Vronsky saw him without looking round get into the carriage, pick up the rug and the opera-glass at the window and disappear. Vronsky went into the hall. His brows were scowling, and his eyes gleamed with a proud and angry light in them.

“What a position!” he thought. “If he would fight, would stand up for his honor, I could act, could express my feelings; but this weakness or baseness.⁠ ⁠… He puts me in the position of playing false, which I never meant and never mean to do.”

Vronsky’s ideas had changed since the day of his conversation with Anna in the Vrede garden. Unconsciously yielding to the weakness of Anna⁠—who had surrendered herself up to him utterly, and simply looked to him to decide her fate, ready to submit to anything⁠—he had long ceased to think that their tie might end as he had thought then. His ambitious plans had retreated into the background again, and feeling that he had got out of that circle of activity in which everything was definite, he had given himself entirely to his passion, and that passion was binding him more and more closely to her.