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==Style==
==Style==
{{Unreferenced section|date=February 2009}}
{{Unreferenced section|date=February 2009}}
Tolstoy's style in ''Anna Karenina'' is considered by many critics to be transitional, forming a bridge between the [[Literary realism|realist]] and [[modernist]] novel. The novel is narrated from a [[Third-person narrative#Third person, omniscient/dramatic|third-person-omniscient perspective]], shifting the narrator's attention to several major characters, though most frequently focusing on the opposing lifestyles and attitudes of its central protagonists of Anna and Levin. As such, each of the novel's eight sections contains internal variations in tone: it assumes a relaxed voice when following Stepan Oblonsky's thoughts and actions and a much more tense voice when describing Levin's social encounters. Much of the novel's seventh section depicts Anna's thoughts fluidly, following each one of her ruminations and free associations with its immediate successor. This groundbreaking use of [[Stream of consciousness writing|stream-of-consciousness]] would be utilised by such later authors as [[James Joyce]], [[Virginia Woolf]], and [[William Faulkner]].
Tolstoy's style in ''Anna Karenina'' is considered by many critics to be transitional, forming a bridge between the [[Literary realism|realist]] and [[Modernist_literature|modernist]] novel. The novel is narrated from a [[Third-person narrative#Third person, omniscient/dramatic|third-person-omniscient perspective]], shifting the narrator's attention to several major characters, though most frequently focusing on the opposing lifestyles and attitudes of its central protagonists of Anna and Levin. As such, each of the novel's eight sections contains internal variations in tone: it assumes a relaxed voice when following Stepan Oblonsky's thoughts and actions and a much more tense voice when describing Levin's social encounters. Much of the novel's seventh section depicts Anna's thoughts fluidly, following each one of her ruminations and free associations with its immediate successor. This groundbreaking use of [[Stream of consciousness writing|stream-of-consciousness]] would be utilised by such later authors as [[James Joyce]], [[Virginia Woolf]], and [[William Faulkner]].


Also of significance is Tolstoy's use of real events in his narrative, to lend greater verisimilitude to the fictional events of his narrative. Characters debate significant sociopolitical issues affecting Russia in the latter half of the nineteenth century, such as the place and role of the Russian peasant in society, education reform, and women's rights. Tolstoy's depiction of the characters in these debates, and of their arguments, allows him to communicate his own political beliefs. Characters often attend similar social functions to those which Tolstoy attended, and he includes in these passages his own observations of the ideologies, behaviors, and ideas running through contemporary Russia through the thoughts of Levin. The broad array of situations and ideas depicted in ''Anna Karenina'' allows Tolstoy to present a treatise on his era's Russia, and, by virtue of its very breadth and depth, all of human society. This stylistic technique, as well as the novel's use of perspective, greatly contributes to the thematic structure of ''Anna Karenina''.{{Citation needed|date=September 2008}}
Also of significance is Tolstoy's use of real events in his narrative, to lend greater verisimilitude to the fictional events of his narrative. Characters debate significant sociopolitical issues affecting Russia in the latter half of the nineteenth century, such as the place and role of the Russian peasant in society, education reform, and women's rights. Tolstoy's depiction of the characters in these debates, and of their arguments, allows him to communicate his own political beliefs. Characters often attend similar social functions to those which Tolstoy attended, and he includes in these passages his own observations of the ideologies, behaviors, and ideas running through contemporary Russia through the thoughts of Levin. The broad array of situations and ideas depicted in ''Anna Karenina'' allows Tolstoy to present a treatise on his era's Russia, and, by virtue of its very breadth and depth, all of human society. This stylistic technique, as well as the novel's use of perspective, greatly contributes to the thematic structure of ''Anna Karenina''.{{Citation needed|date=September 2008}}

Revision as of 21:55, 5 October 2012

This article is about the novel by Tolstoy. For all adaptations in various media, see Adaptations of Anna Karenina. For other uses, see Anna Karenina (disambiguation).
Anna Karenina
Cover page of the first volume of Anna Karenina. Moscow, 1878.
AuthorLeo Tolstoy
Original titleАнна Каренина
TranslatorConstance Garnett (initial)
LanguageRussian
GenreNovel
PublisherThe Russian Messenger
Publication date
1877
Publication placeRussia
Media typePrint (Serial)
Pages864
ISBN978-1-84749-059-9
OCLC220005468

Anna Karenina (Russian: Анна Каренина; Russian pronunciation: [ˈanə kɐˈrʲenʲɪnə])[1] is a novel by the Russian writer Leo Tolstoy, published in serial installments from 1873 to 1877 in the periodical The Russian Messenger. Tolstoy clashed with its editor Mikhail Katkov over political issues that arose in the final installment (Tolstoy's unpopular views of volunteers going to Serbia); therefore, the novel's first complete appearance was in book form.

Widely regarded as a pinnacle in realist fiction, Tolstoy considered Anna Karenina his first true novel, when he came to consider War and Peace to be more than a novel.

Fyodor Dostoevsky declared it to be "flawless as a work of art". His opinion was shared by Vladimir Nabokov, who especially admired "the flawless magic of Tolstoy's style", and by William Faulkner, who described the novel as "the best ever written".[2] The novel is currently enjoying popularity, as demonstrated by a recent poll of 125 contemporary authors by J. Peder Zane, published in 2007 in "The Top Ten" in Time, which declared that Anna Karenina is the "greatest novel ever written".[3]

Main characters

  • Princess Anna Arkadyevna Karenina (Анна Аркадьевна Каренина): Stepan Oblonsky's sister, Karenin's wife and Vronsky's lover.
  • Count Alexei Kirillovich Vronsky (Aлекceй Kиpиллoвич Bpoнcкий): Lover of Anna, a cavalry officer
  • Prince Stepan "Stiva" Arkadyevich Oblonsky (Cтeпaн "Cтивa" Aркaдьевич Oблoнский): a civil servant and Anna's brother, a man about town, 34.
  • Princess Darya "Dolly" Alexandrovna Oblonskaya (Дарья "Дoлли" Aлeксaндрoвна Oблoнскaя): Stepan's wife, 33
  • Count Alexei Alexandrovich Karenin: a senior statesman and Anna's husband, twenty years her senior.
  • Konstantin "Kostya" Dmitrievich Levin: Kitty's suitor and then husband, old friend of Stiva, a landowner, 32.
  • Nikolai Dmitrievich Levin: Konstantin's elder brother, an impoverished alcoholic.
  • Sergius Ivanovich Koznyshev: Konstantin's half-brother, a celebrated writer, 40.
  • Princess Ekaterina "Kitty" Alexandrovna Shcherbatskaya: Dolly's younger sister and later Levin's wife, 18.
  • Princess Elizaveta "Betsy": Anna's wealthy, morally loose society friend and Vronsky's cousin
  • Countess Lidia Ivanovna: Leader of a high society circle that includes Karenin, and shuns Princess Betsy and her circle. She maintains an interest in the mystical and spiritual
  • Countess Vronskaya: Vronsky's mother
  • Sergei "Seryozha" Alexeyich Karenin: Anna and Karenin's son
  • Anna "Annie": Anna and Vronsky's daughter
  • Varenka: a young orphaned girl, semi-adopted by an ailing Russian noblewoman, whom Kitty befriends while abroad

Plot introduction

Anna Karenina is the tragedy of married aristocrat and socialite Anna Karenina and her affair with the affluent Count Vronsky. The story starts when she arrives in the midst of a family broken up by her brother's unbridled womanizing—something that prefigures her own later situation, though with less tolerance for her by others.

A bachelor, Vronsky is willing to marry her if she would agree to leave her husband Karenin, a government official, but she is vulnerable to the pressures of Russian social norms, her own insecurities and Karenin's indecision. Although Vronsky eventually takes Anna to Europe where they can be together, they have trouble making friends. Back in Russia, she is shunned, becoming further isolated and anxious, while Vronsky pursues his social life. Despite Vronsky's reassurances she grows increasingly possessive and paranoid about his imagined infidelity, fears losing control.

A parallel story within the novel is of Levin, a country landowner who desires to marry Kitty, sister to Dolly and sister-in-law to Anna's brother Oblonsky. Levin has to propose twice before Kitty accepts. The novel details Levin's difficulties managing his estate, his eventual marriage, and personal issues, until the birth of Levin's first child.

Plot summary

The novel is divided into eight parts. Its epigraph is Vengeance is mine, I will repay, from Romans 12:19, which in turn is quoting from Deuteronomy 32:35.

The novel begins with one of its most quoted lines:

Happy families are all alike; every unhappy family is unhappy in its own way.

Part 1

Tatiana Samoilova as Anna in the 1967 Soviet screen version of Tolstoy's novel

The novel opens with a scene introducing Prince Stepan Arkadyevitch Oblonsky ("Stiva"), a Moscow aristocrat and civil servant who has been unfaithful to his wife Darya Alexandrovna, ("Dolly"). Dolly has discovered his affair—with the family's governess—and the house and family are in turmoil. Stiva's affair and his reaction to his wife's distress show an amorous personality that he cannot seem to suppress. In the midst of the turmoil, Stiva reminds the household that his married sister, Anna Arkadyevna Karenina, is coming to visit from Saint Petersburg.

Meanwhile, Stiva's childhood friend, Konstantin Dmitrievich Levin ("Kostya"), arrives in Moscow with the aim of proposing to Dolly's youngest sister, Princess Katerina Alexandrovna Shcherbatskaya ("Kitty"). Levin is a passionate, restless, but shy aristocratic landowner who, unlike his Moscow friends, chooses to live in the country on his large estate. He discovers that Kitty is also being pursued by Count Alexei Kirillovich Vronsky, an army officer.

Whilst at the railway station to meet Anna, Stiva bumps into Vronsky; he is there to meet his mother, the Countess Vronskaya. Anna and Vronskaya have traveled and talked together in the same carriage. As the family members are reunited, and Vronsky sees Anna for the first time, a railway worker accidentally falls in front of a train and is killed. Anna interprets this as an "evil omen." Vronsky, however, is infatuated with her. Anna is uneasy about leaving her young son, Seryozha, alone for the first time. She also talks openly and emotionally to Dolly about Stiva's affair, convincing her that Stiva stills loves her despite the infidelity. Dolly is moved by Anna's speeches and decides to forgive Stiva.

Kitty comes to visit Dolly and Anna. Kitty, just eighteen, is in her first season as a debutante and is expected to make an excellent match with a man of her social standing. Vronsky has been paying her considerable attention, and she expects to dance with him at a ball that evening. Kitty is very struck by Anna's beauty and personality, and becomes infatuated with her just as Vronsky is. When Levin proposes to Kitty at her home, she clumsily turns him down, believing she is in love with Vronsky and that he will propose to her.

At the ball, Vronsky dances with Anna, choosing her as a partner over a shocked and heartbroken Kitty. Kitty realises that Vronsky has fallen in love with Anna, and has no intention of marrying her despite his overt flirtations; Vronsky has regarded his interactions with Kitty merely as a source of amusement, and assumes that Kitty has acted for the same reasons. Anna, shaken by her emotional and physical response to Vronsky, returns at once to Saint Petersburg. Vronsky travels on the same train. During the overnight journey, the two meet and Vronsky confesses his love. Anna refuses him, although she is deeply affected by his attentions to her.

Levin, crushed by Kitty's refusal, returns to his estate farm, abandoning any hope of marriage. Anna returns to her husband Alexei Alexandrovich Karenin, a senior government official, and their son Sergei ("Seryozha") in Saint Petersburg. On seeing her husband for the first time since her encounter with Vronsky, Anna realises that she finds him repulsive.

Part 2

The Shcherbatskys consult doctors over Kitty's health, which has been failing since Vronsky's rejection. A specialist advises that Kitty should go abroad to a health spa to recover. Dolly speaks to Kitty and understands she is suffering because of Vronsky and Levin, whom she cares for and had hurt in vain. Kitty, humiliated by Vronsky and tormented by her rejection of Levin, upsets her sister by referring to Stiva's infidelity, saying she could never love a man who betrayed her. Meanwhile, Stiva visits Levin on his country estate while selling a nearby plot of land.

In Saint Petersburg, Anna begins to spend more time in the inner circle of Princess Betsy, a fashionable socialite and Vronsky's cousin. Vronsky continues to pursue Anna. Although she initially tries to reject him, she eventually succumbs to his attentions. Karenin reminds his wife of the impropriety of paying too much attention to Vronsky in public, which is becoming the subject of gossip. He is concerned about the couple's public image, although he believes that Anna is above suspicion.

Vronsky – a keen horseman – takes part in a steeplechase event, during which he rides his mare Frou-Frou too hard and she falls and breaks her back. Anna is unable to hide her distress during the accident. Later, Anna tells Vronsky that she is pregnant with his child. Karenin is also present at the races, and remarks to Anna that her behaviour is improper. Anna, in a state of extreme distress and emotion, confesses her affair to her husband. Karenin asks her to break it off to avoid further gossip, believing that their marriage will be preserved.

Kitty and her mother travel to a German spa to recover from her ill health. There, they meet the Pietist Madame Stahl and the saintly Varenka, her adopted daughter. Influenced by Varenka, Kitty becomes extremely pious, but becomes disillusioned by her father's criticism. She then returns to Moscow.

Part 3

Levin continues working on his estate, a setting closely tied to his spiritual thoughts and struggles. He wrestles with the idea of falseness, wondering how he should go about ridding himself of it, and criticising what he feels is falseness in others. He develops ideas relating to agriculture, and the unique relationship between the agricultural labourer and his native land and culture. He comes to believe that the agricultural reforms of Europe will not work in Russia because of the unique culture and personality of the Russian peasant.

When Levin visits Dolly, she attempts to understand what happened between him and Kitty and to explain Kitty's behaviour. Levin is very agitated by Dolly's talk about Kitty, and he begins to feel distant from Dolly as he perceives her loving behaviour towards her children as false. Levin resolves to forget Kitty, and contemplates the possibility of marriage to a peasant woman. However, a chance sighting of Kitty in her carriage makes Levin realise he still loves her. Meanwhile, in Saint Petersburg, Karenin refuses to separate from Anna, insisting that their relationship will continue. He threatens to take away Seryozha if she persists in her affair with Vronsky.

Part 4

When Anna and Vronsky continue seeing each other, Karenin consults with a lawyer about obtaining a divorce. During the time period, a divorce in Russia could only be requested by the innocent party in an affair, and required either that the guilty party confessed — which would ruin Anna's position in society and bar her from re-marrying — or that the guilty party be discovered in the act of adultery. Karenin forces Anna to hand over some of Vronsky's love letters, which the lawyer deems insufficient as proof of the affair. Stiva and Dolly argue against Karenin's drive for a divorce.

Karenin changes his plans after hearing that Anna is dying after the difficult birth of her daughter, Annie. At her bedside, Karenin forgives Vronsky. However, Vronsky, embarrassed by Karenin's magnanimity, unsuccessfully attempts suicide by shooting himself. As Anna recovers, she finds that she cannot bear living with Karenin despite his forgiveness and his attachment to Annie. When she hears that Vronsky is about to leave for a military posting in Tashkent, she becomes desperate. Anna and Vronsky reunite and elope to Europe, leaving Seryozha and leaving Karenin's offer of divorce unaccepted.

Meanwhile, Stiva acts as a matchmaker with Levin: he arranges a meeting between him and Kitty, which results in their reconciliation and betrothal.

Part 5

Levin and Kitty marry and start their new life on his country estate. Although the couple are happy, they undergo a bitter and stressful first three months of marriage. Levin feels dissatisfied at the amount of time Kitty wants to spend with him, and dwells on his ability to be productive as he was as a bachelor. When the marriage starts to improve, Levin learns that his brother, Nikolai, is dying of consumption. Kitty offers to accompany Levin on his journey to see Nikolai, and proves herself a great help in nursing Nikolai. Seeing his wife take charge of the situation in an infinitely more capable manner than if he were without her, Levin's love for Kitty grows. Kitty eventually learns that she is pregnant.

In Europe, Vronsky and Anna struggle to find friends who will accept them. Whilst Anna is happy to be finally alone with Vronsky, he feels suffocated. They cannot socialize with Russians of their own class, and find it difficult to amuse themselves. Vronsky, who believed that being with Anna was the key to his happiness, finds himself increasingly bored and unsatisfied. He takes up painting and makes an attempt to patronize an émigré Russian artist of genius. However, Vronsky cannot see that his own art lacks talent and passion, and that his conversation about art is really pretentious. Increasingly restless, Anna and Vronsky decide to return to Russia.

In Saint Petersburg, Anna and Vronsky stay in one of the best hotels, but take separate suites. It becomes clear that whilst Vronsky is still able to move freely in Russian society, Anna is barred from it. Even her old friend, Princess Betsy — who has had affairs herself — evades her company. Anna starts to become anxious that Vronsky no longer loves her. Meanwhile, Karenin is comforted by Countess Lidia Ivanovna, an enthusiast of religious and mystic ideas fashionable with the upper classes. She advises him to keep Seryozha away from Anna and to tell him his mother is dead. However, Seryozha refuses to believe that this is true. Anna visits Seryozha uninvited on his ninth birthday, but is discovered by Karenin.

Anna, desperate to regain at least some of her former position in society, attends a show at the theatre at which all of Saint Petersburg's high society are present. Vronsky begs her not to go, but is unable to bring himself to explain to her why she cannot attend. At the theatre, Anna is openly snubbed by her former friends, one of whom makes a deliberate scene and leaves the theatre. Anna is devastated. Unable to find a place for themselves in Saint Petersburg, Anna and Vronsky leave for Vronsky's own country estate.

Part 6

Dolly, her mother the Princess Scherbatskaya, and Dolly's children spend the summer with Levin and Kitty. The Levins' life is simple and unaffected, although Levin is uneasy at the "invasion" of so many Scherbatskys. He becomes extremely jealous when one of the visitors, Veslovsky, flirts openly with the pregnant Kitty. Levin tries to overcome his feelings, but eventually succumbs to them and makes Veslovsky leave his house in an embarrassing scene. Veslovsky immediately goes to stay with Anna and Vronsky at their nearby estate.

When Dolly visits Anna, she is struck by the difference between the Levins' aristocratic-yet-simple home life and Vronsky's overtly luxurious and lavish country estate. She is also unable to keep pace with Anna's fashionable dresses or Vronsky's extravagant spending on a hospital he is building. In addition, all is not quite well with Anna and Vronsky. Dolly notices Anna's anxious behaviour and her uncomfortable flirtations with Veslovsky. Vronsky makes an emotional request to Dolly, asking her to convince Anna to divorce Karenin so that the two might marry and live normally.

Anna has become intensely jealous of Vronsky, and cannot bear it when he leaves her even for short excursions. When Vronsky leaves for several days of provincial elections, Anna becomes convinced that she must marry him in order to prevent him from leaving her. After Anna writes to Karenin, she and Vronsky leave the countryside for Moscow.

Part 7

While visiting Moscow for Kitty's confinement, Levin quickly gets used to the city's fast-paced, expensive and frivolous society life. He accompanies Stiva to a gentleman's club, where the two meet Vronsky. Levin and Stiva pay a visit to Anna, who is occupying her empty days by being a patroness to an orphaned English girl. Levin is initially uneasy about the visit, but Anna easily puts him under her spell. When he admits to Kitty that he has visited Anna, she accuses him of falling in love with her. The couple are later reconciled, realising that Moscow society life has had a negative, corrupting effect on Levin.

Anna cannot understand why she can attract a man like Levin, who has a young and beautiful new wife, but cannot attract Vronsky as she did once. Her relationship with Vronsky is under increasing strain, as he can move freely in Russian society while she remains excluded. Her increasing bitterness, boredom, and jealousy cause the couple to argue. Anna uses morphine to help her sleep, a habit she had begun while living with Vronsky at his country estate. She has become dependent on it. Meanwhile, after a long and difficult labour, Kitty gives birth to a son, Dmitri, nicknamed "Mitya". Levin is both horrified and profoundly moved by the sight of the tiny, helpless baby.

Stiva visits Karenin to seek his commendation for a new post. During the visit he asks him to grant Anna a divorce (which would require him to confess to a non-existent affair), but Karenin's decisions are now governed by a French "clairvoyant" recommended by Lidia Ivanovna. The clairvoyant apparently had a vision in his sleep during Stiva's visit and gives Karenin a cryptic message which is interpreted that Karenin must decline the request for divorce.

Anna becomes increasingly jealous and irrational towards Vronsky, whom she suspects of having love affairs with other women. She is also convinced that he will give in to his mother's plans to marry him off to a rich society woman. They have a bitter row and Anna believes the relationship is over. She starts to think of suicide as an escape from her torments. In her mental and emotional confusion, she sends a telegram to Vronsky asking him to come home to her, and then pays a visit to Dolly and Kitty. Anna's confusion and vengeful anger overcome her, and in a parallel to the railway worker's accidental death in part 1, she commits suicide by throwing herself in the path of an oncoming train.

Part 8

Levin's brother's latest book is ignored by readers and critics and he joins the new pan-Slavic movement. Stiva gets the post he desired so much, and Karenin takes custody of Vronsky's and Anna's baby Annie. A group of Russian volunteers, including the suicidal Vronsky, depart from Russia to fight in the Orthodox Serbian revolt that has broken out against the Turks. Meanwhile, a lightning storm occurs at Levin's estate while his wife and newborn son are outside, and in his fear for their safety Levin realizes that he does indeed love his son as much he loves Kitty. Kitty's family is concerned that a man as altruistic as her husband does not consider himself to be a Christian, but after speaking at length to a peasant, Levin decides that devotion to living righteously is the only justifiable reason for living. Unable to tell anyone about this revelation, Levin is initially displeased that this change of thought does not bring with it a complete transformation to righteousness. However, at the end of the story Levin comes to the conclusion that his new beliefs are acceptable and that other non-Christian religions contain similar views on goodness that are also entirely credible. His life can now be meaningfully and truthfully oriented toward goodness.

Style

Tolstoy's style in Anna Karenina is considered by many critics to be transitional, forming a bridge between the realist and modernist novel. The novel is narrated from a third-person-omniscient perspective, shifting the narrator's attention to several major characters, though most frequently focusing on the opposing lifestyles and attitudes of its central protagonists of Anna and Levin. As such, each of the novel's eight sections contains internal variations in tone: it assumes a relaxed voice when following Stepan Oblonsky's thoughts and actions and a much more tense voice when describing Levin's social encounters. Much of the novel's seventh section depicts Anna's thoughts fluidly, following each one of her ruminations and free associations with its immediate successor. This groundbreaking use of stream-of-consciousness would be utilised by such later authors as James Joyce, Virginia Woolf, and William Faulkner.

Also of significance is Tolstoy's use of real events in his narrative, to lend greater verisimilitude to the fictional events of his narrative. Characters debate significant sociopolitical issues affecting Russia in the latter half of the nineteenth century, such as the place and role of the Russian peasant in society, education reform, and women's rights. Tolstoy's depiction of the characters in these debates, and of their arguments, allows him to communicate his own political beliefs. Characters often attend similar social functions to those which Tolstoy attended, and he includes in these passages his own observations of the ideologies, behaviors, and ideas running through contemporary Russia through the thoughts of Levin. The broad array of situations and ideas depicted in Anna Karenina allows Tolstoy to present a treatise on his era's Russia, and, by virtue of its very breadth and depth, all of human society. This stylistic technique, as well as the novel's use of perspective, greatly contributes to the thematic structure of Anna Karenina.[citation needed]

Major themes

Anna Karenina is commonly thought to explore the themes of hypocrisy, jealousy, faith, fidelity, family, marriage, society, progress, carnal desire and passion, and the agrarian connection to land in contrast to the lifestyles of the city.[4] Translator Rosemary Edmonds wrote that Tolstoy doesn't explicitly moralise in the book, he allows his themes to emerge naturally from the "vast panorama of Russian life." She also says one of the novel's key messages is that "no one may build their happiness on another's pain." [5]

Levin is often considered as a semi-autobiographical portrayal of Tolstoy's own beliefs, struggles and life events.[5] Tolstoy's first name is "Lev", and the Russian surname "Levin" means "of Lev". According to footnotes in the Pevear/Volokhonsky translation, the viewpoints Levin supports throughout the novel in his arguments match Tolstoy's outspoken views on the same issues. Moreover, according to W. Gareth Jones, Levin proposed to Kitty in the same way as Tolstoy to Sophia Behrs. Additionally, Levin's request that his fiancée read his diary as a way of disclosing his faults and previous sexual encounters, parallels Tolstoy's own requests to his fiancée Sophia Behrs.[6]

Film, television, and theatrical adaptations and references

Further information: Adaptations of Anna Karenina

Anna Karenina in literature

  • The novel is referenced in Vladimir Nabokov's Ada or Ardor: A Family Chronicle.
  • Repeated reference is made explicitly to Leo Tolstoy and Anna Karenina in Muriel Barbery's Elegance of the Hedgehog
  • Anna Karenina is also mentioned in R. L. Stine's Goosebumps series Don't Go To Sleep, in which the lead character has trouble pronouncing Kitty's name.
  • Mikhail Bulgakov makes reference to the Oblonsky household and Tolstoy in The Master and Margarita.
  • In Jasper Fforde's novel Lost in a Good Book, a recurring joke is two unnamed "crowd-scene" characters from Anna Karenina discussing its plot.
  • In the short-story "Sleep" by Haruki Murakami, the main character, an insomniac housewife, spends much time reading through and considering "Anna Karenina". Furthermore, in the short story "Super-Frog Saves Tokyo", by the same author, the character of Frog references "Anna Karenina" when discussing how to beat Worm.
  • Martin Amis's character Lev, in the novel House of Meetings, compares the protagonist with Anna Karenina's Vronsky.
  • In the novel The Unbearable Lightness of Being Anna Karenina is compared with the novel-like beauty of life, and Tereza arrives at Tomas's apartment with a copy of the book under her arm. In addition, Tereza and Tomas have a pet dog named Karenin, after Anna's husband.
  • Anna Karenina plays a central role in Nilo Cruz's Pulitzer Prize-winning play Anna in the Tropics (2002), set in 1929, as a new lector, Juan Julian, reads the text as background for cigar rollers in the Ybor City section of Tampa, FL. As he reads the story of adultery, the workers' passions are inflamed, and end in tragedy like Anna's.
  • In "The Slippery Slope", the 10th book in A Series of Unfortunate Events by Lemony Snicket, the Baudelaire orphans, Violet and Klaus, and the third Quagmire triplet, Quigley, need to use the central theme of Anna Karenina as the final password to open the Vernacularly Fastened Door leading to the V.F.D. Headquarters. Klaus remembered how his mother had read it to him one summer when he was young as a summer reading book. Klaus summarized the theme with these words: "The central theme of Anna Karenina is that a rural life of moral simplicity, despite its monotony, is the preferable personal narrative to a daring life of impulsive passion, which only leads to tragedy." Esme Squalor later said she once was supposed to read the book over the summer, but she decided it would never help her in her life and threw it in the fireplace.
  • Guns, Germs, and Steel (by Jared Diamond) has a chapter (#9) on the domestication of large mammals, titled "Zebras, Unhappy Marriages, and the Anna Karenina Principle." This chapter begins with a variation on the quote above.
  • in Nicholas Sparks's book The Last Song, the main character, Ronnie, reads Anna Karenina and other Tolstoy books throughout the story.
  • in Anton Chekhov's The Duel, there are two references. In Chapter II: "And he remembered that when Anna Karenin got tired of her husband, what she disliked most of all was his ears, and thought: 'How true it is, how true!'", and again in Chapter XII: "It's not for nothing they whistle. The fact that girls strangle their illegitimate children and go to prison for it, and that Anna Karenin flung herself under the train,..."
  • in Allison Bechdel's graphic-novel Fun Home. Tolstoy's book is featured on the first page and is the first of many books mentioned throughout the narrative. Bechdel suggestively depicts father Bruce Bechdel reading the novel.
  • In Cynthia Voigt's book A Solitary Blue, Voigt quotes Anna Karenina's opening line:Happy families are all alike; every unhappy family is unhappy in its own way.
  • In Emily Perkin's short story, "Circles", the book is referenced heavily and parallel's are drawn between Anna Karenina's emotional loss of Vronsky and a teenaged girls loss of a family member.

References

  1. ^ Nabokov, Vladimir (1980). Lectures on Russian Literature. New York: Harvest. p. 137 (note). ISBN 0-15-649591-0.
  2. ^ Tolstoy, Leo. Anna Karenina. Penguin Publishing. ISBN 978-0-14-044917-4. Faulkner's opinion is used as an advert on the inside cover.
  3. ^ Grossman, Lev (January 15, 2007). "The 10 Greatest Books of All Time". Time.
  4. ^ Study Guides & Essay Editing | GradeSaver
  5. ^ a b Tolstoy Anna Karneni, Penguin, 1954, ISBN 0-14-044041-0, see introduction by Rosemary Edmonds
  6. ^ Feuer, Kathryn B. Tolstoy and the Genesis of War and Peace, Cornell University Press, 1996, ISBN 0-8014-1902-6

Further reading

Translations into English

  • Anna Karénina, Translated by Nathan Haskell Dole (Thomas Y. Crowell & Co., New York, 1886)
  • Anna Karenin, Translated by Constance Garnett. (1901) Still widely reprinted.
  • Anna Karenina, Translated by Louise and Aylmer Maude (Oxford University Press, Oxford, 1918)
  • Anna Karenin, Translated by Rosemary Edmonds (Penguin Classics, Harmondsworth, Middlesex, 1954)
  • Anna Karenina, Translated by Joel Carmichael (Bantam Books, New York, 1960)
  • Anna Karenina, Translated by David Magarshack (A Signet Classic, New American Library, New York and Scarborough, Ontario, 1961)
  • Anna Karénina, Translated by Margaret Wettlin (Progress Publishers, 1978)
  • Anna Karenina, Translated by Richard Pevear and Larissa Volokhonsky (Allen Lane/Penguin, London, 2000)
  • Anna Karenina, Translated by Kyril Zinovieff and Jenny Hughes (Oneworld Classics 2008) ISBN 978-1-84749-059-9

Biographical and literary criticism

  • Bakhtin, Mikhail, The Dialogic Imagination, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (University of Texas Press, Austin, 1981)
  • Bayley, John, Tolstoy and the Novel (Chatto and Windus, London, 1966)
  • Berlin, Isaiah, The Hedgehog and the Fox: An Essay on Tolstoy's View of History (Simon & Schuster, New York, 1966; Weidenfeld and Nicolson, London, 1967)
  • Eikhenbaum, Boris, Tolstoi in the Seventies, trans. Albert Kaspin (Ardis, Ann Arbor, 1982)
  • Evans, Mary, Anna Karenina (Routledge, London and New York, 1989)
  • Gifford, Henry, Tolstoy (Oxford University Press, Oxford, 1982)
  • Gifford, Henry (ed) Leo Tolstoy (Penguin Critical Anthologies, Harmondsworth, 1971)
  • Leavis, F. R., Anna Karenina and Other Essays (Chatto and Windus, London, 1967)
  • Mandelker, Amy, Framing 'Anna Karenina': Tolstoy, the Woman Question, and the Victorian Novel (Ohio State University Press, Columbus, 1993)
  • Morson, Gary Saul, Anna Karenina in our time: seeing more wisely (Yale University Press 2007) read parts at Google Books
  • Nabokov, Vladimir, Lectures on Russian Literature (Weidenfeld and Nicolson, London and Harcourt Brace Jovanovich, New York, 1981)
  • Orwin, Donna Tussing, Tolstoy's Art and Thought, 1847–1880 (Princeton University Press, Princeton, 1993)
  • Speirs, Logan, Tolstoy and Chekhov (Cambridge University Press, Cambridge, 1971)
  • Strakhov, Nikolai, N., "Levin and Social Chaos", in Gibian, ed., (W. W. Norton & Company, New York, 2005).
  • Steiner, George, Tolstoy or Dostoevsky: An Essay in Contrast (Faber and Faber, London, 1959)
  • Thorlby, Anthony, Anna Karenina (Cambridge University Press, Cambridge and New York, 1987)
  • Tolstoy, Leo, Correspondence, 2. vols., selected, ed. and trans. by R. F. Christian (Athlone Press, London and Scribner, New York, 1978)
  • Tolstoy, Leo, Diaries, ed. and trans. by R. F. Christian (Athlone Press, London and Scribner, New York, 1985)
  • Tolstoy, Sophia A., The Diaries of Sophia Tolstoy, ed. O. A. Golinenko, trans. Cathy Porter (Random House, New York, 1985)
  • Trainini, Marco, Vendetta, tienimi compagnia. Due vendicatori in «Middlemarch» di George Eliot e «Anna Karenina» di Lev Tolstoj, Milano, Arcipelago Edizioni, 2012, ISBN 8876954759.
  • Turner, C. J. G., A Karenina Companion (Wilfrid Laurier University Press, Waterloo, 1993)
  • Wasiolek, Edward, Critical Essays on Tolstoy (G. K. Hall, Boston, 1986)
  • Wasiolek, Edward, Tolstoy's Major Fiction (University of Chicago Press, Chicago, 1978)
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