Chapter 33

Vronsky for the first time experienced a feeling of anger against

Anna, almost a hatred for her willfully refusing to understand her own position. This feeling was aggravated by his being unable to tell her plainly the cause of his anger. If he had told her directly what he was thinking, he would have said:

"In that dress, with a princess only too well known to everyone, to show yourself at the theater is equivalent not merely to acknowledging your position as a fallen woman, but is flinging down a challenge to society, that is to say, cutting yourself off from it forever."

He could not say that to her. "But how can she fail to see it, and what is going on in her?" he said to himself. He felt at the same time that his respect for her was diminished while his sense of her beauty was intensified.

He went back scowling to his rooms, and sitting down beside

Yashvin, who, with his long legs stretched out on a chair, was drinking brandy and seltzer water, he ordered a glass of the same for himself.

"You were talking of Lankovsky's Powerful. That's a fine horse, and I would advise you to buy him," said Yashvin, glancing at his comrade's gloomy face. "His hind-quarters aren't quite first-rate, but the legs and head--one couldn't wish for anything better."

"I think I will take him," answered Vronsky.

Their conversation about horses interested him, but he did not for an instant forget Anna, and could not help listening to the sound of steps in the corridor and looking at the clock on the chimney piece.

"Anna Arkadyevna gave orders to announce that she has gone to the theater."

Yashvin, tipping another glass of brandy into the bubbling water, drank it and got up, buttoning his coat.

"Well, let's go," he said, faintly smiling under his mustache, and showing by this smile that he knew the cause of Vronsky's gloominess, and did not attach any significance to it.

"I'm not going," Vronsky answered gloomily.

"Well, I must, I promised to. Good-bye, then. If you do, come to the stalls; you can take Kruzin's stall," added Yashvin as he went out.

"No, I'm busy."

"A wife is a care, but it's worse when she's not a wife," thought

Yashvin, as he walked out of the hotel.

Vronsky, left alone, got up from his chair and began pacing up and down the room.

"And what's today? The fourth night ... Yegor and his wife are there, and my mother, most likely. Of course all Petersburg's there. Now she's gone in, taken off her cloak and come into the light. Tushkevitch, Yashvin, Princess Varvara," he pictured them to himself... "What about me? Either that I'm frightened or have given up to Tushkevitch the right to protect her? From every point of view--stupid, stupid! ... And why is she putting me in such a position?" he said with a gesture of despair.

With that gesture he knocked against the table, on which there was standing the seltzer water and the decanter of brandy, and almost upset it. He tried to catch it, let it slip, and angrily kicked the table over and rang.

"If you care to be in my service," he said to the valet who came in, "you had better remember your duties. This shouldn't be here. You ought to have cleared away."

The valet, conscious of his own innocence, would have defended himself, but glancing at his master, he saw from his face that the only thing to do was to be silent, and hurriedly threading his way in and out, dropped down on the carpet and began gathering up the whole and broken glasses and bottles.

"That's not your duty; send the waiter to clear away, and get my dress coat out."

Vronsky went into the theater at half-past eight. The performance was in full swing. The little old box-keeper, recognizing Vronsky as he helped him off with his fur coat, called him "Your Excellency," and suggested he should not take a number but should simply call Fyodor. In the brightly lighted corridor there was no one but the box-opener and two attendants with fur cloaks on their arms listening at the doors. Through the closed doors came the sounds of the discreet _staccato_ accompaniment of the orchestra, and a single female voice rendering distinctly a musical phrase. The door opened to let the box-opener slip through, and the phrase drawing to the end reached Vronsky's hearing clearly. But the doors were closed again at once, and Vronsky did not hear the end of the phrase and the cadence of the accompaniment, though he knew from the thunder of applause that it was over. When he entered the hall, brilliantly lighted with chandeliers and gas jets, the noise was still going on. On the stage the singer, bowing and smiling, with bare shoulders flashing with diamonds, was, with the help of the tenor who had given her his arm, gathering up the bouquets that were flying awkwardly over the footlights. Then she went up to a gentleman with glossy pomaded hair parted down the center, who was stretching across the footlights holding out something to her, and all the public in the stalls as well as in the boxes was in excitement, craning forward, shouting and clapping. The conductor in his high chair assisted in passing the offering, and straightened his white tie. Vronsky walked into the middle of the stalls, and, standing still, began looking about him. That day less than ever was his attention turned upon the familiar, habitual surroundings, the stage, the noise, all the familiar, uninteresting, particolored herd of spectators in the packed theater.

There were, as always, the same ladies of some sort with officers of some sort in the back of the boxes; the same gaily dressed women--God knows who--and uniforms and black coats; the same dirty crowd in the upper gallery; and among the crowd, in the boxes and in the front rows, were some forty of the _real_ people.

And to those oases Vronsky at once directed his attention, and with them he entered at once into relation.

The act was over when he went in, and so he did not go straight to his brother's box, but going up to the first row of stalls stopped at the footlights with Serpuhovskoy, who, standing with one knee raised and his heel on the footlights, caught sight of him in the distance and beckoned to him, smiling.

Vronsky had not yet seen Anna. He purposely avoided looking in her direction. But he knew by the direction of people's eyes where she was. He looked round discreetly, but he was not seeking her; expecting the worst, his eyes sought for Alexey

Alexandrovitch. To his relief Alexey Alexandrovitch was not in the theater that evening.

"How little of the military man there is left in you!"

Serpuhovskoy was saying to him. "A diplomat, an artist, something of that sort, one would say."

"Yes, it was like going back home when I put on a black coat," answered Vronsky, smiling and slowly taking out his opera glass.

"Well, I'll own I envy you there. When I come back from abroad and put on this," he touched his epaulets, "I regret my freedom."

Serpuhovskoy had long given up all hope of Vronsky's career, but he liked him as before, and was now particularly cordial to him.

"What a pity you were not in time for the first act!"

Vronsky, listening with one ear, moved his opera glass from the stalls and scanned the boxes. Near a lady in a turban and a bald old man, who seemed to wave angrily in the moving opera glass,

Vronsky suddenly caught sight of Anna's head, proud, strikingly beautiful, and smiling in the frame of lace. She was in the fifth box, twenty paces from him. She was sitting in front, and slightly turning, was saying something to Yashvin. The setting of her head on her handsome, broad shoulders, and the restrained excitement and brilliance of her eyes and her whole face reminded him of her just as he had seen her at the ball in Moscow. But he felt utterly different towards her beauty now. In his feeling for her now there was no element of mystery, and so her beauty, though it attracted him even more intensely than before, gave him now a sense of injury. She was not looking in his direction, but