partner start fighting about everything because you're really fighting about feeling trapped.

Personal Growth

In This Chapter

Both characters have stopped growing as individuals, becoming smaller versions of themselves

Development

Their initial growth through love has reversed into mutual diminishment

In Your Life:

You notice this when you realize you've stopped pursuing your own goals and interests.

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You now have the context. Time to form your own thoughts.

Discussion Questions

  1. 1

    What specific changes do we see in Anna and Vronsky's relationship compared to their early passionate days together?

    analysis • surface
  2. 2

    Why does Anna's jealousy and paranoia increase even though Vronsky hasn't actually done anything wrong?

    analysis • medium
  3. 3

    Where do you see this pattern of 'love becoming a prison' in modern relationships - romantic, family, or friendships?

    application • medium
  4. 4

    If you were counseling Anna and Vronsky, what specific steps would you suggest to rebuild their individual identities while staying together?

    application • deep
  5. 5

    What does this chapter reveal about the difference between healthy love and possessive love?

    reflection • deep

Critical Thinking Exercise

10 minutes

Map Your Identity Foundation

Draw two circles - one representing your identity before your most significant relationship, another representing your identity now. List specific interests, friendships, goals, and activities in each circle. Notice what disappeared, what stayed, and what grew. This isn't about judging your relationship, but understanding how your foundation has shifted.

Consider:

  • •Consider whether the changes strengthen or weaken your sense of self
  • •Notice if your mood depends heavily on how this relationship is going day-to-day
  • •Think about what you'd want to reclaim or rebuild to feel more balanced

Journaling Prompt

Write about a time when you felt like you lost yourself in a relationship or situation. What warning signs did you notice? How did you (or could you) rebuild your foundation while maintaining the connection?

Coming Up Next...

Chapter 40

Anna's emotional spiral continues as she becomes increasingly convinced that Vronsky is slipping away from her. Her desperate attempts to hold onto him will lead to a confrontation that changes everything between them.

Continue to Chapter 40
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Chapter 40

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