Anna Arkadievna Karenina- character of the novel by L. Tolstoy "Anna Karenina"

Plunging into the atmosphere of the novel "Anna Karenina" by Leo Tolstoy, the reader involuntarily thinks about the difficult fate of a woman, the meaning of her life and the role of love. Characteristic.

The main character of the novel is Anna Karenina appears before us as a secular young woman with a very attractive appearance. She is open, friendly and cheerful. Anna is deprived of all this pretense inherent in secular ladies of that time, she is a wonderful mother and loving wife. For those around her, her family is exemplary. But only Anna knows that falsehood and pretense are hidden behind the ostentatious gloss. Spouses are not bound by love at all, but only by mutual respect.

Painting by Kramskoy. The prototype of Karenina

Meeting with a fresh wind of change breaks into the life of the main character of the novel. She is fascinated by the surging feeling, which she is unable to resist. Anna begins to experience a thirst for life and a need for love. In the end, this passion takes possession of her completely. With all this, Anna experiences painful remorse, feels like a traitor. Karenin's behavior aggravates her condition, he generously forgives the traitor, tries to save the marriage. Anna's feelings for her husband turn from indifference into hatred.

Leaving her husband does not bring Anna Karenina the long-awaited peace of mind. No one and nothing can save Anna from painful thoughts. Her heart ceased to rejoice in both her little daughter and her beloved Vronsky. She is disappointed that her love could not overcome the trials that fell to her lot. The woman begins to blame Vronsky for her troubles:

"My love ... everything becomes more passionate and selfish, and everything goes out and goes out, and that's why we part, and this cannot be helped."

The situation is aggravated by the fact that Anna is forced to be separated from her own son. The heroine begins to feel unhappy, and excessive use of morphine aggravates her condition. Anna is tired of feeling guilty and doomed, the heroine is increasingly visited by thoughts of death. Karenina's life collapses in a fit of sincere, truthful and real feelings.

The novel is based on the traditional concept of woman's morality. One of the main themes of Tolstoy's work is clearly traced in the novel - the alienation of the world from man. Anna Karenina's love for Vronsky was powerfully influenced by public censure. Insincerity and disunity in the family became the main reason for the tragedy that happened to this attractive and sincere woman.

Lev Nikolaevich, being a subtle psychologist, in his novel avoids unambiguous characteristics of the characters and their actions. This allows the reader to assess the situation that Anna Karenina finds herself in independently, relying on her own system of values ​​and ideas about “bad” and “good”. The answer to the question: "Who is to blame for the death of Anna Karenina?", the author leaves open. However, he brings the reader to the realization that the main cause of the destruction of the personality is a disorder of mental balance and moral destruction.

Anna Karenina, a character that will have its prototypes at all times. In modern society, there are many women who are forced to fight for their love, come into confrontation with society and contradict themselves. Cinematic and theatrical performances present us with the image of Anna Karenina, through the prism of their own vision.

The death of the heroine can be viewed as a mental weakness, or vice versa, as a strength of character. The depth of feelings, the integrity of character and the topicality of eternal human problems come to the fore in the novel and are realized in the image of Anna Karenina.

Actresses who played Karenina:

Greta Garbo
Vivien Leigh
Tatyana Samoilova
Sophie Marceau
Keira Knightley

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Anna Karenina

ANNA KARENINA - the heroine of the novel by L.N. Tolstoy "Anna Karenina" (1873-1877); one of the most popular female images of Russian classical literature. Tolstoy wanted to write a novel about a woman from high society who "lost herself", around whom many male types easily grouped, awakening the writer's creative imagination. In many ways, the motives of Pushkin's creativity, in particular, the unfinished prose passages "At the corner of a small square" and "Guests gathered at the dacha" pushed Tolstoy to implement this plan. The heroine of the latter, Zinaida Volskaya, can be partially correlated with A.K. This circumstance allows literary critics to consider the work of Tolstoy's "Pushkin novel", and to the prototypes of A.K. relate Tatyana Larina, mentally continuing the story of her life in the world (B.M. Eikhenbaum). It is reliably known that the appearance of the heroine was formed by the writer under the impression of a meeting with Pushkin's eldest daughter M.A. Gartung. However, A.K. there were other prototypes, including the sister of Tolstoy's close friend M.A. Dyakova-Sukhotina, who survived the divorce proceedings and had a second family. Contemporaries found many other prototypes, some of the circumstances of life and death of which correlated with the storyline of the heroine of the novel, in particular, the history of the relationship between the actress M.G. Savina and N.F. Sazonov is mentioned.

Interpretations of the image of A.K. in literary criticism, they are most often determined by one or another understanding of the meaning of the epigraph to the novel (“Vengeance is mine, and I will repay”), and also depend on the historically changing attitude to the role of women in family and public life. The character, the fate of the heroine was influenced not only by the socio-historical conditions of life that Tolstoy actually saw in the 1870s, the tragedy of the disunity of people in the family and society, but also by the traditional folk religious and moral ideas underlying the author's interpretation of the events of the novel. A.K. at the same time attractive, truthful, unhappy, pitiful and guilty. In modern assessments of the image of A.K. the traditional folk-moral approach begins to prevail, in contrast to the unconditional justification of the heroine in her right to love. In the works of V.E. Vetlovskaya and A.G. Grodetskaya, for example, the dependence of the internal content of the image of A.K. from gospel and hagiographic motifs, plots and moral assessments.

In the first part of the novel, the heroine appears as an exemplary mother and wife, a respected society lady and even a conciliator of troubles in the Oblonsky family. Anna Arkadyevna's life was most filled with love for her son, although she somewhat exaggeratedly emphasized her role as a loving mother. Only Dolly Oblonskaya sensitively caught something false in the whole warehouse of the Karenins' family life, although the attitude of A.K. her husband was built on unconditional respect.

After meeting with Vronsky, without giving vent to the emerging feeling, A.K. she realizes in herself not only the awakened thirst for life and love, the desire to please, but also some power beyond her control, which, regardless of her will, controls her actions, pushing her closer to Vronsky and creating a feeling of being protected by the “impenetrable armor of lies”. Key and Shcherbatskaya, carried away by Vronsky, during the fatal ball for her sees a “devilish gleam” in the eyes of A.K. and feels in her "something alien, demonic and charming." It should be noted that, unlike Karenin, Dolly, Kitty, A.K. not at all religious. The truthful, sincere A.K., who hates all falsehood and lies, has a reputation in the world as a fair and morally impeccable woman, herself gets entangled in a false and false relationship with her husband and the world.

Under the influence of the meeting with Vronsky, A.K.'s relations change dramatically. with everyone around her: she cannot tolerate the falsity of secular relationships, the falsity of relationships in her family, but the spirit of deceit and lies that exists against her will drags her further and further to the fall. Having become close to Vronsky, A.K. recognizes himself as a criminal. After the generosity repeatedly shown by her husband towards her, especially after the forgiveness received during the postpartum illness, A.K. more and more begins to hate him, painfully feeling his guilt and realizing the moral superiority of her husband.

Neither a little daughter, nor a trip with Vronsky to Italy, nor life on his estate give her the desired peace, but only bring awareness of the depth of her misfortune (as in a secret meeting with her son) and humiliation (scandalously humiliating episode in the theater). Most of all, A.K. feels from the impossibility of bringing together his son and Vronsky. The deepening spiritual discord, the ambiguity of the social position, cannot be compensated either by the environment artificially created by Vronsky, or by luxury, or by reading, or by intellectual interests, or by the habit of sedative drugs with morphine. A.K. she constantly feels her complete dependence on the will and love of Vronsky, which irritates her, makes her suspicious, and sometimes induces coquetry that is unusual for her. Gradually A.K. comes to complete despair, thoughts of death, with which she wants to punish Vronsky, remaining for everyone not guilty, but pitiful. The life story of A.K. reveals the inviolability of the "family thought" in the work: the impossibility of achieving one's own happiness at the expense of the misfortune of others and forgetting one's duty and moral law.

The image of A.K. received many incarnations on stage and in cinema. The most famous staging of the national theater is the Moscow Art Theater, directed by V.I. Nemirovich-Danchenko, starring A.K. Tarasov (1937). In the cinema, the role of A.K. performed by Greta Garbo (193 7), Vivien Leigh (1948), T.E. Samoilova (1968). Based on the novel, a ballet was created (to music by R.K. Shchedrin) with M.M. Plisetskaya in the main role (she is also the choreographer of the performance; Bolshoi Theater, 1972).

Lit .: Eichenbaum L. Leo Tolstoy. Seventies. L., 1960; Gornaya V. The versatility of the image of Anna Karenina // Uchenye zapiski Mosk. areas. ped. in-ta im. Krupskaya. Russian literature. T. 122.

Issue. 8. M., 1963; Babaev E.G. Romance and Time. "Anna Karenina" by Leo Tolstoy. Tula, 1975; Svitelsky V.A. The tragedy of Anna Karenina and the author's assessment in the novel by L. Tolstoy // Russian Literature 1870-1890. Sverdlovsk, 1977; Grodet-kaya A.G. Hagiographic prototypes in "Anna Karenina" (the lives of harlots and fornicators and the storyline of the main character of the novel) // Proceedings of the Department of Old Russian Literature (Pushkin House). SPb., 1993. T. 48.

Initially, Anna Karenina (1873-1877) was conceived by Tolstoy as a family novel about an unfaithful wife. In the course of work, the idea deepened and expanded. The focus of the writer was not only family, but also economic, social, social relations. A wide panorama of Russian life was recreated on the pages of the novel. One of the heroes of the work - Levin - said: "Now we have ... all this has turned upside down and is only fitting in." Such a formula. I. Belinsky considered classical to characterize the Russian post-reform development.

Everything turned upside down: not only the economy, but also the usual ideas about morality, morality ... Tolstoy's heroes live in this atmosphere of instability, anxiety, self-doubt, distrust of others, in anticipation of impending catastrophes. Hence the intensity of their experiences, the emphasized drama of events - despite the fact that the action takes place in peacetime and closes in a relatively narrow sphere of family relations.

Tolstoy said that in "Anna Karenina" he loved "the thought of the family" (and in "War and Peace" - "the thought of the people"). However, in his new novel, family thought is conjugated, although not always explicitly and directly, with folk thought. The problems of the family, everyday life, personal ties are perceived by the writer in close connection with the question of the state of the entire Russian society at a turning point in its history.

The image of the main character of the novel was not immediately formed by the author. In the process of work, Tolstoy consistently elevated Anna's appearance, endowing her not only with remarkable physical beauty, but also with a rich inner world, an extraordinary mind, and the ability for merciless introspection. This is one of the relatively rare cases in the artistic practice of Tolstoy, when in the image of the heroine there is no contradiction between the appearance and the inner essence. The moral purity and moral decency of Anna, who did not want to adapt, deceive herself and others in accordance with the "norms" of secular life, served as the main reason for her bold decision - to openly leave her unloved husband for Vronsky, which became the source and cause of her sharp conflict with the environment. an environment that takes revenge on Anna precisely for her honesty, independence, disregard for the hypocritical foundations of a basically false secular society.

In Anna Karenina, Tolstoy avoids unambiguous decisions. In this respect, the new novel differs from War and Peace. There, the author's verdict was usually final, negative characters were not given in dynamics, evolution. Now Tolstoy's view is devoid of a certain prejudice: he knows how to see the truth of his heroine (and inspire readers' ardent sympathy for her), but does not exclude the presence of Karenin's own truth (although this is not so obvious). The polyphony that is usually associated with the name of Dostoevsky is also inherent in Anna Karenina.

Karenin is the embodiment of the Petersburg bureaucracy, a dry, callous person, but still a person experiencing grief, suffering, capable of both generosity and cruelty ^ The remarkable Soviet artist Nikolai Khmelev, the first performer of the role of Karenin in the well-known staging, which went on with great success stage of the Moscow Art Theater in the 930s, said: “When I put on Karenin’s uniform and when I touched his sideburns with an inanimate hand, they told me with admiration: here, here, you have found the main thing - the personification of bureaucratic Petersburg, so play! I play like that, but there is no happiness in my soul, creative happiness. To tell you the truth, I am secretly attracted to Karenin's drama, because there is drama and even tragedy ... ".

Alexei Vronsky also has his own drama, who turned out to be worthy of that high feeling that connected him with Anna. Love uplifted and ennobled not only her, but also him. And yet Anna was not happy not only in the first family (with Karenin), but also in the second (with Vronsky). The most terrible thing is happening - the lack of spiritual unity, mutual understanding, the collapse of human ties. It is difficult to find one specific culprit in this case. Blame the inhumane secular society with its deceitful morality, blame the unfair marriage laws, blame Karenin and Vronsky, blame Anna herself.

The epigraph to the novel reads: "Vengeance is mine, and I will repay." In the research literature, disputes regarding its interpretation do not stop. It is assumed that the threat of inevitable punishment contained in the epigraph was associated with the original intention of the novel; Perhaps Tolstoy wanted to say that only God has the right to punish a sinner, but not people. But if this is so, the question of Anna's guilt still remains. Secular society has no moral right to judge Anna, but Tolstoy judges her from the height of that family thought, which he himself considered the main thing in the novel.

The writer, who seemingly did everything to arouse in the reader the charm of the heroine of the novel, at the same time does not at all perceive her as an ideal. Only at the very beginning of the work "irrepressible joy and revival" shine on Anna's face. Then her state of mind (and the further, the stronger) is marked by completely different signs: suspicion, anger, despair, jealousy ... This also corresponds to the system of epithets used by Tolstoy: “the painful color of shame”; "once a proud, and now a shameful head"; happiness paid for at the "terrible price of shame", etc.

Anna's rebellion against the false morality of the world turns out to be fruitless. She becomes a victim not only of her conflict with society, but also of what is in her from this very society (“the spirit of lies and deceit”) and with which her own moral sense cannot reconcile. The tragic feeling of guilt does not leave her. Reflecting on her relationship with Vronsky, Anna clearly and frankly formulates the very essence of the contradiction, the tragic insolubility of which predetermines the whole unbearability of her situation: “If I could be anything but a mistress passionately loving only his caresses; but I cannot and do not want to be anything else.

The origins of Anna's tragedy are not only in external obstacles, but also in herself, in the nature of her passion, in the impossibility of escaping the pangs of conscience. The central problem for the novel is considered on the example of several married couples: Anna - Karenin, Dolly - Oblonsky, Kitty - Levin. And in all cases, Tolstoy does not find a positive answer to questions that constantly worry him, which have not only narrowly intimate, but also social significance.

L.N. Tolstoy is a brilliant Russian writer who discovered and artistically explored the depth of the human soul, the infinity and immensity of this soul. Tolstoy discovered the duality of the soul, i.e. showed how in the human soul there is a constant struggle between good and evil, love and hate, beauty and ugliness. In the novel "Anna Karenina" the author shows how the duality of the main character Anna and a certain predestination are realized in her portrait, in her dreams, in a state of delirium, in the reality surrounding her.

Consider the portrait characteristics of Anna. “She was charming in her ... black dress, her full arms with bracelets were charming, her firm neck with a string of pearls was charming, curly hair of an upset hairstyle was charming, graceful light movements of small legs and hands were charming, this beautiful face was charming in its revival; but there was something terrible and cruel in her charms. In the last phrase, we feel something repulsive and alarming to us.

At the ball, Anna appears before us through the eyes of Kitty, who admired her and who felt the danger to herself emanating from her. Some supernatural force drew Kitty's eyes to Anna's face: "Yes, there is something alien, demonic and charming in her." The repeated epithet “charming” and the definitions “terrible”, “cruel”, “alien”, “demonic” that contrast with it speak not only about appearance, but also about Anna’s inner world, with which she attracted to herself and which, perhaps, has not yet been knew in myself. This controversial portrait characteristic is a harbinger of future misfortune.

Eyes play a special role in the portraits of heroes. For the first time we see Anna through the eyes of Vronsky, who came to the station to meet his mother. The main characters meet in the train car. “Vronsky ... went into the carriage, but felt the need to look at her (at Anna) once more ... Shiny, gray eyes, which seemed dark from thick eyelashes, friendly, attentively fixed on his (on Vronsky) face, ... in this short look Vronsky managed to notice the restrained liveliness ... She deliberately extinguished the light in her eyes, but it shone against her will in a barely noticeable smile. The eyes in a portrait are always a piece of the spiritual, inner world of a person, it is always the moral atmosphere that the hero is experiencing at the moment. Tolstoy emphasizes the brilliant eyes, which seemed dark from thick eyelashes, pierced by light. From this detail we see Anna alive, full of warmth, we get the impression of a young, energetic woman. In this description, one can discern the germ of the future relationship between Anna and Vronsky, her inner strength, her thirst for life.

Along with the eyes, the mimic movement of the lips plays an important role: “...her lips tremble and she can hardly hold back tears”, it corresponds to the psychological state of the heroine. This detailed description of her appearance helps us to see her inner tension.

It should be noted that throughout the novel Tolstoy emphasizes the inner fire that spiritualizes Anna's beauty and makes her attractive: "A light flashed in her eyes"; “A joyful gleam flashed in her eyes”; "The uncontrollable trembling gleam of his eyes and smile burned him."

Tolstoy ends Anna’s line with the symbolic image of a candle: “And the candle, under which she read a book full of anxieties, deceptions, grief and evil, flared up with a brighter light than ever, illuminated for her everything that was in the darkness, crackled, became fade away and fade away forever.

However, the catastrophic nature of the relationship between Anna and Vronsky is predicted by the misfortune that happened at the railway station: the watchman was crushed by the train. Anna senses a "bad omen".

It must be said that Tolstoy understood the image of the railway as hostile to man. Crashes and accidents on the railways made a terrible impression, caused fear of the "cast iron".

Attention should be paid to another symbolic image of a harbinger of trouble - a storm that "torn and whistled between the wheels of the cars", accompanying Anna's meeting with Vronsky at the station.

Note that the inner world of the characters appears before us in a special perspective: Tolstoy peered into the borderline states between consciousness and the unconscious. Mental life is shown in its extreme manifestations, in moments of greatest psychological tension. Heroes on the verge of a nervous breakdown, confession, delirium. Thanks to this, Tolstoy shows the depth of the human soul, the inconsistency of consciousness and subconsciousness.

So, leaving Moscow, in the train car, Anna loses her sense of reality. She feels that “her nerves are like strings… something presses in her chest… moments of doubt constantly found on her whether the car was going forward, or backward, or even stopped.” The author uses the apt comparison “her nerves are like strings”, “something presses the breath in the chest”. These details help us to see more fully the confusion of the heroine. Anna falls into a state of delirium: she imagines a man chewing on something in the wall, an old woman who has turned into a black cloud, a red fire blinding her eyes. “And then everything was covered with a wall. Anna felt that she had failed."

In this episode, there is another feature of the psychological analysis of the heroine - an internal monologue: “And why am I here myself? Am I on my own or someone else?" Anna seems to be losing her bearings in space and in life, losing her "I".

One of the most striking monologues is Anna's monologue before her death. Anna becomes more and more entangled in herself and in Vronsky's relationship to her. She feels miserable and lonely. It seems to her that everyone condemns her, wishes her harm. Even church bells irritate her, it seems like a lie. “Why these churches, this ringing and this lie?” Love recedes, now Anna thinks so: "we all hate each other." “Everything aroused disgust and anger in her and crushed her with some kind of weight.” She no longer believes Vronsky: “What was he looking for in me? Love is not so much as the satisfaction of vanity. Anna thinks: "If I leave him, he will be glad in the depths of his soul." She comes to despair: “My love is becoming more and more passionate and selfish, while his is fading and fading. And you can't help it."

Anna finds herself at a train station with no definite intention of committing suicide. Fate seemed to have led her to where the story of her love for Vronsky began. The decision seemed to come spontaneously: “And suddenly, remembering the crushed man on the day of her first meeting with Vronsky, she realized what she had to do.” Anna thinks: “Why not put out the candle when there is nothing else to look at, when it’s disgusting to look at all this? ... Everything is not true, everything is a lie, everything is a deceit, everything is evil!...”. Throwing herself under a train, she was immediately “horrified by what she was doing.” But it was too late: "something huge, inexorable pushed her in the head and dragged her behind."

Tolstoy seeks to show the independence of the consciousness of the characters from the consciousness of the author. The consciousness of each hero exists independently of the consciousnesses of others. M.M. Bakhtin called such a property of psychological analysis “polyphony”, Tolstoy, first of all, seeks to give the floor to the hero himself. Hence the monologues of the characters are of great importance. A special role is assigned to the monologue-confession, that is, the confession of one character to another.

We can trace the monologue-confession in the episode of Anna's birth. Anna feels that she "has only a little time left to live," that now she "understands everything, sees everything." Anna again acutely feels her split when she tells her husband: “I am still the same ... But there is another in me, I am afraid of her - she fell in love with that one, and I wanted to hate you and could not forget about the one that was before. But not me. Now I'm real, I'm all." Delirious, in the face of death, Anna asks Karenin for forgiveness: “Forgive me, forgive me completely! I'm terrible…" and he forgives her. For the first time, perhaps, Karenin comes to life, experiences the "happiness of forgiveness."

Thus, the consciousness of an individual hero is revealed in his relationship and interaction with the consciousness of another hero.

From this monologue-confession, we understand that there was, it turns out, something in the married life of Karenin and Anna that is hidden from prying eyes: the matrimonial connection of the spiritual selves in their souls.

The Kareninas were not aware that they were connected in this way. Both Anna and Karenin, in the moment of the revelation of the love of spiritual beings, fully recognized this power in themselves. But in defiance of it, they soon destroyed the cohesion that the spiritual "I" formed in them. This is not the fault of adultery, not adultery and not moral betrayal, but betrayal of God, spiritual betrayal, therefore, a violation of God's plan for man.

The environment and landscape in Tolstoy are also ways of characterizing the characters. Tolstoy switches our attention to the raging nature and the details of the surrounding reality. “And at that time, as if overcoming an obstacle, the wind covered snow from the roof of the car, fluttered with some kind of iron torn off sheet, and a thick whistle of a steam locomotive roared mournfully and gloomily ahead.” Tolstoy writes: “the wind… fluttered like some kind of iron torn off sheet”, we are definitely seized by a feeling of anxious fear, “the whistle roared mournfully and gloomily”, as if it warns of impending danger. But our heroine does not notice this. "The whole horror of the blizzard seemed to her even more beautiful now."

So, the surrounding reality creates a mood and enhances the social, psychological characteristics of the characters, in this case reflecting Anna's inner struggle with herself.

Dreams play an exceptional role in revealing the inner world of heroes. However, there is no sharp border between sleep, delirium and reality - the characters move from a nightmare to a nightmarish reality. It should be noted that heroes do not have light or at least neutral dreams: psychological suffering not only continues, but also intensifies in them, because in the unconscious state the horror that the heroes carry in their souls is more freely manifested. Dreams perform an important function: in most cases, they bring the characters' experiences to the limit.

Anna never, until the very last day, lacked the courage to realize her position clearly. “She said to herself: “No, now I can’t think about it; later, when I'm calmer." But this peace of mind never came. It is not that she does not see, but does not want to see her position and makes a constant effort to obscure her consciousness. Self-deception, fear of the truth were expressed in her terrible dream, which visited her almost every night. “She, that both together were her husbands, (about Vronsky and Karenin) that both lavished their caresses on her. Alexei Alexandrovich wept, kissing her hands, and saying: how good it is now! And Alexei Vronsky was right there, and he was also her husband. And she, surprised that before it had seemed impossible to her, explained to them, laughing, that it was much easier and that they were both satisfied and happy now. But this dream, like a nightmare, crushed her, and she woke up with horror.

The direct form of the psychological image - the image of the character from the inside, is used by Tolstoy when describing Anna's terrible dream, in which she sees a small man with a disheveled beard, saying in French: "We must strike iron, crush it, crush it ...". This dream plays a symbolic role, it predicts the death of Anna and even the direct cause of death - "iron".

So, dreams, forebodings, which create an atmosphere of tragic fate in the novel, are an expression of the predestination of fate. All this means that the heroes, although they know about the crime of some unshakable law, do not want to recognize it. And what they do not want to know, but know, takes on a vague, fantastic, ominous form. And this is the product of a repressed, divided consciousness.

Of great importance is another property of the analysis of the mental state of the characters - dialogue. Vronsky relentlessly follows Anna. This is confirmed by the following dialogue that took place between the characters at the station: "... Why are you going? ... I'm going in order to be where you are ... I can't help it." Vronsky “... said the very thing that her soul desired, but what she (Anna) was afraid of reason. She did not answer, and on her face he saw the struggle. Tolstoy seeks to show the incessant confrontation between the conscious and the subconscious, the intention and the implementation of this intention.

Anna Karenina. Psychological portrait and mistakes

Lev Nikolayevich Tolstoy is one of the most outstanding Russian writers. He wrote the novels "Anna Karenina", "War and Peace", "Resurrection", autobiographical works "Childhood", "Adolescence", "Youth", "Confession", the novels "Death of Ivan Ilyich", "Kreutzer Sonata", "Cossacks ”, dramas“ Living Corpse ”,“ The Power of Darkness ”. Lev Nikolayevich's books are screened all over the world. With his creative activity, Tolstoy gave birth to an original philosophical trend, the basic principles of which were discovered by him in his constant attempts to introspect and project his own ethical system onto the outside world. Thanks to this, the books gained fame during the life of the author. The relevance of the problems raised by Lev Nikolaevich prove the immortality of his works.

“A perfect work of art will be only one in which the content is significant and new, and its expression is completely beautiful, and the artist’s attitude to the subject is completely sincere and therefore completely truthful. Such works have always been and will be rare.

Truth without hiding

L. N. Tolstoy was born into a noble family in 1828. He was born in Yasnaya Polyana (Tula province) and became the fourth child in the family. After 2 years, his mother died, and after another 7 years, his father died. The children were taken in by an aunt. Study Tolstoy was given with difficulty, and often he received low marks. Unfortunately, Lev Nikolaevich never managed to graduate from the university. He was seriously fond of music and spent a lot of time at the piano. He learned the works of great composers such as Schumann, Chopin, Mendelssohn, Bach, Mozart. In addition, he liked to express his thoughts on paper, and he kept a personal diary. Subsequently, this passion led to the creation of great novels.

Lev Nikolaevich served in the army as a cadet and participated in the Crimean War. In those years, he wrote a story called "Childhood", which was published in the Sovremennik magazine. In 1860, the writer began working on his first known novel, War and Peace. And 13 years later, he began to create a second, no less famous novel, Anna Karenina.

When writing the novel "Anna Karenina", Lev Nikolaevich invested a lot of personal things in the relationship between Levin and Kitty, Konstantin's courtship of his beloved girl resembles the writer's courtship of his wife.

V. Ya. Lakshin wrote about Lev Nikolaevich: “The first thing Tolstoy learned (or was able from birth?) Is to tell himself the truth without hiding. He pursues in himself every shade of falsehood, every hint of insincerity, because without this condition - frankness with oneself - there is nothing to even think about becoming better.

Many of the writer's heroes are endowed with useful and important human qualities that allow them to work on their character and become better.

In the footsteps of the heroes of the book "Anna Karenina"

Anna Karenina is the main character of the great writer's novel of the same name. The storyline of the work begins with the fact that Anna comes to her sister and intends to reconcile her with her husband, who cheated. At the station, Anna meets a charming young man named Vronsky, and this meeting radically changes her life.

At the beginning of the work, a terrible event is described: in front of Anna, the caretaker dies under the wheels of the train. Often such fatal events sink deep into the soul of a person, and then they can often be regarded as signs of fate. Anna was no exception.

"A bad omen," she said.

Such "signs" can strongly influence the further behavior of people. Many people take this kind of event to heart. They keep them in memory, unwittingly, mentally return to them and remember them again and again.

Such a mental attitude can lead to trouble. It is wiser to focus attention on the positive aspects and try not to attach importance to the bad events that occur in life. But the main character was too sensitive and emotional to avoid gloomy thoughts after what she saw.

Fate once again confronts Anna with Vronsky, this time at a ball. And the young man, having fallen in love with her without memory, decides to follow the heroine, wherever she goes. Anna likes Vronsky, she likes his appearance, she is attracted by his inner world. The gentleman is several years younger than her, his attention flatters the main character. A woman does not repel him, despite the fact that she is married. Why is this happening? The fact is that Anna is completely unhappy in marriage. And if a person does not feel satisfaction from his life, then sometimes he is ready to grab any opportunity that can give hope for happiness.

Anna makes an attempt to return to her husband, tries to find something native in him, but his every action and every word only irritates the woman. They have a common son Serezha, but even for his sake Anna is not ready to delete Vronsky from her life. She assures herself that this person will be able to give her happiness.

Is Anna doing the right thing? She has a family. Alexei Karenin is devotedly faithful to her. Although outwardly he looks somewhat callous, in fact, he incredibly loves his wife. For her and her son, he does everything he can. But this is not enough for Anna, she wants something completely different. A woman lacks feelings, love passion, adventure. Alexei lives according to a clear plan, without showing unnecessary emotions. Anna, on the other hand, wants to feel the taste of life to the fullest, and therefore decides to have an affair with Vronsky. Thus, she hurts not only her husband, but also her beloved son. In this act, the selfishness of the main character is clearly manifested. She thinks exclusively about her desires and needs, forgetting about her relatives who have always been there.

A year later, Anna decides to confess to her husband that she is unfaithful to him. She hopes that her husband will file for divorce and let her go. But he does not agree, Karenin is ready to turn a blind eye to treason and offers to hide her romance from the world, otherwise the woman will no longer be able to communicate with her son.

The husband's proposal surprises Anna greatly. After all, betrayal is a betrayal and, having learned about it, in most cases, a person will feel anger, resentment, disappointment, despair, annoyance. Treason can cross out the fragile trust that binds two people. And without it, marriage will be just one name: when they are happy in public, but in their souls they are alien to each other. However, Alexey loves Anna very much and believes that he made the right decision. In the depths of his soul, he hopes that his wife will come to her senses and return, that their marriage can still be saved. Such thinking is characteristic of people who love with all their hearts and are ready to fight for their love. Everyone wants to believe in the best and sometimes people turn a blind eye to the most obvious things.

Anna is angry. Probably, her ego is not able to accept the fact that everything around is not going at all the way she wanted it to. But still, the main character agrees to her husband's proposal. Under her heart, she already carries a child from Vronsky, and her husband promises to accept him as his own.

What does Vronsky feel? He loves Anna, but marrying her will bring him too many difficulties. He will have to give up his former life, and he will be forced to retire. And he loves regimental life and does not want to say goodbye to it. Therefore, Vronsky, like Anna, silently accepts Alexei's decision. However, he continues to visit her. The life of young people is again filled with lies and deceit.

Can a person be happy if he feels remorse? If he hides from the world and constantly deceives his surroundings? What did Anna experience during meetings with her lover? After all, her happiness was overshadowed by the bitterness of the upcoming separation and constant lies.

Anna's second birth is difficult, and she almost dies. The main character is sure that her torment will soon end. A woman asks for forgiveness from her husband. Now it seems to her that he is a wonderful person. Karenin takes care of her and takes care of the newborn baby. But Anna understands that she is not worthy of such an attitude. After all, she did a lot of bad things. But she drives Vronsky away from herself, it is unpleasant for her to see the face of her tempter. Anna is sure that it was he who became the culprit of cardinal changes in her life.

The main character feels that she will die soon. For the first time, she begins to see events from the outside, and not through the prism of her own "I". Alexei now appears before her in a different light. He seems to her almost a holy man who took her back after a terrible deception. The woman calls him to the bed and says:

“I'm still the same ... But there is another in me, I'm afraid of her - she fell in love with that one, and I wanted to hate you and could not forget about the one that was before. But not me. Now I'm real, I'm all. I'm dying now... I need one thing: forgive me, forgive me completely! I'm terrible... I know this is unforgivable!... You're too good!" .

Anna finds peace of mind for the first time. She is happy that the end of the torment is near.

Before death, many people begin to scroll through their lives in their heads, remembering life situations and committed actions. And finally, they realize the most important thing: where they acted badly, and where they did it worthy. Repentance rolls with incredible force, and they are grateful for the enlightenment that comes in their soul.

Anna felt it too. But fate had other plans, and the woman does not die. She recovers and begins to hate her husband again. Anna is no longer touched by his actions. She collects her things and leaves with Vronsky on a journey.

For the first time ever, the main character finally felt boundless happiness. "... The misfortune of her husband gave her too much happiness to repent." However, her lover begins to yearn for his former life. He tries to do everything so that Anna does not worry, but he himself loses interest in a new and so alien life for him.

The woman notices that she is not accepted in society. She is very worried and takes out her anger on her lover. Anna begins to accuse Vronsky of being separated from her son. She does not try to hear and understand her beloved. Karenina, as is her nature, lives only with her feelings and emotions.

“Live alone,” said the wise man. This means that decide the question of your life with yourself, with the God who lives in you, and not on the advice or judgments of other people.

Anna is not used to solving problems. It seems to her that everything should be exactly the way she wants it. The main character does not see that she is making mistakes. And therefore not ready to pay for them. Anna is used to blaming only others for all the difficulties and troubles. She does not think at all that other people also have feelings.

Anna believes that no one loves her and can no longer make her happy. But herself, does she love someone? The woman left her home, hurt her husband, abandoned her beloved son and newborn daughter. All the while they were suffering, the main character experienced great happiness next to Vronsky. She was not worried about the feelings of loved ones, she thought only of herself.

As soon as the first problems in relations with Vronsky appeared, Anna again gave up and felt unhappy. She did not try to save their union, to figure out how they should live on. The main character despaired, blaming Vronsky alone for all her troubles.

The environment does not accept Anna. She feels lonely and unnecessary, it is very difficult for her. The husband refuses to file for divorce, believing that it is a sin. And Vronsky cannot take Anna as his wife.

They often quarrel, the situation of the couple becomes more and more complicated every day. Anna sees that she is a burden to her beloved and does not know what to do. Meanwhile, Vronsky decides to visit his mother. Anna follows him, hoping to make peace. But when she gets to the train station, she realizes what she is destined to do and throws herself under the train.

"There! - she said to herself, looking into the shadow of the car, at the sand mixed with coal, with which the sleepers were covered, - there, in the very middle, and I will punish him and get rid of everyone and myself.

All problems disappear under the wheels of an aspiring train. Anna wanted to be happy for a long time. She did not want to fight for her "calling" marriage and did not try to save her relationship with Vronsky. The problems were too pressing on her, and Anna did not want to solve them.

If a woman is happy with Vronsky, then why don't those around her understand this? Why does her husband not agree to a divorce? Why doesn't society accept them? Isn't love the most important thing in life?

Vronsky takes the news of his suicide very hard. He believes that he is to blame for everything, repents and decides to leave as a volunteer for the war.

Anna, throwing herself under the wheels of the train, deliberately punished Vronsky. She did not think about what would become of him after her death and what would be his fate. Probably, when a person commits suicide, by doing so he "kills" his loved ones. This was the case with Anna as well. Vronsky's life became so hard that he went to seek death in the war.

The book "Anna Karenina" deals with several stories in parallel. If the reader does not become close and understandable to the main character, then he will certainly sympathize with the modest and pure soul Levin, who is in love with the wonderful girl Kitty.

“... But what always, like a surprise, struck in her was the expression of her eyes, meek, calm and truthful, and especially her smile, which always carried Levin into a magical world, where he felt touched and softened, as he could remember himself in the rare days of his early childhood.

But due to her youth and stupidity, Kitty rejects his proposal to marry him. Levin is hurt by the refusal, so he leaves for the village.

Physical pain is treated with medicines, but there is no cure for mental pain. Levin is constantly working and does not allow himself any luxury at all. However, he cannot forget Kitty. She sunk too deep into his soul. Fate again pushes the heroes in a few years. They are both happy, it is easy for them to communicate, they understand each other perfectly. And now, finally, they decide to get married.

L. N. Tolstoy clearly shows an example of bright, mutual and sincere love, describing the relationship between Levin and Kitty. Their words are honest, and their actions are approved by readers. Such heroes are always empathized and rejoice when they find happiness.

Levin and Kitty are also going through difficult times: the death of a loved one, a difficult birth. Konstantin is visited by thoughts of suicide, but he understands that this is not an option. Only he himself, by his actions, can fill the life of his family with happiness. And for this you need to try, you need to work on this.

Konstantin Levin is a positive hero, he is an example to follow. It teaches the reader to think about the important. The endless question: "What am I living for?" can lead to discouragement. But there is no definite answer to it. Reflections on this topic evoke sadness and despair. A person can give up and mistakenly come to the conclusion that there is absolutely nothing worthwhile in his life.

But this is not the right way. Questions should not remain unanswered for a long time, certainty is important to people in all spheres of life. Only the person himself can give significance to his destiny. It is necessary to try to live according to the laws of conscience and follow the path of goodness.

“Movement towards a virtuous goal is inseparable from self-improvement, and cultivation is impossible without the strongest bridle of the will. The main thing is that you should not feel sorry for yourself, calm down, caress your pride, as is typical of many people.

Why is the novel called Anna Karenina?

In his work, Leo Tolstoy paid attention not only to the fate of the main character, but also to Levin's relationship with Kitty. However, the novel was called "Anna Karenina". But why not otherwise?

The actions of one person affect not only his life, but also the fate of other people. Anna came to Moscow and witnessed the accidental death of a man. This terrible event predetermined her future. A few years later, a woman similarly dies under the wheels of a train.

But if Anna had not come, Vronsky would not have taken an interest in her. And perhaps proposed to lovely Kitty. The same circumstance is noticed by the sister of the main character, Dolly.

How happy it turned out for Kitty then that Anna came, and how unhappy for her. Quite the opposite,' she added, struck by her thought. “Then Anna was so happy, and Kitty considered herself unhappy.”

The title of the book allows you to see some cause-and-effect relationships in the lives of the characters that the author shows. Among the many unrelated events, a thin thread is caught that unites them into a single story. The writer uses a similar technique in the novels "War and Peace" and "Lucky Ticket". It provides readers with an opportunity to look behind the scenes of the universe and trace the connection between events that is hidden in everyday life.

Anna Karenina is a clear and instructive example of a person who destroys his own happiness through selfishness and the will to self-satisfaction at any cost. The name of the infantile, selfish and proud Anna Karenina in this sense becomes a household name. She is opposed to Levin, and that is probably why the book is named after her.

Anna's path full of loneliness

At the beginning of the novel, a cheerful, emotional and wayward Anna appears before us. She is married to Karenin, but does not feel love for him. And so her whole life seems empty to her. The main character is looking not only for happiness, but for understanding. Hoping to get all this, she succumbs to the courtship of the charming gentleman Vronsky.

The relationship of young people is shrouded in lies. First they have to lie to Karenin, and then they deceive their entourage as well. Anna struggles to be happy and longs for understanding. But everyone rejects it and turns away.

Alienation of society brings the main character to despair. Surrounding, looking at her, feel only contempt. With their cold attitude, they push the main character to the abyss. A woman suffers from the fact that they do not understand her and do not accept her feelings. Anna is rejected by the high society and does not feel support from her beloved. And that makes her feel completely useless.

The theme of loneliness permeates the entire novel, from Anna and Vronsky's meeting to her decision to throw herself under a train. This step ends not only Anna's painful life, but also her painful love wanderings.

Psychological mistakes of Anna Karenina

The main character is in search of happiness, understanding and love. She does not notice the virtues of her husband, and does not realize that the Lord gave her a healthy son. Everything seems wrong to her. Anna feels empty in her life. And therefore, it is not by chance that she succumbs to Vronsky's courtship, she herself is looking for love adventures. Did the main character try to save her family? No, she puts her needs first. The woman for a long time played by the rules of secular society, which she deeply despised. She did not immediately succumb to Vronsky's courtship. In her heart, she experienced the strongest feelings, and in the end she went on about them.

Having rejected her family, the main character tries to build happiness with Vronsky. But for the sake of love, she breaks family ties. Having betrayed her family, she would hardly have become a good wife to Vronsky and a loving mother to her little daughter. Anna once and for all destroys two important spiritual qualities: maternal love and marital fidelity. Throughout the work, the main character thinks only about herself and her feelings. She does not feel sorry for her husband, who is trying very hard to save the family and appears before her as a defenseless, loving person. The woman also forgets about her son. And once next to Vronsky, he begins to blame him for the troubles that have fallen on them.

Things are not going the way Anna wanted them to. She is not ready for difficulties and problem solving. Selfishness destroys her and leads to the grave. Levin, on the contrary, due to his desire for life, resists all difficulties and creates family happiness with his own hands. The work is in many ways moral and instructive. Tolstoy clearly contrasts happiness with unhappiness, which makes the described relationships against each other more contrasting and fascinating.

If Anna Karenina had the opportunity to stop indulging her instincts and change herself, then a way out of her difficult situation would be possible, but she does not even make an attempt. Anna is a slave to circumstances, but it is entirely her fault and her choice. Just like death is her choice and an attempt to show that she deserves more (a better fate). She tries to turn things around and does not accept the world as it is. This is what children do, and like an arrogant and arrogant child, she receives punishment from fate for her arrogant behavior.

If Anna wanted to direct the energy of the "Ego" in a creative direction and melt the desire for self-destruction, she would probably find a way in humility or other practices. But then this book would not have existed, and its fate would not have served us as a vivid example of how one should not cling to ideas about oneself and the world, one’s ego instincts, one’s pride and significance, thereby bringing oneself to death.

Literature:

1. Tolstoy L.N. What is art? / Collected works in 22 volumes, Volume 15. M, 1983.
2. Lakshin V.Ya. Five great names: articles, studies, essays, M., Sovremennik, 1988, p. 305-307. // http://vikent.ru/enc/3077/
3. Tolstoy L.N. The path of life. M., 1993.a
4. Tolstoy L.N. Anna Karenina. M., 1976.

Editor: Anna Bibikova

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