“Anna Karenina” by Leo Tolstoy. Genre and composition of the novel. The socio-psychological essence of Anna's tragedy. The novel "Anna Karenina". Ideological and moral quests of L. Tolstoy; features of the genre Structural and compositional features of the novel Anna Karenina

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Genre, plot and composition of the novel by L.N. Tolstoy “Anna Karenina” The presentation was prepared by students of grade 10 “A” of State Budget Educational Institution Secondary School No. 1368 Anastasia Baikalova and Zlata Kumankova

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Originality of the genre Genre: novel. The uniqueness of the Anna Karenina genre lies in the fact that this novel combines features characteristic of several types of novel creativity. It contains, first of all, features that characterize family romance. The history of several families, family relationships and conflicts are highlighted here. It is no coincidence that Tolstoy emphasized that when creating “Anna Karenina” he was dominated by family thought, while while working on “War and Peace” he wanted to embody the people’s thought. But at the same time, “Anna Karenina” is not only a family novel, but also a social, psychological novel, a work in which the story family relations is closely connected with the depiction of complex social processes, and the depiction of the destinies of the heroes is inseparable from the deep disclosure of their inner world.

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The originality of the genre Showing the movement of time, characterizing the formation of a new social order, the lifestyle and psychology of various layers of society, Tolstoy gave his novel the features of an epic. The embodiment of family thought, the socio-psychological narrative, the features of the epic - these are not separate “layers” in the novel, but those principles that appear in their organic synthesis. And just as the social constantly penetrates into the depiction of personal and family relationships, the depiction of the individual aspirations of the heroes and their psychology largely determines the epic features of the novel. The strength of the characters created in it is determined by the brightness of their embodiment of their own, personal, and at the same time the expressiveness of the disclosure of those social connections and relationships in which they exist.

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The originality of the genre Tolstoy's brilliant mastery in Anna Karenina evoked enthusiastic praise from the writer's outstanding contemporaries. “Count Leo Tolstoy,” wrote V. Stasov, “rose to such a high note that Russian literature has never hit before. Even Pushkin and Gogol themselves did not express love and passion with such depth and astonishing truth as they do now in Tolstoy.” V. Stasov noted that the writer knows how to “with a wonderful sculptor’s hand sculpt such types and scenes that no one had known before in our entire literature... “Anna Karenina” will remain a bright, huge star forever and ever!” Dostoevsky, who viewed the novel from his own ideological and creative positions, rated Karenina no less highly. He wrote: “Anna Karenina” is perfection as a work of art... and one with which nothing similar in European literature in the present era can compare.”

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The plot and composition of the novel Tolstoy called Anna Karenina a “broad and free novel,” using Pushkin’s term “free novel.” This is a clear indication of the genre origins of the work. Tolstoy's "broad and free novel" is different from Pushkin's "free novel". In Anna Karenina, for example, there are no lyrical, philosophical or journalistic authorial digressions. But between Pushkin’s novel and Tolstoy’s novel there is an undeniable succession, which manifests itself in the genre, plot, and composition.

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Plot and composition of the novel In the novel “Anna Karenina”, from the very beginning, attention is directed to events in which the characters’ characters are clarified. The aphorism - “all happy families are alike, each unhappy family is unhappy in its own way” - is a philosophical introduction to the novel. The second (event) introduction is contained in one single phrase: “Everything was mixed up in the Oblonskys’ house.” And finally, the next phrase sets up the action and defines the conflict. The accident that revealed Oblonsky's infidelity entails a chain of necessary consequences that make up the plot line of the family drama.

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The plot and composition of the novel The chapters of the novel are arranged in cycles, between which there is a close connection both thematically and in plot terms. Each part of the novel has its own “idea node”. The main points of the composition are the plot and thematic centers, successively replacing each other. In the first part of the novel, cycles are formed in connection with conflicts in the lives of the Oblonskys (chap. I-V), Levin (chap. VI-IX), and the Shcherbatskys (chap. XII-XVI). The development of the action is determined by the events caused by Anna Karenina's arrival in Moscow (chap. XVII-XXIII), Levin's decision to leave for the village (chap. XXIV-XXVII) and Anna's return to St. Petersburg, where Vronsky followed her (chap. XXVIII- XXX1U). These cycles, following one after another, gradually expand the scope of the novel, revealing the patterns of development of conflicts. In the first part, each cycle occupies five or six chapters, which have their own “boundaries of content.” This creates a rhythmic change of episodes and scenes.

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The plot and composition of the novel The first part is one of the most remarkable examples of a “cool romantic plot.” The logic of events, which never violates the truth of life, leads to drastic and inevitable changes in the destinies of the heroes. If before Anna Karenina’s arrival Dolly was unhappy and Kitty was happy, then after Anna’s appearance in Moscow “everything got mixed up”: reconciliation of the Oblonskys became possible - Dolly’s happiness, and Vronsky’s break with Kitty inevitably approached - the misfortune of Princess Shcherbatskaya. The plot of the novel is built on the basis of major changes in the lives of the characters and captures the very meaning of their existence. The plot and thematic center of the first part of the novel is the depiction of the “confusion” of family and social relations, turning the life of a thinking person into torment and evoking the desire to “get away from all the vileness, confusion, both one’s own and that of others.” This is the basis for the “concatenation of ideas” in the first part, where the knot of further events is tied.

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The plot and composition of the novel The second part has its own plot and thematic center. This is the “abyss of life”, before which the heroes stop in confusion, trying to free themselves from the “confusion”. The action of the second part takes on a dramatic character from the very beginning. The range of events here is wider than in the first part. The episodes change at a faster pace. Each cycle includes three to four chapters. The action moves from Moscow to St. Petersburg, from Pokrovskoye to Krasnoe Selo and Peterhof, from Russia to Germany.

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The plot and composition of the novel The third part of the novel depicts the heroes after the crisis they experienced and on the eve of decisive events. The chapters are combined into cycles, which can be divided into periods. The first cycle consists of two periods: Levin and Koznyshev in Pokrovskoye (I-VI) and Levin’s trip to Ergushevo (Ch. VII-XII). The second cycle is devoted to the relationships between Anna and Karenin (chap. XIII-XVI), Anna and Vronsky (chap. XVII-XXIII). The third cycle again returns attention to Levin and is divided into two periods: Levin’s trip to Sviyazhsky (chap. XXV-XXVIII) and Levin’s attempt to create a new “science of economics” (chap. XXIX-XXXP).

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Plot and composition of the novel The fourth part of the novel consists of three main cycles: the life of the Karenins in St. Petersburg (chap. I-V), the meeting of Levin and Kitty in Moscow in the Oblonsky house (chap. VII-XVI); the last cycle, dedicated to the relationship between Anna, Vronsky and Karenin, has two periods: the happiness of forgiveness” (chap. XVII-XIX) and the break (chap. XX-XXIII). In the fifth part of the novel, the focus is on the fate of Anna and Levin. The heroes of the novel achieve happiness and choose their own path (Anna and Vronsky’s departure to Italy, Levin’s marriage to Kitty). Life changed, although each of them remained himself. “There was a complete break with all previous life, and a completely different, new, completely unknown life began, while in reality the old one continued.”

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The plot and composition of the novel The plot and thematic center represents the general concept of a given plot state. In each part of the novel there are repeated words - images and concepts - that represent the key to ideological meaning works. “The Abyss” appears in the second part of the novel as a metaphor for life, and then goes through many conceptual and figurative transformations. The word “confusion” was the key word for the first part of the novel, “web of lies” for the third, “mysterious communication” for the fourth, “choosing a path” for the fifth. These repeated words indicate the direction of the author’s thought and can serve as “Ariadne’s thread” in the complex transitions of a “broad and free novel.” The architecture of the novel “Anna Karenina” is distinguished by the natural arrangement of all interconnected structural parts. There is an undeniable meaning in the fact that the composition of the novel Anna Karenina was compared to an architectural structure. I. E. Zabelin, characterizing the features of originality in Russian architecture, wrote that for a long time in Rus', houses, palaces and temples “were not built according to the plan that was thought up in advance and drawn on paper, and the construction of the building rarely fully responded to all the real needs of the owner. They were built most of all according to the plan of life itself and the free outline of the very everyday life of the builders, although every individual structure was always executed according to the drawing.

Originality of the genre

The embodiment of family thought, the socio-psychological narrative, the features of the epic - these are not separate “layers” in the novel, but those principles that appear in their organic synthesis. And just as the social constantly penetrates into the depiction of personal and family relationships, the depiction of the individual aspirations of the heroes and their psychology largely determines the epic features of the novel. The strength of the characters created in it is determined by the brightness of their embodiment of their own, personal, and at the same time the expressiveness of the disclosure of those social connections and relationships in which they exist.

Tolstoy's brilliant mastery of Anna Karenina evoked enthusiastic praise from the writer's outstanding contemporaries. “Count Leo Tolstoy,” wrote V. Stasov, “rose to such a high note that Russian literature has never hit before. Even Pushkin and Gogol themselves did not express love and passion with such depth and astonishing truth as they do now in Tolstoy.” V. Stasov noted that the writer knows how to “with a wonderful sculptor’s hand sculpt such types and scenes that no one had known before in our entire literature... “Anna Karenina” will remain a bright, huge star forever and ever!” Dostoevsky, who viewed the novel from his own ideological and creative positions, rated Karenina no less highly. He wrote: “Anna Karenina” is perfection as a work of art... and one with which nothing similar in European literature in the present era can compare.”

The novel was created as if at the turn of two eras in Tolstoy’s life and work. Even before the completion of Anna Karenina, the writer is carried away by new social and religious quests. They are well-known reflected in the moral philosophy of Konstantin Levin. However, all the complexity of the problems that occupied the writer in new era, all the complexity of his ideological and life path are widely reflected in the journalistic and artistic works of the writer of the eighties and nineties.

Composition, novel genre

The peculiarity of the composition of the novel is that in the center of it there are two stories that develop in parallel: the story family life Anna Karenina, and the fate of the nobleman Levin, who lives in the village and strives to improve the economy. These are the main characters of the novel. Their paths cross at the end of the work, but this does not affect the development of the events of the novel. There is an internal connection between the images of Anna and Levin. The episodes associated with these images are united by contrast, or, according to the law of correspondence, one way or another, complement each other. This connection helps the author demonstrate the unnaturalness and falsity of human life.

Originality of the genre

The embodiment of family thought, the socio-psychological narrative, the features of the epic are not separate “layers” in the novel, but those principles that appear in their organic synthesis. And just as the social constantly penetrates into the depiction of personal and family relationships, the depiction of the individual aspirations of the heroes and their psychology largely determines the epic features of the novel. The strength of the characters created in it is determined by the brightness of their embodiment of their own, personal, and at the same time the expressiveness of the disclosure of those social connections and relationships in which they exist.

The novel was created as if at the turn of two eras in Tolstoy’s life and work. Even before the completion of Anna Karenina, the writer is carried away by new social and religious quests. They are well-known reflected in the moral philosophy of Konstantin Levin. However, all the complexity of the problems that occupied the writer in the new era, all the complexity of his ideological and life path are widely reflected in the journalistic and artistic works of the writer of the eighties and nine hundred.

The novel “Anna Karenina” is called the “Pushkin” novel by L.N. Tolstoy. Pushkin's capacity, combined with the religious and moral conceptualization of the novel, explains aphoristic language“Anna Karenina”, its saturation with phraseological units, cultural quotes and reminiscences. By making extensive use of phraseology, the writer acts not only as a user, but also as a creator of language and culture. Already in the very selection of phraseological units from the national phraseological fund, in its specific introduction into the text of the work, the depth of his skill is revealed, the author’s individuality of the writer lies.

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“Anna Karenina” (1873-1877) - novel by L.N. Tolstoy about tragic love married lady Anna Karenina to the brilliant officer Vronsky against the backdrop of the happy family life of the nobles Konstantin Levin and Kitty Shcherbatskaya. A large-scale picture of the morals and life of the noble environment of St. Petersburg and Moscow of the second half of the 19th century century, combining the philosophical reflections of the author's alter ego Levin with advanced psychological sketches in Russian literature, as well as scenes from the life of peasants.

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History of creation On February 24, 1870, Lev Nikolaevich Tolstoy conceived a novel about privacy and the relations of his contemporaries, but began to implement his plan only in February 1873. The novel was published in parts, the first of which was published in 1875 in the Russian Bulletin. Gradually, the novel turned into a fundamental social work, which received enormous success. The continuation of the novel was eagerly awaited.

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History of creation The editor of the magazine refused to print the epilogue because of the language expressed in it. critical thought, and finally, the novel was completed on April 5 (17), 1877. Final chapter The already published material ended with the death of Karenina, at the end it said: “to be continued.” The last part was corrected by Strakhov, and a Censorship Permit was issued on June 25, 1877. The narrative began with a measured pause: “Almost two months have passed. It was already halfway through the hot summer.” We were already talking about the Serbian-Montenegrin-Turkish war, to which Vronsky is sent.

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History of creation So, the novel was published in full. The next edition (in its entirety) was in 1878. The first message about work on the novel “Anna Karenina” was in a letter from L. N. Tolstoy to N. N. Strakhov dated March 25, 1873.

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Thoughts of great writers about the novel “Anna Karenina” If Tolstoy called “War and Peace” a “book about the past”, in which he described a beautiful and sublime “integral world”, then he called “Anna Karenina” “a novel from modern life" In Hegel's words: "the novel is in modern meaning presupposes a prosaically ordered reality,” but L.N. Tolstoy presented in “Anna Karenina” a “fragmented world” devoid of moral unity, in which chaos of good and evil reigns. Unlike War and Peace, there were no greats in Anna Karenina. historical events, but it raises and remains unanswered topics that are close to everyone personally.

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Thoughts of great writers about the novel “Anna Karenina” F. M. Dostoevsky found in Tolstoy’s new novel “a huge psychological development of the human soul.” Therefore, “a living, hot and complete novel,” as Leo Tolstoy called it, will be modern in any historical era. The novel, touching on feelings “close to everyone personally,” became a living reproach to his contemporaries, whom N. S. Leskov ironically called “real secular people.” This novel is a strict, incorruptible judgment of our entire system of life. - A. A. Fet

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Genre features novel The uniqueness of the Anna Karenina genre lies in the fact that this novel combines features characteristic of several types of novel creativity. It contains, first of all, the features that characterize a family novel. The history of several families, family relationships and conflicts are highlighted here. Karenin family wedding of Levin and Kitty Stepan Arkadyevich (Steve) and Anna Arkadyevna

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It is no coincidence that Tolstoy emphasized that when creating “Anna Karenina” he was dominated by family thought, while while working on “War and Peace” he wanted to embody the people’s thought. But at the same time, “Anna Karenina” is not only a family novel, but also a social, psychological novel, a work in which the history of family relationships is closely connected with the depiction of complex social processes, and the depiction of the destinies of the heroes is inseparable from the deep disclosure of their inner world. Showing the movement of time, characterizing the formation of a new social order, the lifestyle and psychology of various layers of society, Tolstoy gave his novel the features of an epic. Genre features of the novel

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Genre features of the novel The embodiment of family thought, socio-psychological narration, features of the epic - these are not separate “layers” in the novel, but those principles that appear in their organic synthesis. And just as the social constantly penetrates into the depiction of personal and family relationships, the depiction of the individual aspirations of the heroes and their psychology largely determines the epic features of the novel. The strength of the characters created in it is determined by the brightness of their embodiment of their own, personal, and at the same time the expressiveness of the disclosure of those social connections and relationships in which they exist.

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The novel was created as if at the turn of two eras in Tolstoy’s life and work. Even before the completion of Anna Karenina, the writer is carried away by new social and religious quests. They are well-known reflected in the moral philosophy of Konstantin Levin. However, all the complexity of the problems that occupied the writer in the new era, all the complexity of his ideological and life path are widely reflected in journalistic and works of art writer of the 80-90s. Genre features of the novel

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Lev Nikolaevich Tolstoy (1828-1910) created “Anna Karenina” at a special period in his life: for him the time had come, as we would say now, for a reassessment of values. “A revolution happened to me,” he wrote in the philosophical essay “Confession,” “which had been preparing for a long time in me and the makings of which were always in me. What happened to me was that the life of our circle - the rich, the scientists - not only became disgusting to me, but lost all meaning.” Spiritual quests of L.N. Tolstoy in the novel “Anna Karenina”

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So, Lev Nikolayevich rejected the traditionally measured existence of a Russian educated nobleman and began to search for some kind of alternative to it, unshakable moral ideals, in accordance with which a different, righteous life is possible. As you know, this ultimately resulted in Tolstoy’s special religiosity (Christianity, purified from the dogmas and rituals of the church). “Anna Karenina” is interesting precisely as a creative reflection of the author’s complex spiritual quest. Spiritual quest of Leo Tolstoy in the novel “Anna Karenina”

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The characters in the novel The Surroundings of Leo Nikolayevich Tolstoy are modern society Anna Oblonskaya - Karenina. Tolstoy's observations of feelings and thoughts real people steel " artistic depiction life" of the characters in the novel... "Anna Karenina" film 2009

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There are no coincidences in Tolstoy's novel. The path begins with railway, without which communication would have been impossible. Anna Karenina and Princess Vronskaya travel in the same carriage from St. Petersburg to Moscow, who tells her about her son Alexei. Anna comes to reconcile Dolly with her brother Stiva, who was convicted of treason and who is “to blame all around.” Vronsky meets his mother, Steve meets his sister. The coupler dies under the wheels... The death of the coupler under the wheels of the locomotive became a “bad omen”, the “beautiful horror of a blizzard” symbolized the imminent destruction of the family.

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Symbolism in the novel railway (the symbolism of the railway tells the reader that the prophecy of the author of the novel is as follows: modern world who has lost God, inevitably, as if on railroad tracks, moves towards failure); the flashing and dying candle becomes a symbol of the life and death of Anna Karenina. Darkness conjures up Anna Karenina symbolic image extinguished life; One of the most important symbols of Anna Karenina is the figure of a small man with a tousled beard. “The little man” appears at the decisive moments in the life of the title character: a few moments before she meets Vronsky, before giving birth and (three times!) on the day of her death; he is not only present in reality, but also seen by the characters in a dream;

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the sparkle in Anna's eyes. After the conversation with Vronsky, “Anna walked with her head down and playing with the tassels of her head. Her face shone with a bright shine; but this brilliance was not cheerful, it resembled the terrible brilliance of a fire in the middle of a dark night.” This image is a symbol of emerging love; K. D. Levin is relentlessly pursued by the image of a bear (talk about comparing 3 young ladies on a skating rink with 3 bears, the skin of a bear, the constellation Ursa Major); nature accompanies Anna Karenina in the form of a whirlwind, blizzard, snow storm. A snowstorm in the novel is not just a blizzard, but a blizzard of passion; Symbolism in the novel

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red bag. He first appears in the novel during Anna's conversation with Dolly after the ball. Anna Karenina hid her cap and cambric scarves there. It can be assumed that at this moment in the heroine’s soul the bag became connected with her secret - it was as if she had hidden her secret in the bag. During the episode on the train, the red bag ends up in Annushka’s hands next to the torn glove. Gloves can be associated with concepts of honor; when challenged to a duel, they “throw down the gauntlet.” Annushka, wearing torn gloves, holds a red bag that belongs to Anna Karenina, thanks to which it begins to acquire a special meaning, that is, to symbolize the loss of honor; Symbolically, the heroine’s crime is indicated by episodes in which wedding rings. The ring symbolizes the union of two hearts. An attempt to remove the ring from your finger speaks of a desire to throw off the burden of this union, to break the union, to dissolve the marriage; Symbolism in the novel

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Alexei Karenin's ears seem too big to Anna. Karenin’s protruding ears are an accumulation of disgust for him in Anna’s mind and a symbol of Karenin’s deadness; theater, opera. The falsehood on stage seemed to spread to the people in the audience and prevented them from separating truth from lies. Just one cursory mention at the very beginning of the story about Anna that the heroine had just been to Tolstoy’s opera doomed the heroine to the absence of a deeply moral feeling in her soul. Consequently, opera in the novel becomes a symbol of immorality. Symbolism in the novel

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Prototypes Anna Karenina (Oblonskaya) According to the appearance described by L. N. Tolstoy (dark hair, white lace and a small purple garland pansies), the prototype could be Maria Alexandrovna Hartung, Pushkin’s daughter. By marital status– Alexandra Alekseevna Obolenskaya (ur. Dyakova), wife of A.V. Obolensky and sister of M.A. Dyakova; By fate - Anna Stepanovna Pirogova, whose unhappy love led to death, in 1872 (because of A.N. Bibikov); According to the situation - S. A. Bakhmetyeva and M. A. Dyakova. Divorce was a very rare occurrence. And the story of the marriage of Alexei Konstantinovich Tolstoy to S. A. Bakhmetyeva, who left her husband L. Miller (nephew of E. L. Tolstoy) for his sake, created a lot of noise in the world. The wife of Chamberlain Sergei Mikhailovich Sukhotin, Maria Alekseevna Dyakova, obtained a divorce in 1868 and married S. A. Ladyzhensky.

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Konstantin Levin Leva, Lev Nikolaevich Tolstoy. Was depicted in the novel as typical image Russian idealist, but he shows far from the best part of his self. Count Alexey Kirillovich Vronsky Aide-de-camp and poet Alexey Konstantinovich Tolstoy. In 1862, he married S.A. Miller-Bakhmetyeva, who left her husband and family for his sake. This story caused a lot of noise in the world. Alexey Alexandrovich Karenin Baron Vladimir Mikhailovich Mengden is a landowner and official, member of the State Council, a callous person, short in stature and unattractive. But he was married to the beautiful Elizaveta Ivanovna Obolenskaya (ur. Bibikova), L. N. Tolstoy said: “She is lovely, and one can only imagine what would happen if she cheated on her husband...” Chamberlain, adviser to the Moscow city office Sergei Mikhailovich Sukhotin. In 1868, his wife M. A. Dyakova obtained a divorce and married S. A. Ladyzhensky. Prototypes

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T. Samoilova as A. Karenina (1967) N. Gritsenko as A. Karenin V. Lanova as A. Vronsky B. Goldaev as K. Levin

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Epigraph of the novel, its meaning For the epigraph to the novel, Tolstoy chose the words of God from the biblical book of Deuteronomy in the Church Slavonic translation: “Vengeance is mine, and I will repay.”

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Epigraph of the novel, its meaning Main character, Anna Karenina, is a subtle and conscientious nature, she is connected with her lover Count Vronsky by a real, strong feeling. Anna’s husband, a high-ranking official Karenin, seems to be soulless and callous, although at certain moments he is capable of high, truly Christian, kind feelings. "Karenon" in Greek (in Homer) means "head". the surname "Karenin" is derived from this word. Perhaps that is why Tolstoy gave such a surname to Anna’s husband, Karenin is a head person, that in him reason prevails over the heart, that is, feeling.

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The epigraph of the novel, its meaning, Tolstoy creates circumstances that seem to justify Anna. The writer talks in the novel about the connections of another society lady, Betsy Tverskoy. She does not advertise these connections, does not flaunt them, and enjoys a high reputation and respect in society. Anna is open and honest, she does not hide her relationship with Vronsky and strives to get a divorce from her husband. And yet, Tolstoy judges Anna on behalf of God himself. The price for betraying her husband is the heroine's suicide. Her death is a manifestation of divine judgment.

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Anna commits suicide, but this is not divine retribution - the meaning of Anna's divine punishment is not revealed by Tolstoy. (In addition, according to Tolstoy, not only Anna deserves the highest judgment, but also other characters who have committed sins - first of all, Vronsky.) Anna's guilt for Tolstoy is in evading the destiny of a wife and mother. The connection with Vronsky is not only a violation of marital duty. It leads to the destruction of the Karenin family: their son Seryozha is now growing up without a mother, and Anna and her husband are fighting each other for their son. Anna's love for Vronsky is not a high feeling in which the spiritual principle prevails over physical attraction, but a blind and destructive passion. Epigraph of the novel, its meaning

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Anna deliberately goes against the divine law that protects the family. For the author, this is her fault. Later, Tolstoy wrote about the biblical saying - the epigraph to Anna Karenina: “People do a lot of bad things to themselves and to each other only because weak, sinful people have taken upon themselves the right to punish other people. “Vengeance is Mine, and I will repay.” Only God punishes, and then only through man himself.” Epigraph of the novel, its meaning

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According to A. A. Fet, “Tolstoy points to “I will repay” not as the rod of a grumpy mentor, but as the punitive power of things<…>" Only God has the right to punish, and people do not have the right to judge. This is not only a different meaning, but also the opposite of the original one. In the novel, the pathos of unresolvedness is increasingly revealed. Depth, truth - and therefore unresolvedness. Epigraph of the novel, its meaning

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But another interpretation is possible. According to the words of Christ, “from everyone to whom much is given, much will be required.” Anna is given more than those who are not faithful to Betsy Tverskaya or Steve Oblonsky. She is mentally richer and more subtle than them. And she was punished more severely. This interpretation corresponds to the meaning of the epigraph to the text of the first completed edition of the novel: “The same thing - marriage is fun for some, but for others it is the wisest thing in the world.” For Anna, marriage is not fun, and the more serious is her sin. Epigraph of the novel, its meaning "Anna Karenina" film 1935

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The tragedy of Anna Karenina Anna, while still very young, was given in marriage to Karenin, a successful tsarist official. His usual, normal state is soullessness and lies, worship of form. That's how he is on public service, both in society and in the family.

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“They say: religious, moral, honest, smart person, - Anna thinks about her husband, - but they don’t see what I saw. They don’t know how he stifled my life for eight years, strangled everything that was alive in me... They don’t know how at every step he insulted me and remained pleased with himself. Didn’t I try, tried with all my might to find an excuse for my life? Didn’t I try to love him, to love my son, when it was no longer possible to love my husband? But the time has come, I realized that I can no longer deceive myself, that I am alive, that I am not to blame, that God made me this way, that I need to love and live.” The tragedy of Anna Karenina

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Anna Karenina - one of the most charming female images Russian literature. Her clear mind pure heart, kindness and truthfulness attract sympathy for her the best people in the novel - the Shcherbatsky sisters, Princess Myagkaya, Levina. Anna's special charm is unconsciously felt by children - sensitive souls who cannot tolerate falsehood. The tragedy of Anna Karenina T. Drubich in the role of A. Karenina in the film of the same name (2009)

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Anna tried to break free from the false, soulless world, but failed. She could not deceive her husband, as decent women of her circle did, who were not condemned by anyone for this. It was also impossible to divorce him: it meant abandoning his son. Karenin does not give Seryozha, who passionately loves his mother, to her - out of high Christian motives. A wall of alienation grows around Anna: Everyone attacked her, all those who are a hundred times worse than her. The tragedy of Anna Karenina

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With stunning power he depicts Tolstoy as lonely torment female soul. Anna has no friends or business that could captivate her. The only thing left in her life is Vronsky’s love. And Anna begins to be tormented by terrible thoughts about what will happen if he stops loving her. She becomes suspicious, unfair. An evil spirit of some kind of struggle settles between her and the person dear to her. Life becomes unbearable. And death, as the only means to restore love for her in his heart, to punish him and win victory in the struggle that the evil spirit that had settled in her heart was waging with him, clearly and vividly presented itself to her. The tragedy of Anna Karenina

The uniqueness of the Anna Karenina genre lies in the fact that this novel combines features characteristic of several types of novel creativity. It contains, first of all, the features that characterize a family romance. The history of several families, family relationships and conflicts are highlighted here. It is no coincidence that Tolstoy emphasized that when creating “Anna Karenina” he was dominated by family thought, while while working on “War and Peace” he wanted to embody the people’s thought. But at the same time, “Anna Karenina” is not only a family novel, but also a social, psychological novel, a work in which the history of family relationships is closely connected with the depiction of complex social processes, and the depiction of the destinies of the heroes is inseparable from the deep disclosure of their inner world. Showing the movement of time, characterizing the formation of a new social order, the lifestyle and psychology of various layers of society, Tolstoy gave his novel the features of an epic. The embodiment of family thought, the socio-psychological narrative, the features of the epic - these are not separate “layers” in the novel, but those principles that appear in their organic synthesis. And just as the social constantly penetrates into the depiction of personal and family relationships, the depiction of the individual aspirations of the heroes and their psychology largely determines the epic features of the novel. The strength of the characters created in it is determined by the brightness of their embodiment of their own, personal, and at the same time the expressiveness of the disclosure of those social connections and relationships in which they exist.

The novel was created as if at the turn of two eras in Tolstoy’s life and work. Even before the completion of Anna Karenina, the writer is carried away by new social and religious quests. They are well-known reflected in the moral philosophy of Konstantin Levin. However, all the complexity of the problems that occupied the writer in the new era, all the complexity of his ideological and life path are widely reflected in the journalistic and artistic works of the writer of the eighties and nineties.