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Anna karenina and feminism
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"Vengeance is mine; I will repay," states the darkly foretelling epigraph of Leo Tolstoy's famous novel Anna Karenina. Throughout the work, the author seems torn between feminist and misogynist sympathies, leading one to wonder if the above quote is directed at the adulterous Anna--the only character in the novel who pays for her transgressions with her life. At first, Tolstoy seems to sympathize with Anna, contrasting her situation with that of her brother Stiva, who has also committed adultery but received no social chastisement. But by the end of the novel it's almost as though the author feels he has allowed Anna to get away with too much, and must teach the reader a lesson about such behavior from a woman. Anna's last mention in the novel that bears her name comes nearly 50 pages before its conclusion, when Countess Vronsky calls her "mean and low" (917).
When we first meet Anna, Tolstoy describes his heroine as quite loving and maternal. She has come to console her sister-in-law Dolly Oblonskaya, who has just learned that her husband is having an affair with their French governess. Dolly is impressed by the fact that Anna not only remembers the names of all her nieces and nephews, "but remembered the years and even the months of their births, their characters, and what illnesses they had had" (79). The aim of Anna's visit is to reconcile Dolly and Stiva, an effort in which Anna's deep concern for family is revealed. So far, Anna's personality seems like that of an ideal 19th century Russian wife. However, as soon as she meets Count Vronksy at a ball, a mean streak seems to develop in her.
At the ball, hosted by Dolly's family the Scherbatskys, Anna and Vronsky dance together several times. Kitty Scherbats...
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..., she regrets her actions and wishes to live, but it is too late. She has been punished for her actions.
The final mention of Anna by Countess Vronsky is a disparaging one in reference to Anna's suicide. "Yes, she ended as such a woman deserved to end," remarks the Countess, "Even the death she chose was mean and low" (917). Tolstoy dismisses Anna in these final words, as though her entire life and good qualities counted for nothing. She committed adultery, and was therefore condemned to die miserably, whereas her brother, also an adulterer, reconciled with his wife and continued his happy existence. Despite Tolstoy's seeming sympathy with Anna's social situation, when all is said and done, he feels the same way as the rest of society. Men may commit adultery with little or no consequence, but for a woman such an action could well prove to be her demise.
She no longer has a will to repress any untold secrets from the past, or perhaps the past. Since she has strayed far from her Christian beliefs, she has given in to the evil that has worked to overcome her. She believes she is finally achieving her freedom when she is only confining herself to one single choice, death. In taking her own life, she for the last time falls into an extremely low mood, disregards anyone but herself, and disobeys the church.
Furthermore, the story of Anna’s battle for her inheritance shows a great deal about popular opinion. Anna, known for the affairs that she had, initially lost her case. Instead of calmly accepting t...
commit herself to fight against a life of injustice, a life that confines her to a life without
According to Tolstoy, Anna Karenina was derived from three separate occurrences. The first being in 1870, Tolstoy developed an idea for a story about a woman who commits adultery and abandons her husband for the other man, loosely based on the life of his sister. The second was a newspaper story about a woman who, after being abandoned by her lover, threw herself under a train. The third was a sentence from Pushkin’s Tales of the Balkin that read, “The guests were arriving at the country house.” Which apparently inspired Tolstoy so much that he finished the first draft of the novel within a matter of weeks, although it was not published until five years later.
The conflict between good and evil is one of the most common conventional themes in literature. Coping with evil is a fundamental struggle with which all human beings must contend. Sometimes evil comes from within a character, and sometimes other characters are the source of evil; but evil is always something that the characters struggle to overcome. In two Russian novels, Fyodor Dostoevsky’s Crime and Punishment and Mikhail Bulgakov’s The Master and Margarita, men and women cope with their problems differently. Raskolnikov in Crime and Punishment and the Master in The Master and Margarita can not cope and fall apart, whereas Sonya in Crime and Punishment and Margarita in The Master and Margarita, not only cope but pull the men out of their suffering.
Many short story writers have written about the gender and role of woman in society. Some of these stories express what Barbara Walter calls, “The Cult of True Womanhood” meaning the separation of both man and woman in social, political and economic spheres. In order to be considered a “true woman” woman were to abide by the set of standards that were given to her. Women were expected to live by the four main principal virtues - piety, purity, submissiveness, and domestication. In Kate Chopin’s short story, “The Storm,” Calixta the main female character breaks away from “The Cult of True Womanhood” when she has a sexual encounter with her past lover Alcée. The storm goes through many twists and turns that tie with their adulterous actions. Although she breaks away from the four main principal virtues, she in the end is considered to be pure innocent of heart because the action in which occurred happened instantly, and as white as she was, she was taken away from her innocence.
... sins, but she can’t take back what she did so she will forever have blood on her hands. This guilt and all of the lies she has told is giving her true trepidation and in the end she decided to end her terror by taking her life.
Suffering and its role in Crime and Punishment are centered on Raskolnikov, his “infinite love” for Sonia, and the “repay[ment for] all her sufferings” (542). Sonia, the eighteen-year-old stepdaughter of Katerina Ivanovna, does not want to be sucked into prostitution but is forced to because of the living conditions her family is faced with (17). The situation that Raskolnikov believes Sonia to be in fosters the misconception that she is just as bad as he, thus he confronts her about it. Raskolnikov does not realize that his shallow thoughts add to her suffering and he takes her for granted until she becomes ill (540). Sonia’s suffering is final pivot that turns Raskolnikov’s perception of an ubermensch. Now, it is Raskolnikov turn to pay for his new life, the life that will only come after “great striving, [and] great suffering” (542).
... destroy and reinstate the bonds of family and Russian nationalism. Turgenev explores hoe this generational divide interacts with the division among classes and how the powers of the aristocracy affects the younger generation and feminine identity. Throught these interactions the power of love as redemption is seen in the relationship between Arkady and Katya as well as Anna and Bazarov. The women in Fathers and Sons symbolize the diversity found within the same class and generational margins these women challenge the men they encounter and cease power over their relationships. The struggle for power, between the sexes is dependent upon the roles and social standings of the perspective character. The female characters whether aristocratic or dependent, “mothers” or “daughters” find power in their gender and utilize their womanly intellect to find eventual resolve.
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
...he only way she could free herself from societal limitations was to remove her own self from society completely, and by ending her life.
First, the characters understand that their relationship is based on future aspirations and second, they have historical relationship disappointments. This third insight into the psychology of love supports the fact that many relationships and marriages often fail because of unrealistic expectations. Psychology research SHOWS that individual expectations for relationships actually sows the seeds of discontent. People are expected to provide not only provide safety, security and support, but also facilitate personal growth and freedom. Even though they come from an older period in history, Anna and Dmitri are stereotypical people who have unhappy pasts and hopeful futures. They are thrown into an intense relationship with limited mutual understanding. Chekhov’s limited dialogue and straightforward narrative leaves plenty of cognitive room for readers to ruminate about their own experiences and how they relate to the
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
Tolstoy, Leo. Anna Karenina. Trans. Richard Pevear and Larissa Volokhonsky. New York, NY: Penguin, 2000. Print.