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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.
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
must die." God spoke to her and she acted upon the support of a loved one.
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:
Ivan's wife is also self-centered and exhibits great disdain for her husband, who she considers more of a nuisance and hassle than anything else. Ivan's last days are spent in terrible physical agony, as he uncontrollably screams and moans in pain. When Ivan's friends come to pay their respects to his widow, we see in her comments to them that she never reall...
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
Within most forms of literature there seems to be a representation of a double standard. Even in our societies double standards not only exist but are prevalent. In literature though double standards are sometimes not always noticeable to the reader, however in the texts that we have read double standards are not only noticeable, but are written in a way as if the author wants the reader to pick up on this. It’s fairly comprehensive how when it comes to adultery that the female characters suffer far more from their consequences than the males. Within each culture’s literature though, some might find adultery to be more acceptable based on that culture’s views. Altogether it is through the way the authors choose to depict the apparent double standard, how their own cultural morals for punishment in infidelity become reflected in the text, and how they choose to have the morals of their characters reflect on the act of adultery in itself that we are able to see how these books are able to find themselves in such a category of being “big books about bad girls.”
The period is the early 19th century; those involved and discussed in this essay are for the most part Russian gentry. Increasingly relaxed social mores in the “developed” world, including the greater freedom to choose to whom one gets married to as well as increased women’s sexual rights, were much more uncommon during the time that War and Peace takes place. Tolstoy, an outspoken critic of arranged marriages, uses the characters in his novel as a way of exploring the various types of love, and in general the interactions between men and women of the time. This essay will attempt to focus on these relationships in an effort to get a better idea of Tolstoy’s views on the proper roles that men and women should play as friends, lovers, or spouses. By exploring the male/female relationships among the noble families, a detailed picture of both the expectations and realms of acceptable behavior will be established.
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
Anna Karenina by Leo Tolstoy is a novel about love and marriage among the Russian aristocracy in the 1870s. Anna is young, beautiful woman married to a powerful government minister, Karenin. She falls in love with the elegant Count Vronsky and after becoming pregnant by him, leaves her husband Karenin and her son Seryozha to live with her lover. Despite the intervention of friends such as her brother Oblonsky, an adulterer himself, she is unable to obtain a divorce, and lives isolated from the society that once glorified her. As a man, Vronsky enjoys relative social freedom, which causes Anna to have increasingly intense fits of jealousy. Because of her constant suspicion, she thinks that Vronsky’s love for her is dwindling. Their story is ended by an exciting finale that moves the reader.
Despite the criticism that Anna Karenina is actually two novels, Tolstoy insisted that it is one novel. Although certain characters hardly ever interact, they are still aware of each other and one’s actions have even the smallest influence on the other.
Tolstoy’s “The Devil” explores the dichotomy of the objectification of women as the angel and the devil to great lengths. Liza is his angelic perfect wife who loves him and provides him with a great life; however Stepanida is his devil that pushes him to a lustful state that ultimately destroys him. Evgeny is in a raging battle against himself where he has to decide what lifestyle and pathway he wants to live; the sweet life with the angel or the run down demonic life of the devil. Ultimately, the choice causes him great mental instability and he commits suicide. The Devil effectively portrays women as the reason of Evgeny’s downfall.
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
This is especially true for Gromov, who is intensely affected by the events that take place around him, which mentally to drives him crazy. His sense of involvement makes him overtly hyper-vigilant, even if those events have nothing to do with him. “For some reason it suddenly seemed to him that he, too, could be put in chains and led in the same way through the mud to prison” (Chekov 176). Even the sight of prisoners is enough to drive him into hypochondria. Similarly, Anna becomes too involved with the sexual relationship with Gurov, which was supposed to stay as a casual intimacy. Instead of treating it like it is, she gets emotionally attached to the idea of what she has done: being unfaithful to her husband. Her involvement and innocence certainly affects that way Gurov perceives her. Anna seems to take the whole relationship seriously, rather than having a disregard like Gromov and other women that he encountered in his life. “‘How can I justify myself? I’m a bad, low woman, I despise myself and am not even thinking of any justification. It’s not my husband I’ve deceived, but my own self!’” (Chekov II). Chekov uses these overly extroversive personalities to transform his introverted