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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!"
 
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