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Why is communication important in a marriage
The treatment of marriage in Anna Karenina
Why is communication important in a marriage
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In Anna Karenina, Leo Tolstoy presents marriage in a realistic sense, marriage is not an easy institution; couples must work through the rough patches in order for it to be strong; he also presents passion as a force that can have a positive influence, but simultaneously presents passion as a factor that can have a corrupting power on a person’s life. These two couples, Levin and Kitty and Vronsky and Anna, are compared throughout the course of the novel. Levin and Kitty differ from Anna and Vronsky because they do not communicate in the same ways. Kitty and Levin try to resolve issues as they arise, so that they do not create a bigger issue. Another difference is that Ann and Vronsky are sheltered from society because of Anna’s position as a fallen woman. Both of the couples have children, Levin and Kitty raise their child; however, Anna and Vronsky pay little attention to their daughter. Their relationships have drastic differences. Where Anna and Vronsky’s relationship is based on passion, Levin and Kitty’s is more of a spiritual one.
One of the key aspects of Kitty and Levin’s relationship, which lacks in Anna and Vronsky’s relationship, is communication. When issues arise in Levin and Kitty’s marriage, they try to resolve them by talking with each other and seeking a solution to the problem. One instance is when Levin gets the cold feet syndrome before he gets married. Levin beings to wonder, “suppose she does not love me” (pg.404). Even though it is not custom for the groom to see the bride until the wedding starts, he goes and talks to Kitty. The issue is resolved. This has set the tone of their relationship because whenever an issue comes up, they talk about it. Another instance involves Kitty seeing Vronsky for the first...
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...n a problem comes up and this causes a successful marriage. Because of Anna’s affair, she and Vronsky are not accepted by society. Children are also brought into each relationship. Kitty and Levin are very concerned parents; whereas Anna and Vronksy do not even take care of their child. Infatuation with passion can “bring about final destruction…” (Gromeka, pg.769). Passion can cause a person’s life to be completely altered, as it does with all of these characters presented. Anna’s passion for Vronsky leads to her death. By the end of the novel, Vronsky feels as if Anna is his only reason to live and because of her death commits suicide by joining the military. On the other hand, passion can present a positive influence, as it does with Kitty and Levin. They become closer and that eventually leads to their marriage, which causes them both to become confident people.
Overall, Magdalena and Balthasar had what seemed to be the “ideal” relationship all the while obtaining a marriage that was fitting for their own contentment. Although dealing with personal burdens and hardships, their overall comprehensive relationship held love.
An author of a book plays a crucial part in the novel’s creation. The book tells you a little a bit about the author, his or her creativity and lastly their intellectual capacity. The author of the book The Princess Bride is William Goldman. Goldman was born August 12, 1931 in Chicago, Illionis, U.S. Goldman is a novelist, playwright, and screenwriter. He got his BA degree at Oberlin College in 1952 and his MA degree at Columbia University in 1956. William Goldman had published five novels and had three plays produced on Broadway prior to writing his screenplays. Two of his notable works include his novel Marathon Man and comedy-fantasy novel The Princess Bride, both of which Goldman converted to film. William Goldman has been an influence to other authors such as: Stephanie Meyer, Dean Koontz, and Joesph Finder. People who were an influence to Goldman were: Irwin Shaw, Ingmar Bergman, and F. Scott Fitzgerald.
Unlike a typical husband-wife relationship from that era: separated responsibilities and cold demeanors unless procreation is the goal; Magdalena and Balthasar appear to have a genuine affection for one another. Or at least, Magdalena is in awe of her husband. It is clear in the language of her letters. In the first, she expresses a desire—overwhelming and almost uncontrollable in its pull— to jump on a horse and ride to his whereabouts. However, in regards to her obedience to him, she has not. Also, in every ending of her letter, she does not tie it up in the goodbye with neutral or distant words. Rather, she shows her husband her good will, her love for him through wishing him swell luck and repeatedly referring to him as her “heart’s treasure.” An existing amour is alive between Magdalena and Balthasar, a completely foreign notion to many others who have joined in union during that
After Levin and Kitty get married, it marks a turn in Levin’s search for truth. He is forced to go to confession in order to be married and, while he is suspicious towards the religious dogma, the doubts that he expresses to the priest set in motion the chain of thoughts that lead him to his eventual conversion. Levin is an example that no man is an island and his marriage to Kitty is an affirmation of his participation in something bigger than himself—being a part of God’s larger will. While Levin does not necessarily fit into the mold of the Russian Church, just like Tolstoy, that does not discredit his faith or make it any less valuable.
Finally, even though, for a long time, the roles of woman in a relationship have been established to be what I already explained, we see that these two protagonists broke that conception and established new ways of behaving in them. One did it by having an affair with another man and expressing freely her sexuality and the other by breaking free from the prison her marriage represented and discovering her true self. The idea that unites the both is that, in their own way, they defied many beliefs and started a new way of thinking and a new perception of life, love and relationships.
Throughout the short story, “The Lady with the Lapdog”, Chekhov’s strays away from the classical love story expectations by realistically portraying Anna's and Gurov's relationship. Chekhov follows the structure for a romantic tale to a bare minimum, but, ultimately, diverts from the commonly known aspects of a love story, as described by author Leigh Michaels’ “The Essential Elements of Writing a Romance Novel”. Chekok’s alteration from a classical love story thwarts the reader’s expectations by demonstrating realism and uncertainty found in human nature. Chekhov’s technique of applying a realistic lens on this couple raises more questions than answers, leaving much ambiguity for the reader’s own interpretation. By exploring the nuances in human nature, Chekhov illustrates a forbidden love that juxtaposes the universal rubric for what a love story should contain.
“Like a river flows so surely to the sea darling, so it goes some things are meant to be.” In literature there have been a copious amount of works that can be attributed to the theme of love and marriage. These works convey the thoughts and actions in which we as people handle every day, and are meant to depict how both love and marriage can effect one’s life. This theme is evident in both “The Storm” by Kate Chopin and “The Yellow Wallpaper” by Charlotte Gilman; both stories have the underlying theme of love and marriage, but are interpreted in different ways. Both in “The Storm” and in “The Yellow Wallpaper,” the women are the main focus of the story. In “The Storm” you have Calixta, a seemingly happy married woman who cheats on her husband with an “old-time infatuation” during a storm, and then proceeds to go about the rest of her day as if nothing has happened when her husband and son return. Then you have “The Yellow Wallpaper” where the narrator—who remains nameless—is basically kept prisoner in her own house by her husband and eventually is driven to the point of insanity.
“The Storm” by Kate Chopin states that societies should not keep two people who have the potential for consummate love apart even though they may be divided by class because doing so would leave the two people unhappy and unfulfilled. In “The Storm,” the characters Calixta and Bobinot do not seem to be happy and fulfilled in the marriage. This inference can see this if we try to see how they fit in the Love Triangle created by Robert Sternberg which measures if two people have consummate love for each other. Before describing how Calixta and Bobinot do not appear to be happy and fulfilled, it is necessary to explain the Love Triangle. It is necessary to remember the theme of “The Storm” is that people who have consummate love for each other should not be kept apart or else they will be unhappy and unfulfilled.
Anna transcribes her memories in a way that transitions from being able to love freely to being forced to love Alexander Karmyshev out of obligation; this was an arranged marriage by her mother. Anna sees the role of a noblewomen as being completely submissive towards their husbands even under unbearable conditions. The lessons learned from her mother helped shape and control her life. Labzina’s mother instilled the lessons of submission and survival in her mind before departing. Her mother’s motivation for teaching her these things was so that elite people would intercede on her behalf through respect for her. Her mother’s teachings were to:
It seems as though Pyotr and Alexeich both represent different aspects of Chekhov’s father, and Chekhov himself is Anna. Chekov’s father was aloof from his family and came from a lower class background; like Modest Alexeich, Chekhov’s father also fawned at the feet of his social superiors. Chekhov, in contrast, was an unconventional boy. He eventually broke from his family’s lower class position and became a doctor; however, throughout his school and career he performed additional odd jobs to earn money he could send to his father. Also like Anna, Chekhov loved to be with people (Payne xiii, xvii-xxi). Comparing the two, then, it would seem as if Chekhov identifies with Anna as she struggles to find her social identity and wrestles with her desires and the needs of those she loves. This tone gives the story a melancholy mood and leads to a bittersweet conclusion. The ending seems happy for Anna, yet the reader is left to wonder what the ending represents. Did her father and husband receive the dues for their behavior? Are Anna’s actions a normal product of the transformation from youth to adulthood, or did she come to completely discard respect and
Chekhov reminds the readers that Anna is young compared to Gurov. Chekhov’s novel states, “As he went to bed he reminded himself that only a short time ago she had been a schoolgirl, like his own daughter” (3). The images of Anna being a schoolgirl not too long ago, when Gurov has a daughter of similar age, brings the sense of abnormality between the relationship of Gurov and Anna. It’s hard to imagine such a huge difference in lovers especially in the strict culture of Russia in the late 19th century where these occasions were unthought-of. The uncomforting thought of the difference in age goes back to differ the meanings of love and romance in the novel because against all odds and differences, Anna and Gurov hide away from these obvious facts. The thought of love in this culture is between a man and woman of similar age. According to Chekhov’s novel, “He was sick of his children, sick of the bank, felt not the slightest desire to go anywhere or talk about anything” (9). Chekhov’s description of sickness reveals that Gurov has a huge moment of denial, denial of family and denial of age. This denial of age, helps Gurov cope with the oddities of their relationship, the oddities of the love they had with the characteristics of a romance. Gurov was trying to change the definition of their relationship on his own mental terms. While Gurov was trying to bring out a spontaneous, younger
While it has traditionally been men who have attached the "ball and chain" philosophy to marriage, Kate Chopin gave readers a woman’s view of how repressive and confining marriage can be for a woman, both spiritually and sexually. While many of her works incorporated the notion of women as repressed beings ready to erupt into a sexual a hurricane, none were as tempestuous as The Storm.
Beyond killing herself though, this last scene symbolizes the idea that Anna finally got to a state in which she would face her judgement, and because of this, the reader did not have to ascribe her to any kind of punishment, as God himself is the one to determine what is to happen to her from this point onward. Even though she is the only one who faces a wrath following her wrongdoing, Tolstoy still hinted a sort of fondness towards the character of Anna, as she was simply a victim of a dead marriage. Under any other circumstance, if she would not have been married, her story would have been accepted as a love story. But since she was married, she should have accepted the unhappiness of her marriage, as to some extent or another, it seems to be a thread within the familial structure (as depicted in the opening line of the novel). The very fact that the novel started out with the infidelity of Stiva and his ease to reincorporate himself back into the society, while Anna ultimately met her maker symbolizes a double standard of gender that existed in this structure of
Marriage is a powerful union between two people who vow under oath to love each other for better, for worse, for richer, for poorer, in sickness and in health. This sacred bond is a complicated union; one that can culminate in absolute joy or in utter disarray. One factor that can differentiate between a journey of harmony or calamity is one’s motives. Jane Austen’s Pride and Prejudice is a novel of manners, where Elizabeth Bennet and her aristocratic suitor Mr. Darcy’s love unfolds as her prejudice and his pride abate. Anton Chekhov’s “Anna on the Neck” explores class distinction, as an impecunious young woman marries a wealthy man. Both Jane Austen’s Pride and Prejudice and Anton Chekhov’s “Anna on the Neck” utilize
First, we take a look at two of the protagonist, Vladimir and Estragon have a very comical and nonsense relationship, completely opposites, they however compliment one another perfectly and offset the lonesomeness and personality of each one another. Vladimir for example is good at recollecting things and events, constantly he reminds Estragon of events past or of things such as the gospels in the Bible, whereas Estragon keeps forgetting things and sometimes cannot remember...