An excerpt from the original text.(complete · 1870 words)
arya Alexandrovna, in a dressing jacket, and with her now scanty, once
luxuriant and beautiful hair fastened up with hairpins on the nape of
her neck, with a sunken, thin face and large, startled eyes, which
looked prominent from the thinness of her face, was standing among a
litter of all sorts of things scattered all over the room, before an
open bureau, from which she was taking something. Hearing her husband’s
steps, she stopped, looking towards the door, and trying assiduously to
give her features a severe and contemptuous expression. She felt she
was afraid of him, and afraid of the coming interview. She was just
attempting to do what she had attempted to do ten times already in
these last three days—to sort out the children’s things and her own, so
as to take them to her mother’s—and again she could not bring herself
to do this; but now again, as each time before, she kept saying to
herself, “that things cannot go on like this, that she must take some
step” to punish him, put him to shame, avenge on him some little part
at least of the suffering he had caused her. She still continued to
tell herself that she should leave him, but she was conscious that this
was impossible; it was impossible because she could not get out of the
habit of regarding him as her husband and loving him. Besides this, she
realized that if even here in her own house she could hardly manage to
look after her five children properly, they would be still worse off
where she was going with them all. As it was, even in the course of
these three days, the youngest was unwell from being given unwholesome
soup, and the others had almost gone without their dinner the day
before. She was conscious that it was impossible to go away; but,
cheating herself, she went on all the same sorting out her things and
pretending she was going.
Seeing her husband, she dropped her hands into the drawer of the bureau
as though looking for something, and only looked round at him when he
had come quite up to her. But her face, to which she tried to give a
severe and resolute expression, betrayed bewilderment and suffering.
“Dolly!” he said in a subdued and timid voice. He bent his head towards
his shoulder and tried to look pitiful and humble, but for all that he
was radiant with freshness and health. In a rapid glance she scanned
his figure that beamed with health and freshness. “Yes, he is happy and
content!” she thought; “while I.... And that disgusting good nature,
which everyone likes him for and praises—I hate that good nature of
his,” she thought. Her mouth stiffened, the muscles of the cheek
contracted on the right side of her pale, nervous face.
“What do you want?” she said in a rapid, deep, unnatural voice.
“Dolly!” he repeated, with a quiver in his voice. “Anna is coming
today.”
“Well, what is that to me? I can’t see her!” she cried.
“But you must, really, Dolly....”
“Go away, go away, go away!” she shrieked, not looking at him, as
though this shriek were called up by physical pain.
Stepan Arkadyevitch could be calm when he thought of his wife, he could
hope that she would come round, as Matvey expressed it, and could
quietly go on reading his paper and drinking his coffee; but when he
saw her tortured, suffering face, heard the tone of her voice,
submissive to fate and full of despair, there was a catch in his breath
and a lump in his throat, and his eyes began to shine with tears.
“My God! what have I done? Dolly! For God’s sake!... You know....” He
could not go on; there was a sob in his throat.
She shut the bureau with a slam, and glanced at him.
“Dolly, what can I say?... One thing: forgive.... Remember, cannot nine
years of my life atone for an instant....”
She dropped her eyes and listened, expecting what he would say, as it
were beseeching him in some way or other to make her believe
differently.
“—instant of passion?” he said, and would have gone on, but at that
word, as at a pang of physical pain, her lips stiffened again, and
again the muscles of her right cheek worked.
“Go away, go out of the room!” she shrieked still more shrilly, “and
don’t talk to me of your passion and your loathsomeness.”
She tried to go out, but tottered, and clung to the back of a chair to
support herself. His face relaxed, his lips swelled, his eyes were
swimming with tears.
“Dolly!” he said, sobbing now; “for mercy’s sake, think of the
children; they are not to blame! I am to blame, and punish me, make me
expiate my fault. Anything I can do, I am ready to do anything! I am to
blame, no words can express how much I am to blame! But, Dolly, forgive
me!”
She sat down. He listened to her hard, heavy breathing, and he was
unutterably sorry for her. She tried several times to begin to speak,
but could not. He waited.
“You remember the children, Stiva, to play with them; but I remember
them, and know that this means their ruin,” she said—obviously one of
the phrases she had more than once repeated to herself in the course of
the last few days.
She had called him “Stiva,” and he glanced at her with gratitude, and
moved to take her hand, but she drew back from him with aversion.
“I think of the children, and for that reason I would do anything in
the world to save them, but I don’t myself know how to save them. By
taking them away from their father, or by leaving them with a vicious
father—yes, a vicious father.... Tell me, after what ... has happened,
can we live together? Is that possible? Tell me, eh, is it possible?”
she repeated, raising her voice, “after my husband, the father of my
children, enters into a love affair with his own children’s governess?”
“But what could I do? what could I do?” he kept saying in a pitiful
voice, not knowing what he was saying, as his head sank lower and
lower.
“You are loathsome to me, repulsive!” she shrieked, getting more and
more heated. “Your tears mean nothing! You have never loved me; you
have neither heart nor honorable feeling! You are hateful to me,
disgusting, a stranger—yes, a complete stranger!” With pain and wrath
she uttered the word so terrible to herself—stranger.
He looked at her, and the fury expressed in her face alarmed and amazed
him. He did not understand how his pity for her exasperated her. She
saw in him sympathy for her, but not love. “No, she hates me. She will
not forgive me,” he thought.
“It is awful! awful!” he said.
At that moment in the next room a child began to cry; probably it had
fallen down. Darya Alexandrovna listened, and her face suddenly
softened.
She seemed to be pulling herself together for a few seconds, as though
she did not know where she was, and what she was doing, and getting up
rapidly, she moved towards the door.
“Well, she loves my child,” he thought, noticing the change of her face
at the child’s cry, “my child: how can she hate me?”
“Dolly, one word more,” he said, following her.
“If you come near me, I will call in the servants, the children! They
may all know you are a scoundrel! I am going away at once, and you may
live here with your mistress!”
And she went out, slamming the door.
Stepan Arkadyevitch sighed, wiped his face, and with a subdued tread
walked out of the room. “Matvey says she will come round; but how? I
don’t see the least chance of it. Ah, oh, how horrible it is! And how
vulgarly she shouted,” he said to himself, remembering her shriek and
the words—“scoundrel” and “mistress.” “And very likely the maids were
listening! Horribly vulgar! horrible!” Stepan Arkadyevitch stood a few
seconds alone, wiped his face, squared his chest, and walked out of the
room.
It was Friday, and in the dining-room the German watchmaker was winding
up the clock. Stepan Arkadyevitch remembered his joke about this
punctual, bald watchmaker, “that the German was wound up for a whole
lifetime himself, to wind up watches,” and he smiled. Stepan
Arkadyevitch was fond of a joke: “And maybe she will come round! That’s
a good expression, ‘come round,’” he thought. “I must repeat that.”
“Matvey!” he shouted. “Arrange everything with Darya in the sitting
room for Anna Arkadyevna,” he said to Matvey when he came in.
“Yes, sir.”
Stepan Arkadyevitch put on his fur coat and went out onto the steps.
“You won’t dine at home?” said Matvey, seeing him off.
“That’s as it happens. But here’s for the housekeeping,” he said,
taking ten roubles from his pocketbook. “That’ll be enough.”
“Enough or not enough, we must make it do,” said Matvey, slamming the
carriage door and stepping back onto the steps.
Darya Alexandrovna meanwhile having pacified the child, and knowing
from the sound of the carriage that he had gone off, went back again to
her bedroom. It was her solitary refuge from the household cares which
crowded upon her directly she went out from it. Even now, in the short
time she had been in the nursery, the English governess and Matrona
Philimonovna had succeeded in putting several questions to her, which
did not admit of delay, and which only she could answer: “What were the
children to put on for their walk? Should they have any milk? Should
not a new cook be sent for?”
“Ah, let me alone, let me alone!” she said, and going back to her
bedroom she sat down in the same place as she had sat when talking to
her husband, clasping tightly her thin hands with the rings that
slipped down on her bony fingers, and fell to going over in her memory
all the conversation. “He has gone! But has he broken it off with her?”
she thought. “Can it be he sees her? Why didn’t I ask him! No, no,
reconciliation is impossible. Even if we remain in the same house, we
are strangers—strangers forever!” She repeated again with special
significance the word so dreadful to her. “And how I loved him! my God,
how I loved him!... How I loved him! And now don’t I love him? Don’t I
love him more than before? The most horrible thing is,” she began, but
did not finish her thought, because Matrona Philimonovna put her head
in at the door.
“Let us send for my brother,” she said; “he can get a dinner anyway, or
we shall have the children getting nothing to eat till six again, like
yesterday.”
“Very well, I will come directly and see about it. But did you send for
some new milk?”
And Darya Alexandrovna plunged into the duties of the day, and drowned
her grief in them for a time.
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Let's Analyse the Pattern
Using genuine care and moral certainty to push others toward decisions that align with your values rather than theirs.
Why This Matters
Connect literature to life
This chapter teaches how to spot when someone uses your fears and their moral certainty to push you toward their preferred choice.
Practice This Today
This week, notice when someone gives advice that conveniently aligns with their own values—ask yourself if they're solving your problem or theirs.
Now let's explore the literary elements.
Key Quotes & Analysis
"You must not forget that you have a heart, that you are a woman, that you are a mother."
Context: Anna is appealing to Dolly's emotions and responsibilities to convince her to forgive Stiva
This shows Anna's strategy - she's not dismissing Dolly's pain but redirecting her toward what Anna sees as her primary duties. It reveals Anna's own values about what women should prioritize.
In Today's Words:
Don't let your hurt make you forget what really matters - your family needs you to be strong.
"I know the world, I know how such things are looked at. You think it's terrible, but it's not terrible at all."
Context: Anna is minimizing the significance of Stiva's affair to help Dolly see it differently
Anna uses her social knowledge to reframe the situation. She's essentially saying that affairs are common and survivable, which reveals both her worldliness and her pragmatic approach to marriage.
In Today's Words:
Look, I know how this stuff works - what feels like the end of the world really isn't that big a deal.
"Think what awaits you if you don't forgive him! You will be alone."
Context: Anna is painting a stark picture of what divorce would mean for Dolly
This reveals the brutal reality of women's options in that era. Anna isn't being cruel - she's being honest about the social and economic consequences Dolly would face.
In Today's Words:
Be realistic about what happens if you leave - you'll lose everything and have nobody.
Thematic Threads
Social Expectations
In This Chapter
Anna uses society's harsh treatment of divorced women as leverage to convince Dolly to stay married
Development
Building on earlier chapters showing how social rules constrain both men and women differently
In Your Life:
You might feel pressured to make life choices based on what others will think rather than what you actually want
Identity
In This Chapter
Anna defines herself as a family protector and peacemaker, finding purpose in fixing others' relationships
Development
Introduced here as Anna's core sense of self
In Your Life:
You might derive your self-worth from being the person others turn to in crisis, even when it exhausts you
Human Relationships
In This Chapter
Anna successfully manipulates Dolly's emotions while genuinely caring about her wellbeing
Development
Expanding on the complexity of family bonds shown in previous chapters
In Your Life:
You might find yourself using emotional tactics to get loved ones to make 'good' choices, justifying it as care
Personal Growth
In This Chapter
Anna's success in this intervention reinforces her belief that she knows what's best for others
Development
Introduced here, setting up future character development
In Your Life:
You might become more controlling over time when your advice repeatedly 'works,' not seeing the hidden costs
Class
In This Chapter
Anna's social position gives her the authority and resources to intervene in ways others couldn't
Development
Building on earlier establishment of social hierarchies
In Your Life:
You might use whatever privilege you have—education, money, connections—to influence others' major decisions
You now have the context. Time to form your own thoughts.
Discussion Questions
- 1
What specific arguments does Anna use to convince Dolly to forgive Stiva, and why are they effective?
analysis • surface - 2
Why does Anna feel so strongly about keeping this marriage together, and what does this reveal about her own values?
analysis • medium - 3
Where do you see people today using someone's fears or limited options to push them toward a particular decision, even with good intentions?
application • medium - 4
How can you tell the difference between genuinely helping someone and pushing your own agenda, even when you truly care about them?
application • deep - 5
What does Anna's success in this intervention teach us about the power of combining emotional intelligence with social pressure?
reflection • deep
Critical Thinking Exercise
Rewrite the Intervention
Imagine you're Anna, but instead of pushing Dolly toward forgiveness, you're genuinely helping her explore her options. Rewrite the conversation focusing on what Dolly wants and needs, not what you think is best for the family. What questions would you ask instead of arguments you'd make?
Consider:
- •What fears or pressures might you be unconsciously using to influence her decision?
- •How can you separate your own beliefs about marriage from what's right for Dolly?
- •What would it sound like to support someone without having an agenda for their choice?
Journaling Prompt
Write about a time when someone 'helped' you make a decision that felt more like pressure than support. What did that experience teach you about the difference between guidance and manipulation?
Coming Up Next...
Chapter 5
With the immediate family crisis calming down, Anna prepares to return to St. Petersburg. But her brief stay in Moscow has set other wheels in motion that will change her life forever.




