"Anna Karenina": Interesting facts about the great novel. Some facts about "Anne Karenina What Leo Tolstoy wanted to show Anna Karenina

Once a US writer, the Nobel Prize laureate in Literature William Falkner asked to name the three best novel in world literature, for which he, without thinking, answered: "Anna Karenina," Anna Karenina, "and again" Anna Karenina "...

Lion Tolstoy began writing one of the most famous novels in the history of Russian literature in 1873. All reading Russia burned out of impatience in anticipation of the new chapters "Anna Karenina", which were printed in the "Russian Bulletin", but the work on the book was hard - the author put the point only on April 17, 1877.

"Unbearably disgusting"

Sometimes he sat down with pleasure, and sometimes exclaimed: " Unbearable disgusting», « My God, if anyone for me finished "Anna Karenina"" or " My Anna tired me like bitter radish».

Only the first part of the novel was ten editions, and the volume of work on the manuscript was 2560 sheets.

"Failed" epilogue

By the spring of 1877, Tolstoy had already dreamed of early finish with "Anna Karenina" to " fight a place for new work" However, the editor of the magazine Mikhail Katkov was dissatisfied with the content of the epilogue, since there was a voluntary movement in Russia in the benefit of the rebel Serbs in the negative light.

Therefore, in the next issue of the "Russian Bulletin", an anonymous note "What happened by the death of Anna Karenina" appeared instead of the epiloga, "which was reported:

« In the previous book under the novel "Anna Karenina" exhibited "the end follows”. But with the death of the heroine, in fact, the novel ended. According to the author's plan, there would be a small epilogue of the sheet in two, from which readers could find out that the Vronsky in embarrassment and grief after Anna's death goes by a volunteer in Serbia and that all other alive and healthy, and Levin remains in his village and angry at Slavic Committees and volunteers. The author, perhaps, will develop these chapters to a special edition of his novel.».

Ay yes Pushkin!

Tolstoy sat for work on Anna Karenina, impressed by Pushkin's prose. Sophia Tolstoy testimonies are also talking about this, and the author's own entries.

In a letter, the literary criticism Nicholas Strakhov Tolstoy reported:

"... I somehow after work took this volume of Pushkin and, as always (it seems, the seventh time), it listed everything, was unable to tear off and as if I read again. But moreover, he seemed to allow all my doubts.

Not only Pushkin before, but I seem to be anything, I never admired: "Shot", "Egyptian Nights", "Captain's Daughter" !!! And there is a passage "Guests gathered at the cottage." I unwittingly, inadvertently, myself not knowing why and what will happen, the face and events, I began to continue, then, of course, changed, and suddenly it was so beautiful and cool that the romance came out, which I today cumshot is notching, the novel is very alive, hot And the finished, which I am very pleased and which will be ready if God gives health, in two weeks. "

But in two weeks, the novel was not ready - Tolstoy continued to work on Anna Karenina for another three years.

At the station

Thick more than once reproached that he was too cruel with Anna, "forcing her to die under the car." To which the writer answered:

"Once Pushkin said to his friend:" Imagine which thing my Tatyana threw. She married. I did not expect this from it. " I can say about Anna. My heroes make what they should do in real life, and not what I want. "

Station Oborylovka

The scene of the Karenina Tolstoy suicide elected the Railway Station near Moscow, and did it not by chance: at that time, the Nizhny Novgorod road was one of the main industrial highways, it often walked hard-loaded commodity trains.

During the years of writing, the station was on average 25 people a day, and in 1939 she was renamed railway.

Heiress poet

The appearance of Anna Karenina Tolstoy varied with the daughter of Alexander Pushkin Mary Gardung. From her, the same carina got a hairstyle, and a favorite necklace:

"Sheer was invisible. It was noticeable only, decorating it, these twisted short rings of curly hair, always knocking on the back of the head and temples. On an accurate strong neck there was a thread of pearls. "

Ustinov E. Portrait M.A. Gardung.

However, the daughter of Pushkin nor under what train, of course, did not rush and even experienced a thick almost for a decade. She died in Moscow on March 7, 1919 in the 86th age.

"Rare" women

Another prototype for Karenina served as a certain Anna Pirogov, which in 1872 in the vicinity of Casual Polyana rushed under the train due to unfortunate love. According to the memoirs of the wife of the writer Sofa Tolstoy, Lev Nikolayevich even went to the railway barracks to see the unfortunate.

In addition, there were two women who left her husband to lovers at once (which in those days was very rare). Literary crowns are confident that their fate had no less influence on the image and character of the canopy.

Instead of a diary

Konstantin Levin is one of the most complex and at the same time autobiographic images in the work of the writer. During the writing by Anna Karenina, Tolstoy even stopped conducting his diaries, as his thoughts and feelings were reflected in the work on the image of this provincial landlord.

Today, Levin's name is most often pronounced through the letter "E", Tolstoy himself pronounced it through "E", which once again points to his connection with the hero (contemporaries called Tolstoy not lion, and lev).

Lyowin, like the author himself, was interested in the questions that ignored most of society: whether the formation of peasants is needed, and what will happen if you give it? Even the inner crisis, which was worried about Levin, researchers correlate with the vital crisis of the author.

Lover Hero

One of the prototypes of Count Vronsky from the novel of Lion's Tolstoy "Anna Karenina" The literary criticism traditionally calls Colonel Nikolai Raevsky (1839-1886) - a representative of the famous dynasty of the famous Military Russian Empire.

Nikolai Nikolaevich Raevsky - Senior grandson of the famous general N.N. Raevsky.

Nikolay Raevsky-Third - was the grandson of the hero of the Patriotic War of 1812, General Nikolai Raevsky whose feat Tolstoy described on the pages of the novel "War and Peace" and the son of Nikolai Raevsky-second, founder of Novorossiysk.

Also, the image of one of the main characters of the novel was close to the poet Alexei Konstantinovich Tolstoy, for which Sophia Andreevna Bakhmetheva left his husband - this story made a lot of noise in the world.

"Well done Baba"

It was called this black manuscript "Well done Baba", and the main heroine was first called Tatiana, then Nana (Anastasia) and only later she became Anna.

"The principle of Anna Karenina"

This principle describes situations when the success of any case is possible only with the simultaneous presence of a number of factors and is used in various areas - from the crises of adaptation when changing climatic conditions before the replacement of replacement and lifting the financial markets.

Critics outraged Roman Tolstoy. Anna Karenina was called immoral and immoral - that is, "in reality" readers belong to it in the same way as secular characters in the book.

"Tolstoy, you proved with patience and talent,
That a woman should not "walk"
Neither with a camera-junker, nor with a flibel adjutant,
When she is a wife and mother. "

Lev Tolstoyhe began writing one of the most famous novels in the history of Russian literature in 1873. All reading Russia burned out of impatience in anticipation of the new chapters "Anna Karenina", which were printed in the "Russian Bulletin", but the work on the book was hard - the author put the point only on April 17, 1877.

AiF.Ru remembers 10 interesting facts about the great novel.

"Unbearably disgusting"

At the end of 1874, Tolstoy decided to give the first chapters of the novel to the Russian Bulletin (which was still very far from its completion), and now he was "unwillingly" it was necessary to do a book to keep up for a monthly magazine. Sometimes he sat down with pleasure, and sometimes exclaimed: "Unbearable disgusting," my God, if anyone had finished "Anna Karenina" "or" My Anna was tired of me like bitter radish. "

Only the first part of the novel was ten editions, and the volume of work on the manuscript was 2560 sheets.

"Failed" epilogue

By the spring of 1877, Tolstoy had already dreamed of early finish with "Anna Karenina" to "wonder the place for a new work." but editor of Mikhail Katkov It turned out to be dissatisfied with the content of the epilogue, since there was a volunteer movement in Russia in the benefit of the rebel Serbs in the negative light. Therefore, an anonymous note "What happened by the death of Anna Karenina" appeared in the next issue of the "Russian Bulletin" instead of the epiloga, "which was reported:" In the previous book under the novel "Anna Karenina" exhibited "ending follows." But with the death of the heroine, in fact, the novel ended. According to the author's plan, there would be a small epilogue of the sheet in two, from which readers could find out that the Vronsky in embarrassment and grief after Anna's death goes by a volunteer in Serbia and that all other alive and healthy, and Levin remains in his village and angry at Slavic Committees and volunteers. The author, perhaps, will develop these chapters to the special edition of his novel. "

Ay yes Pushkin!

Tolstoy sat down on the "Anna Karenina" under the impression of prose Pushkin. Evidence about this Sophia Tolstoy, and your own entries of the author.

In letter literary criticism Nikolay StarahovaTolstoy reported: "... I somehow took this Tom Pushkin after work and, as always (it seems, the seventh time), he listed everything, could not take off and as if he was again read. But moreover, he seemed to allow all my doubts. Not only Pushkin before, but I seem to be anything, I never admired: "Shot", "Egyptian Nights", "Captain's Daughter" !!! And there is a passage "Guests gathered at the cottage." I unwittingly, inadvertently, myself not knowing why and what will happen, the face and events, I began to continue, then, of course, changed, and suddenly it was so beautiful and cool that the romance came out, which I today cumshot is notching, the novel is very alive, hot And the finished, which I am very pleased and which will be ready if God gives health, in two weeks. "

But in two weeks, the novel was not ready - Tolstoy continued to work on Anna Karenina for another three years.

At the station

Thick more than once reproached that he was too cruel with Anna, "forcing her to die under the car." What a writer answered: "Once Pushkin said to his friend:" Imagine what kind of thing my Tatyana threw. She married. I did not expect this from it. " I can say about Anna. My heroes make what they should do in real life, and not what I want. "

A place for suicide Karenina Tolstoy elected the Railway Station near Moscow Railway Station, and did it not by chance: at that time, the Nizhny Novgorod road was one of the main industrial highways, it often walked hard loaded commodity trains. During the years of writing, the station was on average 25 people a day, and in 1939 she was renamed railway.

Heiress poet

The appearance of Anna Karenina Tolstoy varied with Alexander Pushkin's daughter Mary Garthung. From her, the same carina got a hairstyle, and a favorite necklace: "Sheer was invisible. It was noticeable only, decorating it, these twisted short rings of curly hair, always knocking on the back of the head and temples. On an accurate strong neck there was a thread of pearls. "

With the heiress of the great poet Tolstoy met in Tula 5 years before the writing of the novel. As you know, charming and wit allocated Maria among other women of that time, and she immediately liked the writer. However, the daughter of Pushkin nor under what train, of course, did not rush and even experienced a thick almost for a decade. She died in Moscow on March 7, 1919 in the 86th age.

"Rare" women

Another prototype for Karenina served as a certain Anna Pirogovawhich in 1872 in the vicinity of Casual Polyana rushed under the train due to unhappy love. According to the memoirs of the wife of the writer Sofa Tolstoy, Lev Nikolayevich even went to the railway barracks to see the unfortunate.

Instead of a diary

Lover Hero

Also, the image of one of the main characters of the novel was close to the poet Alexey Konstantinovich Tolstoy, for which Sophia Andreevna Bakhmetheva I left my husband - this story made a lot of noise in the world.

"Well done Baba"

It was called this black manuscript "Well done Baba", and the main heroine was first called Tatiana, then Nana (Anastasia) and only later she became Anna.

"The principle of Anna Karenina"

The novel opens the phrase: "All happy families are similar to each other, every unfortunate family is unhappy in their own way," on the basis of which scientists set the so-called "the principle of Anna Karenina". This principle describes situations when the success of any case is possible only with the simultaneous presence of a number of factors and is used in various areas - from the crises of adaptation when changing climatic conditions before the replacement of replacement and lifting the financial markets.

Frame from the film "Anna Karenina", 1914

Frame from the film "Anna Karenina", 1948

Once a well-known American writer, the Nobel Prize laureate in Literature William Falkner, asked to call the three best novels in world literature, to which he, without thinking, answered: "Anna Karenina", "Anna Karenina", and again "Anna Karenina".

On April 17, 1877, Lion Tolstoy completed his famous novel "Anna Karenina", which worked for more than four years. If the "war and the world" of the Great Russian Classic called "a book about the past", in which he described the beautiful and sublime "holistic world", then "Anna Karenina" he called the "novel from modern life," where the chaos of good and evil reigns.

Tolstoy began writing one of the most famous novels in the history of Russian literature in 1873. He has long been planning to write such a book in which the love of the fallen, from the point of view of society, women. How to start a novel, the writer came up with almost immediately.

At the end of 1874, Tolstoy decided to give the first chapters of the novel to the Russian Bulletin (which was still very far from its completion), and now he was "impaired" it was necessary to do a book to keep up for a monthly magazine. Sometimes he sat down with pleasure, and sometimes exclaimed: "Unbearable disgusting" or "My Anna is tired of me, like bitter radish."

All reading Russia burned from impatience in anticipation of the new heads of Anna Karenina, but the work on the book was hard. Only the first part of the novel was ten editions, and the volume of work on the manuscript was 2560 sheets.

Tolstoy sat down on the book under the impression of Pushkin's prose. Sophia Tolstoy testimonies are also talking about this, and the author's own entries.

In a letter, the literary criticism Nicholas Strakhov Tolstoy reported: "... I somehow took this Tom Pushkin after work and, as always (it seems, the seventh time), it was not able to break away and as if I read again. But moreover, he seemed to allow all my doubts. Not only Pushkin before, but I seem to be anything, I never admired: "Shot", "Egyptian Nights", "Captain's Daughter" !!! And there is an excerpt "Guests gathered at the cottage." I unwittingly, inadvertently, myself not knowing why and what will happen, the face and events, I began to continue, then, of course, changed, and suddenly it was so beautiful and cool that the romance came out, which I today cumshot is notching, the novel is very alive, hot And the finished, which I am very pleased and which will be ready if God gives health, in two weeks. "

But in two weeks, the novel was not ready - Tolstoy continued to work on Anna Karenina for another three years.

The appearance of Anna Karenina Tolstoy varied with the daughter of Alexander Pushkin Mary Gardung. From her, the same carina got a hairstyle, and a favorite necklace: "Sheer was invisible. It was noticeable only, decorating it, these twisted short rings of curly hair, always knocking on the back of the head and temples. On an accurate strong neck there was a thread of pearls. "

In the mid-1930s, while working on the anniversary edition of the works of Tolstoy, literary crituals investigated the manuscript foundation "Anna Karenina" and determined that initially the novel started not from the famous words "Everything was mixed in the house of the Blond", and from the stage in the Salon of the future princess Tver. It was called this black manuscript "Well done Baba", and the main heroine was first called Tatiana, then Nana (Anastasia) and only later she became Anna.

Its studies capture the most important areas of the private family, and the public household of the whole era.

In the 60s, during the reform and social crisis, Tolstoy wrote a "war and peace", where the "thought of people" was illuminated by history. "The Thought of Family" novel "Anna Karenina", written in the 70s, highlighted the inner life of Russian society, when the question of the future of the country and the people was raised with special sharpness.

Liberation figures, noble and courageous sixties, believed in the possibility and need to destroy slavery, they had forces for the struggle and clear consciousness of the goals. But ten years of reforms showed that the serfdom is tightly sitting in the direction of Russian life and gets along with new forms of bourgeois compassion. The foundations of the new time were fragile. A new feature of the public consciousness appeared, which the block was not called the "seventiary distrust and disbelief" 1.

This root line of the social consciousness of Tolstoy caught in the psychology of a modern man, and she entered his novel as a characteristic sign of transitional time.

"Everything was mixed" - the formula is concise and multivalued, which determines the themed nucleus of the novel, covers the general patterns of the era and the private circumstances of the family mistake.

Life, deprived of justification, comes out of obedience, like the element - a blizzard and wind, which rushed towards Anna and "Help with her about the door." One way or another, all other heroes of the novel are experiencing the same feeling. Levin, engaged in the economy in his estate, feels in all the presence of a spontaneous, angry force that opposed him. Karenin is aware that all his undertakings do not reach the desired goal. Vronsky is confused noticing that life is "not according to the rules".

"Anna Karenina" is an encyclopedic novel. The point here, of course, is not complete and not in the amount of "will take time." The whole era with its hopes, passions, the alarms were reflected in the book of Tolstoy. In his novel, Tolstoy brought the art formula of this historical era. "We have now, when it all moved apart and only fit, the question of how these conditions would be put on, there is only one important question in Russia ..." This is his common thought ("I am so clear my thought"), which determines And the idea of \u200b\u200bthe novel, and his artistic structure, and its historical content.

1 A. block. Cathedral cit. In 8 volumes, t. 5. M, - L., 1962, C, 236.

In essence, Tolstoy determined these words "Pass of Russian History" - from the fall of serfdom to the first Russian revolution.

The meaning of these words noted V. I. Lenin in the article "L. N. Tolstoy and his era. ":" We now all the way turned around and only fit, it is difficult to imagine a more follow-up characteristic of the period 1861-1905 "1. The 70s, when the novel was created, gradually closer to the gap with the nobility, "with all the usual views of this medium ..." 2

This settling movement is also felt in the development of the plot, and in the interpretation of the character of Levin, who is aware of the "injustice of its excess in comparison with the poverty of the people."

"Anna Karenina" is one of the great books of world literature, the novel of universal value. It is impossible to imagine European literature of the XIX century without fat. He won the world fame and recognition of his deep national, penetration into the dramatic fate of the person, devotion to the ideals of good, non-violence against public injustice, social defects of the ownership of the world.

Deeply national in its origins, the novel of Tolstoy is inseparable from the history of Russia. Caused by the Russian reality of a certain era, Anna Karenina turned out to be close and understandable readers of different countries and peoples.

2

For the first time, the idea of \u200b\u200bthe plot "Anna Karenina" arises from Tolstoy back in 1870. "Last night he told me," writes Sophia Andreevna in his diary on February 24, 1870, "that he introduced the type of woman, married, from the highest society, but lost himself. He said that the task of it to make this woman only miserable and not guilty and that as soon as this type introduced himself, so all the faces and men's types, which appeared before, found their place and grouped around this woman. "Now I all turned out," he said "3.

Until 1873, "Anne Karenina" thus mentioned no longer mentioned. He studied the Greek language, translated Ezop and Homer, went to the Samara steppe, was his "alphabet", collected

1 V. I. Lenin. Full Cathedral cit., t. 20, p. 100.

2 there, with. 40.

3 S. A. Tough. Diaries. In 2 volumes, t. 1, p. 501.

materials for the novel about Peter the first ... as if lacked some kind of push, the case to finally decide on a new big artistic work. And this case soon introduced himself. What happened, the thick thing seemed unexpected.

"Under the great secret" he told H. H. Strahov: "Everything is almost working time of this winter<1872 года> I was engaged in Peter, that is, called spirits from that time, and suddenly - with a week ago ... the wife brought from the bottom of the "Tale of Belkin" ... I somehow took this volume of Pushkin after work and, as always (it seems, the seventh Once), listed everything, unable to tear off, and as if I read again. But moreover, he seemed to allow all my doubts. Not only Pushkin before, but I seem to be anything else, I never admired. Shot, Egyptian nights, Captain's daughter !!!And there is an excerpt Guests gathered at the cottage 1 .

I unwittingly, inadvertently, myself not knowing why and what will happen, the faces and events, I began to continue, then, of course, changed, and suddenly it was so beautiful and cool that the novel came out ... Roman Very Live, Hot and Finished, I am very pleased ... "(vol. 62, p. 16). Already in 1873, it seemed to the Tolstoy that the novel was "not over" and you need any two weeks that he was "ready." However, the work continued, with great breaks, even five years old, until 1878, when Finally, Anna Karenina came out with a separate publication.

Tolstoy did not belong to those writers who create the main body of their writings immediately, and then only improve and complement its details 2. Under his pen, everything changed from the option to the option so that the emergence of the whole turned out to be the result of "invisible effort", or inspiration.

It is impossible to sometimes guess in the initial sketches of those heroes that we know on the novel.

For example, the first essay of the appearance of Anna and her husband. "Indeed, they were a couple: he is sleek, white, chubby and all in wrinkles; She is ugly, with a low forehead, a short, almost rumped nose and too fat. Thick so that a little bit, and she would become ugly. If only not huge black eyelashes, adorned her gray eyes, black huge hair, beautiful forehead, and not the slightness of the mill and grace of movements, like a brother, and tiny handles and legs, it would be bad "(t. 20, p. eighteen).

1 At Pushkin: "Guests went to the cottage ..."

2 See about this: V. A. Zhdanov. The creative story of Anna Karenina. M., 1957.

There is something repulsing in this portrait. And as not like Anna from the drafts on the image of Anna in the completed text of the novel: "She was charming in his simple black dress, her full hands with bracelets were charming, a charming neck with a pearl thread, adorable curly hair upset hairstyles, charming graceful light movements Little legs and hands, charming is a beautiful face in its revitalization ... "And only in the last phrase of this description, something from the initial outline flashed:" But there was something terrible and cruel in her charms. "

And in Balashov, the predecessor of the Vronsky, in the draft variants of the novel, it seems there is no attractive feature. "According to a strange family legend, all Balashov wore a silver coaching earring in the left ear and everyone had pleuffs ... and a beard, although freshly shaved, cine on the cheeks and chin" (t. 20, p. 27). It is impossible to imagine the Vronsky in the final text of the novel not only in such a guide ("Kucher Earring"), but also in such a psychological manner.

Tolstoy threw some kind of "conditional", an extremely sharp schematic essay, which was supposed to give way to a complex pictorial study of details and details so that the whole is completely changed. He called Karenina "White", and Balashov called "black". "She is thin and gentle, he is black and rough," writes Tolstoy in drafts about Anna and Balashov (t. 20, p. 27). "Black" - "white", "gentle" - "rough," - in these general concepts is planned the contour of the plot.

Karenin at the first stages of Oweyan's work with a sympathetic attitude of Tolstoy, although he draws it somewhat ironic. "Alexey Alexandrovich did not use the common people with the ease of serious attitude towards himself. Alexandrovich Alexandrovich, besides, over the whole common to the thought of people, had another unfortunate to wear on his face too clear the sign of heart sound and innocence. He often smiled with a smile wrinkled angles of his eye, and therefore even more had a kind of a scholar crank or fool, looking through the degree of mind those who judged him "(t. 20, p. 20).

In the final text of the novel, Tolstoy removed this "too clear sign", and the character of Karenina has changed somewhat. It has dryness, methodologicalness, "machinery" - repulsive traits of a different kind.

In the draft variants, the novel is not the latitude of the historical and social details of the era, which attaches "Anne

Karenina "encyclopedic character. But there is one common idea that remained in drafts as a wording, but from which from the root, the diverse modern content of the novel has grown. "Social conditions are so strong, irresistible to us act that no reasoning, no other feelings can drown them in us" (t. 20, p. 153).

Those who closely watched the work of Tolstoy, it seemed that immediately after reading the "Occuping" of Pushkin, he wrote the beginning of his novel: "Everything was mixed in the house of the Oblonsky ..." and only later prepixed this beginning his argument about happy and unhappy families. In fact, as the newest studies of the "Creative History" of the novel show, to the topic of Pushkin "Jar" \u200b\u200b("Guests went to the cottage ...") Tolstoy approached only in the sixth chapter of the second part of Anna Karenina 1.

Note that the second version of the beginning of the novel ("Well done-Baba") opens with the words: "Guests after the opera went to the young prince of Vrasnaya ..." ("Description of manuscripts of artworks L. N. Tolstoy". M., 1955, p. 190).

"Anna Karenina" - pushkinroman Tolstoy, in the deepest significance of this word (Pushkin "as if allowed all my doubts"). Therefore, it would be wrong to reduce the "influence of Pushkin" in the "Anna Karenina" to one by one passage "Guests went to the cottage ...". Or even only one prose Pushkin. After all, the plot of the novel is to a certain extent connected with Pushkin "Roman in verses". Pushkin as if suggested by the thick form of a modern free novel. In the initial sketches: the heroine even called Tatiana.

3

In 1857, Tolstoy reread Belinsky and, according to him, "just now I understood Pushkin." "If I could still be interested in the poetry of passion," Belinsky writes about Evgenia Onegin, then the poetry of marriage not only did not interest him, but it was for him a fight "2. As for Tatiana, in her character of Belinsky, the most affected by loyalty and affection for the "family circle".

1 See about this: V. A. Zhdanov and E. E. Zaidanshunur. The history of the creation of the novel "Anna Karenina". - In the book: L. N. Tolstoy, Anna Karenina. M., "Science", 1970.

2 V. G. Belinsky. Full Cathedral cit., t. VII, M., 1955, p. 461.

When in 1883 G. A. Rusanov spoke about the attitude of the author to Anna Karenina, Tolstoy again referred to the experience of Pushkin. "They say that you have been very crueling with Anna Karenina, forcing her to die under the car, that she could not sit all his life with" this kislytina "Alexey Alexandrovich," said Rusanov. "... This opinion reminds me of a case former with Pushkin," answered Tolstoy. - Once he told someone from his buddies: "Imagine what kind of my Tatyana drew to me! She got married. That I did not expect from her. " The same thing and I can say about Anna Karenina. In general, my heroes and heroines sometimes make such things that I would not want: they do what they should do in real life and how it happens in real life, and not what I want "1.

Tolstoy in his novel gave full space for "Poetry of Passion", and for the "Poetry of Marriage", having connected both of these who began with his burning "family thought." He seemed to think about the fact that it would be with Pushkin Tatiana, if she had broken their duty.

"Passion will be destroyed," Pushkin said about Wolish, the heroine of the passing "Guests went to the cottage ...".

"Well," Levin reflects, "let us put us with our passions, thoughts ... Without the concept of what is good, without explaining the evil moral ... Well, without these concepts, build something!"

Levin did not mean Anna when he thought about the destructive power of passions. But in the novel of Tolstoy, all thoughts "communicate" among themselves.

It turned out that the implementation of the most passionate desires requiring so many victims and such a decisive neglect of the opinions of others does not bring happiness nor Anna nor Vronsky. The only reproach, who expresses Anna Vronsky, is that he "does not regret" her. "In our consciousness, compassion and love is the same," said Tolstoy (vol. 62, p. 272). "Vronsky meanwhile," says Tolstoy, "despite the complete implementation of what he wanted so long, was not quite happy."

Kitty once said about Anna: "Yes, something alien, demonskoe and adorable is in it." And Anna herself whenever she feels like a "spirit of struggle", predicting a quarrel with Vronsky, recalls the Devil.

1 "L. P. Tolstoy in the memoirs of contemporaries ", in 2 volumes, t. 1. M., 1955, p. 231-232.

From this one could conclude that Tolstoy wanted to portray Anna as a kind of evil force, as a demonic or fatal woman.

But if Anna did not understand the requirements of moral law, she would not have a sense of guilt. There would be no tragedy. And she is close to Levin with this sense of guilt, which indicates her deep moral nature. "I, most importantly, you need to feel that I'm not guilty," says Levin. Isn't this feeling led Anna in the end to a complete settlement with life?

She was looking for a moral support and did not find it. "All lies, all deception, all evil." Not only passion to take it up. Enmity, separation, rude and powerful power of public opinion, the inability to realize the desire for independence and independence lead Anna to the catastrophe.

Anna belongs to a certain time, a certain circle, namely, the Great Light Aristocratic Circle. And her tragedy in the novel is depicted in full compliance with the laws, customs and the businesses of this environment and the era.

Anna ironically and soundly judging his own surroundings: "... it was a circle of old, ugly, virtuous and pious women and smart, scientists, ambitious men." However, about the sharedness of Lydia Ivanovna, enthusiastically with spiritual phenomena and "communication with spirits", it was the same skeptical opinion as the article on the ancient "Evgeubic inscriptions" in the fresh issue of the newspaper, to which he, strictly speaking, not There was no way.

Betsy Tverskaya everything comes from the hands and it remains a great lady, because perfectly owns the art of pretending and hypocrisy, which was completely alien to Anna Karenina. Not Anna judged, and she was tried and condemned, not passing her sincerity and mental purity. On the side of her persecutors there were such powerful forces as the law, religion, public opinion.

The "riot" Anna met a decisive rebuff from Karenin, Lydia Ivanovna and "Evil's forces" - public opinion. The hatred that Anna is experiencing to Karenin, calling him the "angry ministerial car", was only a manifestation of her powerlessness and loneliness to the powerful traditions of the medium and time.

"Marriage", consecrated by law and the church, set Anna to unbearably difficult conditions when her heart was split between love for Vronsky and love for her son.

It turned out to be "exhibited by a shameful pillar" just at the time when a painful work of self-consciousness was performed in his soul.

Karenin, Lydia Ivanovna and others are not afraid by themselves, although they have already prepared "lumps of dirt" to throw them into Anna. It was terrible inertia, which did not allow them to stop, "aware of themselves". But at the same time, they condemned Anna with the full consciousness of their right to condemnation. This right was given to them the robust traditions of the "His Circle". "Gadko look at all this," says Anna.

The social and historical look of Tolstoy on the tragedy of Anna was an insightful and sharp. He saw his heroine will not endure the struggle with his medium, with all the avalanche of disasters who fell on it. That is why he wanted to make her "pitiful, but not guilty."

Annent in the fate of Anna was not only a violation of the law "In the name of the struggle for truly human existence," but also the consciousness of their guilt in front of her close to her, before his life, before life. Thanks to this consciousness, Anna becomes the heroine of the Tolstsky Art World with his high ideal of moral identity.

4

Finishing "War and Peace", a book, full of historical movement, struggle and dramatic tension, Tolstoy brought one day the French Proverbs: "Les Peuples Heureux N'ont Pas d'Histoire" ("Happy peoples do not have stories") 1. Now, a family story, "What happened after marriage" 2, - under the pen Tolstoy was filled with struggle, movement and dramatic tension.

As for happiness, it, as a special, exceptional state, "does not have history." And marriage, family, life is not only happiness, but also the "wisdom of the world" or "the most important and most important business of life" (vol. 20, p. 51), which has its own story.

Already prepared a manuscript of the novel to print, the thick inspired "epigraph to the first part:" All happy families are similar to each

1 "Correspondence L. N. Tolstoy with gr. A. A. Tolstoy. " St. Petersburg., 1911, p. 229.

2 S. L. Tolstoy. Essays have been. Tula, 1965, p. 41.

friend, every unhappy family is incomprehensible in its own way. " Then the beginning of the first chapter was followed: "Everything was satisfied and mixed in the house of the Blond." Then he dramatically merged the epigraph of the text and slightly changed the next phrase. So there were two shortest administration to the novel - philosophical: "All happy families are similar to each other, every unfortunate family is unhappy in its own way," and the event: "Everything was mixed in the house of the Blond."

Anna Karenina is separated from the "war and the world" just a few years. But if, according to N. K. Goodzia, "War and Peace" is "apotheosis of a healthy, solven life, her earthly joys and earthly aspirations", then in Anna Karenina, "the mood of tense anxiety and deep internal confusion" 1 .

It seems that in the novel, in contrast to the idyllic idea of \u200b\u200b"family happiness", Tolstoy set forth the goal of investigating the phenomenology of family misfortune. In one of the draft options, he wrote: "We love yourself to imagine with something focused, the fact that has done, whereas unhappiness never happens, and nonsense is life, the long life is unhappy, that is, such a life in which the situation of happiness remains, And happiness, the meaning of life is lost "(vol. 20, p. 370).

The shadow of the discharge slides throughout the book Tolstoy. She is especially noticeable in a narrow, home circle and takes various forms in the Karenina House, in the family of the Oblonsky, in the estate of Levin, but remains a "shadow" that disconnects loved ones. "Family's thought" acquired a special sharpness, became an alarming time factor.

One of the early sketches of the novel was called "two marriages." The name subsequently agreed, but the theme of two marriages remained in the novel. This is primarily family history of Anna Karenina and Levin. It seems that they are built in contrast that Levin as a type of a happy person is opposed by an unfortunate carpenin. But it is not so. The Karenina family is destroyed, despite all his efforts to keep the "situation of happiness" in his home. Karenin was a decisive supporter of "non-absorption of marriage." "In the question raised in society about divorce," the Roman Chernivikov says, "Alexey Alexandrovich, and officially and was officially opposed" (t. 20, p. 267). But Karenin, "and officially and privately," defeat. Tolstoy seems to sympathize with Kartina and considers his look at

1 N. K. Goodziy. Lev Tolstoy. M., I960, p. 113-114.

family faithful, but without having surveated against the truth, paints it helpless in front of new trends of time and living life. He cannot save even the visibility of the "Foreignness of Happiness" in his house.

Levin also belongs to those who consider the marriage of a non-estate. For him, "duties for land, to the family" make up something whole. But he feels some kind of vague anxiety, conscious that the established course of life is broken.

In the family history of Levin, the main role belongs to Kity. Kitty is not what Levin understands, but directly guess his thoughts. They were designed for each other. It would seem that the best conditions for happiness at youth and love should not be imagined. But Kitty has one trait that foreshadows the misfortune of Levin. She too selflessly tolerate and his selfly tolerates all the homework in Pokrovsky. Levin's feelings, his inner life seemed to her belonging to only his conscience, to which she is not doing. She perceives in his own way and keeps the form of happiness, without noting the fact that the internal content, the "meaning of life" gradually eludes it. And so it was for the time being. Relationships with his wife began to become more complicated as Levin captured and fascinated the idea of \u200b\u200bsupporting, refusing from property and rupture with the nobility and manorway, as he joins the path, which he called "life on conscience".

If Karenin is unlocked in the role of the head of the family, Levin falls the role of a loser in the "Science of the economy". And as in a family mistake, he was looking for "caregotches", so in affairs concerning the economy, comes to the thought of "renunciation": "It was a renunciation from his old life, from their useless knowledge ..." Pledge and origins of the revival of the family began a writer I was looking for a patriarchal peasantry in the life. So, the "people's thought" in the "Anna Karenina" grows out of the grain "Thought of Family".

Lewin's dream about caregotten merges with the ideal of "labor and adorable life." "Levin often admired this life," writes Tolstoy, "he often felt the feeling of envy to people living with life ..."

During the Senokos, he was struck by the attitude of the peasant Ivan Parmenov to his wife, who "Having walked high on WHO", and he "hastily, apparently, trying to save her from any minute of excess work, picked up, widely revealing his hands, served as a shank and raised her " "In the expressions of both persons, a strong, young, newly awakened love was visible."

Love was a happy opening of Levin, as well as the sad revelation of Karenin was the consciousness that love is no longer. There is no happiness in the new, "illegal family" of Vronsky. There is no love and in the family of the Blond. "All family members and households felt that there was no point in their cohabitation and that at every inn of the courtyard accidentally concerned people are more connected with each other than they, family members and households of the Oblisky," says Tolstoy.

In this world, the "meaning of love", Levin's alarms were particularly significant. It sometimes seems to him that "therefore it depends on how much the idle, artificial and personal life, which he lived on this labor, clean and general adorable life," which he first understood, looking at Ivan Parmenov during Senokosa. Levin was confident that this change depends on him himself. But life ordered in his own way.

The internal basis for the development of the plot in the novel "Anna Karenina" is the gradual liberation of a person from the estate prejudices, from confusion of concepts and "painful inappropriate" of the laws of separation and hostility. If the life quest Anna ended up with a catastrophe, then Levin doubt and despair paves his definite way to the people, to good and truth.

He thinks not about the economic or political revolution, but about the revolution of the spiritual, who, in his opinion, should reconcile interests and create "consent and communication" between people instead of "hostility and disagreement".

"We just need to steal to go to your goal, and I will achieve my own," Levin thought, "and there is something to work and work because of what. This matter is not my personal, but here is the question of the general good. All the farm, the main thing - the position of all the people, must completely change. Instead of poverty - general wealth, contentment; Instead of hostility - the consent and connection of interest. In short, the revolution, bloodless, but the greatest revolution, first in a small circle of our county, then province, Russia, around the world. Because the idea of \u200b\u200bfairly cannot but be fruitful. "

"Now he, precisely against the will, was deeper and deeper into the ground, like a plow, so he could not get out, without dismantling the furrow," writes Tolstoy about Levin.

It is difficult to imagine a deeper and relief definition of the main idea of \u200b\u200bthe novel than the comparison of the timing of the truth with the eternal smashing of the soil. This metaphor is the core of the social, moral and artistic meaning of Anna

Karenina. " And, according to the contrast, what bright and "instant" was the last metaphor of Anna, its last "embodiment", illuminated all her fast and unhappy life: "And the candle at which she read the completed anxiety, deceptions, grief and evil a book broke out more Bright than ever, light, all the fact that was before was in the dark, shook, began to fade and forever walked. "

5

Characters and events in the novel are not stacked in simple and unambiguous definitions. In different circumstances, each of them is revealed from a new and unexpected side.

Karenin is the type of "Supreme Sanitary". The man is slow, cautious and methodical, he managed to make clear and unequivocal judgments. In its actions, there is a mechanical, "head" sequence, bordering indifference and cruelty. But from this one should not yet that there are no human feelings in Karenina. He is ready to forgive Anna and forgives her when she was at death, he stretches the hand of reconciliation of Vronsky, takes care of the daughter of Anna.

And in the character of Karenin there is its own psychological dynamics, so characteristic of the heroes of Tolstoy. Not all scenes with carpentine are given in satirical lighting.

Vronsky sees more and feels what he hears and says. So, during a date with Anna in the Garden of the Cassenaya Covenant, he suddenly noticed that "her eyes with a strange angry looked at him from voila." Vronsky loves to "lead their business in order." He wants to "deal with and understand his position, in order not to get confused" precisely at the time when his life is completely confused.

Tolstoy strictly withstood the logic of characters, identifying possible options for resolving conflicts. And the possibilities of unexpected and sharp turns of the plot arose at every step.

Levin has its temptations. He was ready to cool a change. And then there were various opportunities in front of him, although he did not have another ready answer. "Have a wife? Have the need to work? Leave Pokrovskoe? Buy land? Ascribe to society? Marry a peasant? How will I do it? "He asked himself again and did not find an answer."

Tolstoy's heroes always go uncharted paths, but the meaning of the Tolstsky psychological analysis is to choose

single solutions from a variety of free options. The only possible path is also the most characteristic. "Character is what the Will direction is detected," Aristotle said.

So, Levin finds answers to questions and the "law of good" in his soul. The novel ends the picture of a powerful spring thunderstorm, when Levin suddenly saw the starry sky over his head. With each flash of lightning, bright stars disappeared, and then, "as if abandoned by some label hand, appeared on the same bridges again." And Levin felt that "the resolution of his doubt ... is already ready in his soul."

Daria Aleksandrovna Oblovskaya decided to leave the house of her husband. This decision was quite consistent with its mood, but not in nature. In the end, she chose the thin world of a good quarrel. She not only stayed at home, but also forgave Steve. Dolly calls him "disgusting, pathetic and cute husband."

But sometimes it seems to her that everything could be different. "I was then to leave my husband," the brave aroused dolly, "and start life at first. I could love and be loved truly. And now is it better? " Tolstoy admires the sincerity of dolly, not the smallest gravity of her feat. Anna Roman - "Throw a husband ... Love and be a beloved truly" - not for dolly.

She tempts the thought of breaking - Anna is hope for reconciliation. "That is not me. Now I am real, I'm all, "she says in delusion. But reconciliation of Anna with carpentine is also impossible, as an impossible gap of dolly with steve.

Kitty Shcherbatskaya assured herself that she loves Vronsky, and even tamed when he left her. Meanwhile, Dolly was always sure that the heart of Kiti belongs to Levin, for which the story of his relationship to Shcherbatsky and the whole story of marriage was the "wisening case", where he himself could not solve anything by his mind. And Dolly turned out to be the propheted of their happiness.

The Heroes of Tolstoy are involved in complex relations, where personal goals and passions, "obscure the lantern" (and the "lantern" called the conscience of man), will lead them further and further from the real objectives of life, until they, finally, will "come to know That did Levin.

Tolstoy portrayed life in all the complexity of her relationship. In his novel, there is no "villain", as there are no "voluntary" - by this nominal name he called fictional one-sided

1 Aristotle. Poetics. M., 1957, p. 60.

the characters rejected by the Russian novel. His heroes are incomprehensible in their affairs and opinions, because the results of their efforts are complicated by opposing aspirations and do not coincide with the initial goals.

So, he draws Anna the suffering and sincere soul. That is why it is impossible to agree with those critics who called the writer by the "prosecutor" of the unfortunate woman, or, on the contrary, is her "lawyer." In one of the letters, he said that Anna "turned out to be a bad character," that he "beside her" and that she "tired of him." He even calls her with his "pupil." And finishes the judgment about her like this: "Do not tell me about her bad, or if you want, then with Ménagement (caution), it is still adopted" (vol. 62, p. 257).

6

Tolstoy did not like the metaphor as style decorations, but the inner structure of his novel metaphorically in nature. In each part of Anna Karenina, there are "key words", which are repeated many times and indicate natural transitions in the maze of the complex composition of the novel.

In the first part, all circumstances folded under the sign "confusion". Levin receives the refusal of Kitty. Vronsky leaves Moscow. Anna can not understand, "forward rides a wagon or back." On the platform "The blizzard and the wind rushed to meet her." From this blizzard, which "rushed and whistled between the wheels of the wagons, on the columns from behind the corner of the station," comes out. And Levin just like his brother Nicholas, I want to "leave all the abuse, confusion, and someone else's". But go nowhere.

In the second part of the event, unfold rapidly and inevitably. Levin closed in his estate alone. Kitty wanders in the resort towns of Germany. Only one Vronsky triumphs, when his "Charming Dream of Happiness" came true, and does not notice that Anna says: "Everything is over." At the races in the Red village of Vronsky, it is unexpected for itself tolerate "shameful, unforgivable" defeat.

It was no longer a "confusion", but something else, what Karnin began to guess. "He experienced a feeling similar to what a person would have experienced, who had a calm over the abyss on the bridge and suddenly saw that this bridge was disassembled and that there was a bacon. This sacrine was - life itself, the bridge is the artificial life, which Alexey Alexandrovich lived. "

The position of the heroes in the third part is characterized as "indefinite." Anna remains in the house of Karenina. Vronsky serves in the shelf, Levin lives in Pokrovsky. They are forced to make decisions that did not coincide with their desires. And life turned out to be an excreted "web lies". "I know him! - says Anna about Karenina. "I know that he, like a fish in the water, swims and enjoys in lies." But no, I will not give him this pleasure, I rupt this my web lying, in which he wants to empty me; Let it be what will happen. All is better lying and deception! "

The vapor metaphor is elected - "confusion", "bai", "Web lies" - illuminates and all together his heroes, and each of them individually especially sharp light. So, in the first part of the novel, the ray was directed to Levin, in the second - on Anna, in the third - on the carnine. But the regular communication of transitions from one state to another is not disturbed by anywhere.

In the fourth part of the novel between people, already separated by a deaf enemy, are established relationships that destroy the "web lies", when suddenly heroes learn each other offended "their neighbors". Here is talking about the relations of Anna and Karenina, Karenina and Vronsky, Levin and Kitty, who finally met in Moscow.

"Yes, you just remember yourself," said Karenin, "but the suffering of a man who was your husband, you are not interested." I don't care that all my life collapsed that he was a pele ... Peda ... Pelestrathadal. " These words confused Anna. "No, it seemed to me," she thought, remembering the expression of his face when he was confused on the word pelestrathadal ... "

The heroes of Tolstoy are experiencing the impact of two hostile forces: the moral law of good, compassion and forgiveness and power - the "law of public opinion". The impact of the second force constantly, and the first one arises only as an insight when Suddenly Anna sorry Karenina and Vronsky saw him in the new world - "not evil, not fake, not ridiculous, but kind, simple and majestic."

The leading theme of the fifth of the novel - "Election of the Way". Anna left Vronsky to Italy. Levin married Kitty and took her to Pokrovskoe. Made a "complete gap" with the same life. Levin on confession hears the words of the priest: "You enter the course of life when you need to choose the way and hold it." The artist Mikhailov appears here with his picture "Christ in front of the court of Pilate", which was an artistic, plastic expression for the very problem of choosing between the "power of evil" and "good law". And the topic "Election of the Way", so important for

the fifth parts and for the whole novel, receives new lighting and justification in those scenes where Anna and Vronsky are depicted on the background of Mikhail's picture.

Carnine has no choice, but he also chose if not his way, then his fate.

He "could not solve anything himself, did not know what he wanted now, and, while giving himself to those who were engaged in his deeds with such pleasure, and consent answered everything."

"Two marriages" - the plot of the sixth part of the novel. Tolstoy tells about the life of Levin in the Pokrovsky and the life of the Vronsky in Vozdvizhensky, as well as on the destruction of the house of the Obloban in Ergashov. So drawn scenes of life "in law" and "out of law", the paintings "right" and "wrong" family ...

In the seventh part of the heroes enter the last stage of the spiritual crisis. There are events here, compared to which all others had to seem insignificant: the birth of the son of Levin and the death of Anna Karenina, these, according to Feta, "two visible and ever mysterious windows: Birth and death" 1.

And finally, the eighth of the novel is the search for a "positive program", which was supposed to highlight the transition from personal to the general, to the "People's Pravda".

The plot center of this part becomes the "Law of Good". Levin comes to solid consciousness that "the achievement of a common good is possible only with the strict execution of the law of good, which is open to every person."

7

Tolstoy called "Anna Karenina" "Roman wide, free." At the heart of this definition - Pushkin's term "free novel". In Anna Karenina, there are no lyrical, philosophical or journalistic deviations. Between Roman Pushkin and the novel of Tolstoy there is a undoubted connection, which manifests itself in the genre, in the plot and in the composition. Tolstoy, according to M. B. Khrapchenko, "continued Pushkin traditions of updating the form of the novel, expanding his artistic possibilities." 2

Not the headquarters of the provisions, and the "Creative Concept" defines the choice of material in Anne Karenina

1 "Literary Legacy", vol. 37-38. M., 1939, p. 224.

2 M. V. Khrapchenko. Lion Tolstoy as an artist. M., 1978, p. 215.

opens space to develop plot lines. The genre of free novel arose and developed on the basis of overcoming literary schemes and conventions. The plot in the traditional family novel, for example, at Dickens was built on the pilot completion of the provisions. It was from this tradition that Tolstoy refused, although he loved the dickens as a writer very much.

"I can't and I don't know how to put the well-known borders to persons, somehow marriage or death," writes Tolstoy. - ... I was involuntarily understood that the death of one person only initiated interest in other persons and the marriage was presented mostly with a string, and not an interchange of interest "(t. 13, p. 55).

The innovation of Tolstoy served not to destroy the genre, but to expanding his laws. Balzac in "letters about literature" very accurately determined the characteristic features of the traditional novel: "No matter how much the number of accessories and many images, the modern novelist should, as Walter Scott, Homer of this genre, group them according to their meaning, subordinate their sun to their system - intrigue or hero - and lead them as a sparkling constellation, in a certain order "1.

But in Anna Karenina, as well as in the "war and peace", Tolstoy could not put his heroes "famous borders". And his novel lasted after the marriage of Levin and even after the death of Anna. The "Sun" of the Tolstovsky Nomanic System is the "Folk Thought" or "Family Thought", which leads many of its images, "as a sparkling constellation, in a certain order."

In 1878, in the magazine M. M. Stasyulevich "Journal of Europe" (No. 4-5), the article "Karenina and Levin" was published. The author of this article was A. V. Stankevich, brother of the famous philosopher and poet N. V. Stankevich. He argued that Tolstoy wrote instead of one - two novels. As a "man of forties", Stankevich frankly adhered to old-fashioned concepts about the "right" genre. He ironically called "Anna Karenina" by Roman De Longue Haleine ("Roman of Wide Respiratory"), comparing it with medieval multi-volume narrations that have once found "numerous and grateful readers."

Since then, the philosophical and literary taste "cleared" so much that "indisputable norms" were created, whose violation does not pass in a gift for the writer. Stankevich argued

1 cm. About this: B. I. bups. Lion Tolstoy and Russian Roman. M. - L., 1963, p. 69.

with the plot lines of the Tolstsky novel parallel, that is, independent of each other. And on this basis came to the conclusion that there is no unity in the novel.

Stankevich's thought many times, consciously and unconsciously, was repeated in the extensive literature on Anne Karenina.

The term "novel of broad breathing" was widespread. And Tolstoy treated him without any irony. Back in 1862, he recognized: "So pulls now to the free work of De Longue Haleine - Roman" (Vol. 60, p. 451). And in 1891, the writer noted in his diary: "I began to think how to write a novel de Longue Haleine, illuminating his present look at things" (t. 52, p. 5).

"Anna Karenina" was a "novel of broad breathing", where all the events were "lit a peculiar view of the author." And the term "Roman of Wide Breath", losing his ironic color, could enter the literary turn, if Tolstoy did not define his favorite genre easier and clearer - "Roman wide, free."

In the free novel, there is not only freedom, but also the need, not only latitude, but also unity. Tolstoy especially treated the artistic integrity of his novel, plastic connection of ideas and the philosophical thought laid in its foundation.

"The volume is sufficient, - taught Aristotle, - inside which, with continuous consequences of events, for the likelihood or necessity, a change from misfortunes, fortunately or from happiness to unfortunate" 2, can occur. This is also determined by the volume of the Tolstsky novel, where, as needed, the probability is due to the change from misfortunes and from happiness to unfortunately in the fate of Levin and Anna Karenina.

1 "Letters of Tolstoy and Tolstoy." M., 1928, p. 223.

2 Aristotle. Poetics, p. 64.

At the widespread action of the Retreat of Tolstoy, I wanted to indicate the epigraph to the novel: "I am defering, and I will repay."

Tolstoy was convinced of the moral responsibility of a person for every word, for each act. "In all the retribution ... in the whole limit, it is not prime," the writer argued (t. 48, p. 118). Therefore, he ironically depicts Karenina, Lydia Ivanovna, when they want to judge Anna.

The novel of Tolstoy with his acute social problematics could not arouse delight among the "real secular people." "And, I suppose, they feel everything," A. Fet wrote, "that this novel is a strict incorporated court of our world of life" 1.

In one of his later works, Tolstoy returned to the main thought of his novel: "Many thin people make themselves and each other only because weak, sinful people have taken the right to punish other people. "I'm omitting, and Az weaver." He punishes only God and then only through the person "(t. 44, p. 95). The last phrase is a translation ("punishes only God") and interpretation ("and only through the person") ancient saying, which Tolstoy took the epigraph to the modern novel.

But God for Tolstoy was the life itself, as well as the moral law, which is "concluded in the heart of every person."

"Tolstoy points to" Az We, "writes Fets," not like a row of a terrible mentor, but as a punitive force of things ... "2. Fet clearly felt the "punitive strength of things", the eternal laws of morality, the "court of higher order", conscience, good and justice in the art of Tolstoy. This writer was very well known for this, essentially, non-delicious, namely, the historical and psychological interpretation of the idea of \u200b\u200bretaliation in his novel. And he was quite agreed with her. "All what I would like to say," he noticed about the Feta article about Anne Karenina (vol. 62, p. 339).

Thus, for thick, everything was reduced to internal content, to "clarity and certainty of the fact of the author himself to life, which impresses all the work" 3.

In the set of scenes, characters, the provisions of the modern novel strictly withstands the artistic unity and unity

1 "Literary Legacy", vol. 37-38, p. 220.

2 there, with. 234.

3 "L. I. Tolstoy in the memoirs of contemporaries. " In 2 volumes, t. 2. M., 1955, p. 60.

the original-moral attitude of the author to the subject. " It gives harmony and harmony to the novel Tolstoy. "There is a center in the field of knowledge," writes Tolstoy, and countless radius from it. The whole task is to determine the length of these radius and the distance of them from each other. "1 The concept of "single-constreniety" was at the thick of the most important in his philosophy of life, which affected, in particular, at the novel "Anna Karenina". It is also built, and the range of Levin is wicked more than the circle of Anna: History Levin begins earlier than the story of Anna, and continues after her death. And the novel ends not a disaster on the railway (part VII), and the moral quest of Levin and his attempts to create a "positive program" of updates for private and shared life (h. VIII).

Thus, two circles - compressing and leading to despair around the life of the "exceptions" and the expanding circle of the completeness of being and the "real life" - the world of modern novel Tolstoy is contacted. It has an inevitable logic of historical development, which, as it were, predetermines the interchange and resolution of the conflict, and the ratio of all parts in which there is nothing superfluous, is a sign of classical clarity and simplicity in art.

"There are different degrees of knowledge," Tolstoy argued. - There is a complete knowledge that illuminates the entire object from all sides. Alsonation of consciousness is performed by concentric circles "(vol. 53, p. 45). The composition "Anna Karenina" can serve as an ideal model of this formula of Tolstoy, which involves the presence of some uniform structure of characters and the natural development of the "beloved dream".

Concentricity, single centerness of circles of events in the novel indicates the artistic unity of the epic design of Tolstoy.

"Roman wide and free" is a work of a big epic form. Its volume is determined by the content of the creative concept, not the number of volumes.

Tolstoy once mentioned in characteristic recognition: "We must write a briefly big novel." The connection of such concepts as brevity and a big novel would be a paradox if it were not the law of free novel. In any case, Tolstoy had every reason to say about "Anne Karenina"; "It seems to me that there is nothing superfluous ..."

1 N. N. Gusev. Two years with L. N. Tolstoy. M., 1973, p. 248.

8

"Anna Karenina" wrote in a clear glade. Middle Tolstoy learned in his book familiar pictures, familiar people and even themselves. "The material for it (for" Anna Karenina ") father took his life from the surrounding life," writes S. L. Tolstoy. - I knew many people and many episodes, there were described. But in Anna Karenina, the actors are not quite the ones that lived in fact. They are just like them. The episodes are combined differently than in life. "1.

The novel, according to Tolstoy, "has a task, even an external task, a description of the whole human life or many human lives" (t. 30, p. 18).

Nevertheless, in a historic, cognitive sense, the problem of prototypes always attracts the attention of researchers and readers. And the novel "Anna Karenina" is especially rich in the "realities".

A lot of evidence of contemporaries has been preserved about what kind of faces and events sued a thick reason to the image of them on a wide web of the modern novel. It seems to emphasize his accuracy, sometimes direct "documentality".

The feelings and impressions of the life of the writer turned into a novel into immortal art images. The landscape of Moscow in Anne Karenina Oveyan lyrical mood Levin, in which the living features of Tolstoy are guessed.

But in History, Levin and Kitty are embodied not only early, poetic memories of Tolstoy about the initial summary of his family life, but also some features of later, complicated relations. Already in 1871, Sophia Andreevna Tolstoy recorded in his diary: "... I ran something between us, some kind of shadow, which disconnected us ... With the last winter, when and left and I, we were both so sick, Something broke into our lives. I know that the same firm faith broke in me in happiness and life, which was "2.

"It began with that time," recalled Tolstoy in 1884, - 14 years old, as the string burst, and I was conscious of my loneliness "(t. 49, p. 98). It means that it happened precisely in those years when he conceived "Anna Karenina." Tolstoy still wanted to live in agreement with him, with his family, but he had new philosophical and life impulses that came to

1 S. L. Tolstoy. Essays have been. Tula, 1965, p. 54.

2 S. A. Tough. Diaries. In 2 volumes, t. 1, p. 84.

contradiction with the established life structure of the boric estate. The same anxious feeling was from Levin. In each of the heroes of Tolstoy, there is something from his worldview, from his consciousness of the painfulness of the process of revaluation of values. But the point is not only in the personal globility of the writer and not in the peculiarities of the character of his heroes. His personal globalism was inseparable from the general trend of time.

In his "confession" Tolstoy said: "I lived badly." He meant that, living "like everything," without thinking about the "general goodness", cared for "improving his life," was immersed in the usual world of landlord manor house. And suddenly he opened the historical and moral injustice of this life. Insupportment "Excess" in comparison with the "Poverty of the People".

And then he had a desire to get rid of life "in exceptional conditions of Epicurery", "satisfaction of lust and passions." "I sought with all my forces away from life," writes Tolstoy to "confession." - the thought of suicide came to me as naturally, as the thoughts on improving life had come about "(t. 23, p. 12).

Tolstoy admitted that he had to "use tricks against himself" to suddenly not lead the thought of suicide. Levin is experiencing the same concern. "And, a happy family man, a healthy person, Levin was several times so close to suicide," says Tolstoy, "what the lace hide, so as not to hang on it, and was afraid to walk with a gun so as not to shoot."

In the last part of the Roman Tolstoy talks about the meeting of Levin with a simple peasant Fedor during harvesting. "It was the most hurried working time when there is such an extraordinary tension of self-sacrifice in the work in the whole of the people, which is not manifested in any other conditions of life and which would be highly valuable if people who show these qualities would appreciate them themselves if It did not repeat every year and if the consequences of this voltage were not so simple. "

"Unusual tension of self-sacrifice", which Levin saw and felt in the people, completely changed the image of his thoughts.

Levin as if repeats the path of thick.

"The simple labor people around me," writes Tolstoy to "confession," - was the Russian people, and I turned to him and for the meaning he attaches life "(t. 23, p. 47), just he could escape From the threat of despair.

Feeling his "disappearance" (the word from the "confession") from beliefs, traditions, the living conditions of the "Circle", Levin wanted to understand the lives of those who "make life", and "the meaning he gives it."

"... my life is now," Levin thinks, - all my life, regardless of everything that can happen to me, every minute of her - not only is not meaningless, what was before, but it has an undoubted meaning of goodness that I amply invest In her! "

However, the convergence of "Anna Karenina" with the "confession" still have their limits. In 1883, G. A. Rusanov asked Tolstoy: "When you wrote" Anna Karenina, "you have already switched to current views?" And Tolstoy replied: "No more" 1.

In the years of work on Roman Tolstoy did not lead diaries. "I wrote everything in Anna Karenina," he said, "and nothing remains" (t. 62, p. 240). In letters to friends, he sometimes referred to Anna Karenin. "I am a lot that I thought I tried to express in the last chapter of the April book of the Russian Bulletin," he writes Feta in the spring of 1876 (vol. 62, p. 272).

And in fact, many episodes of Anna Karenina look like a diary or MEMUARY Tolstoy.

Levin writes on the Liver Table the initial letters of the words he wanted to say Chiti, and she guess their meaning. Approximately the explanation of Tolstoy with S. A. Bers. "I watched his big, red hand and felt that all my mental strength and abilities, all my attention was vigorously focused on this crayon, on the hand that held it" 2, "recalls S. A. Tolste.

The very last name Levin is formed from the name of Tolstoy: "Lyiv Nikolaevich (as he was called in the home circle). Last Name Levin was perceived in this transcription (cf. Mention of Levin and Kitty in the letter I. Aksakov to Y. Samarin) 3. However, neither Tolstoy nor his relatives never insisted on this precisely. The similarity of Levin and Tolstoy is undoubtedly, but also undoubtedly their difference. Fet said very successfully: "Levin is Lion Nikolayevich (not a poet)" 4.

1 G. A. Rusanov. A. G. Pusanov. Memories of Lev Nikolayevich Tolstoy. Voronezh, 1972, p. 33.

2 S. A. Tough. Diaries. In 2 volumes, t. 1, p. 481.

3 "Russian literature", 1960, No. 4, p. 155.

4 L. N. Tolstoy. Correspondence with Russian writers. M., 1962, p. 306.

"Konstantin Levin Father, obviously, wrote off from himself," says S. L. Tolstoy, "but he took only part of his" me ", and far from the best part" 1. No wonder Sophia Andreevna jokingly spoke L. N. Tolstoy: "Leo, you are Levin, but plus talent. Levin is an unbearable man "2

This surname in the literature of those years is not so unique, as it may seem at first glance. The Hero of the story A. V. Stankevich "Idealist" is also called Levin. This story enjoyed a certain success. I thought about it a lot and I wrote A. Grigoriev, I considered that the essence of the "Russian idealist" was the fact that he was "listened to all the sounds of life," "I was interrogated with the meaning of all her phenomena," although it was not able to "take the heart" The meaning of reality is 3. The story "idealist" was associated with the memories of N. V. Stankevich, whom Tolstoy loved very much, and with the heritage of idealists of the 40s. It is appropriate to note here that Levin in Anne Karenina was drawn as the type of "Russian idealist", in many respects opposing the "newest trends" of time.

Anna Karenina, according to T. A. Kuzminskaya, reminds Maria Alexandrovna Gardung (1832 - 1919), Pushkin's daughter, but "not in nature, not life, but an outdoor." Tolstoy met M. A. Gardung visiting General Toulubieva in Tula. "Her light gait easily carried her quite complete, but a straight and elegant figure. I introduced me to her, "says T. A. Kuzminskaya. - Lev Nikolayevich was still sitting at the table. I saw him intently looked at her. "Who is it?" He asked, going to me. - M-me Gardung, daughter Pushkin's poet. "Yes," he handed out, "now I understand ... You look, what is her arab curls on the back of the head. Surprisingly thoroughbred "4.

In the diary S. A. Tolstoy, a note has been preserved: "Why calendar Anna and what caused the thought of such suicide?" S. A. Tolstaya tells about the tragic fate of Anna Stepanovna Pirogova, which unhappy love led to death. She left the house "with a nodule in her hand," "returned to the nearest station - Ash, rushed to the rails under the commodity train." All this happened near the clear glade in 1872.

1 S. L. Tolstoy. Essays being, p. 54.

2 T. A. Kuzminskaya. My life at home and in a clear glade. Tula, 1960, p. 269.

3 Apollo Grigoriev. Literary criticism. M., 1967, p. 311-312.

4 T. A. Kuzminskaya. My life at home and in a clear glade, with. 464-465.

Tolstoy traveled to the railway barracks to see the unfortunate. "The impression was terrible" 1, "writes S. A. Tolste. But the novels were changed in the novel, and the very character of events.

According to the testimony of contemporaries, the prototype of Karenin was "reasonable" Mikhail Sergeevich Sukhotkin, Camger, Counselor of the Moscow Palace Autonomous Office. In 1868, his wife, Maria Alekseevna Sumetina, achieved a divorce and married S. A. Ladyzhensky. Tolstoy was friendly with Brother Maria Alekseevna - D. A. Dyakov and knew about this family history, which he could partly serve as a material for describing the carpenin drama.

Surname Karenin has a literary source. "Where did the name Karenin come from? - writes S. L. Tolstoy. - Lev Nikolayevich began to learn from Greek language since December 1870 and soon he was so mastered that he could admire Homer in the original ... Once he told me: "Karenon - Homer - Head. From this word I had the name Karenin. " Isn't it because he gave such a surname to her husband Anna that Karenin is a head man, that it prevails in him over his heart, that is, feeling? " 2.

The prototype of the Obloban is usually called (among other persons) Vasily Stepanovich Perfilieva, the county leader of the nobility, and then - in 1878-1887 - the Moscow Governor. V. S. Pontifers was married to P. F. Tolstoy, a secondary sister of Leo Nikolayevich. To rumors that the Blond reminds him of its character, Perflight, according to T. A. Kuzminskaya, reacted good-naturedly. Lev Nikolayevich did not refuted this hearing.

After reading the scene of the Breakfast of the Oblonsky, Perfilly once said Tolstoy: "Well, I never eaten a whole calace with oil for coffee. That you looked at me! " These words embarked Lion Nikolayevich "3," writes T. A. Kuzminskaya. According to the testimony of other contemporaries, Perflight was dissatisfied with the fact that Tolstoy "led" him in the image of the Blond, and was very painful about similarity to him.

In the nature of Nikolai Levin Tolstoy reproduced many essential features of their native brother - Dmitry

1 "L. N. Tolstoy in the memoirs of contemporaries. " In 2 volumes, t. 1. M., 1955, p. 153.

2 "Literary Legacy", vol. 37-38. M., 1939, p. 569.

3 T. A. Kuzminskaya. My life at home and in a clear glade, with. 322.

Nikolayevich Tolstoy. In his youth, he was ascetic and strict. Then there was a fracture in the life of Dmitry. "He suddenly began to drink, smoke, wind money and ride to women. How it happened to him, I don't know, "Tolstoy told," I didn't see him at this time ... And in this life he was the same serious, religious man as he was in everything. Tu woman, a prostitute Masha, whom he first recognized, he bought and picked up ... I think that there is not so much bad, the unhealthy life, which he led for several months in Moscow, how much the inner struggle of doclas conscience, - his mighty organism " one .

In the modern novel, the type of modern artist appears in Tolstoy. Anna Karenina and Vronsky during the Italian journey attend the Studio Mikhailov in Rome. "Some features of the artist Mikhailov," says S. L. Tolstoy, "remind the famous artist I. N. Kramsky" 2.

However, Tolstoy portrayed in his novel not Kramsky as a real person, but the most type of "new artist" from the Russian scenic school in Rome, where Alexander Ivanov lived and worked for many years.

This face is generalized, more characteristic, typical of his time. It combines some features of many artists whom Tolstoy had the opportunity to observe in Rome, in St. Petersburg and in Moscow. Mikhailov "raised in the concepts of disbelief, denial and materialism."

"Historical School", its critical attitude not only to church painting, but also to religion, a new formulation of moral problems - all this very occupied Tolstoy during the Scriptures of Anna Karenina, on the eve of the "spiritual fracture".

In the autumn of 1873, I. N. Kramskaya wrote a portrait of a thick in a clear glade. Their conversations during sessions about the worldview and work, about old masters filed a fat thought to introduce a whole series of scenes with the participation of the artist Mikhailov. These were scenes completely in the spirit of time.

Real facts of reality entered the novel in the transformed form, submitting the creative concept of Tolstoy. Therefore, it is impossible to identify the heroes of "Anna Karenina" with their real prototypes, although Tolstoy in drafts sometimes called nomanic heroes with the names of closely familiar people to more clearly see them in front of them during operation. "I would be very

1 P. I. Biryukov. Biography L. N. Tolstoy, t. I. M., 1923, p. 133.

2 "Literary Legacy", vol. 37-38, p. 582.

sorry, - once Tolstoy said, - if the similarity of fictional names with valid could someone give the idea that I wanted to describe a real face ... You need to observe many homogeneous people to create one specific type "1.

***

Anna Karenina is a modern novel. And its modernity lies not only in the relevance of the problems, but also in the living details of the epoch, which were reflected in the novel. Anne Karenina has dated episodes - volunteer wires (h. VIII) - summer of 1876.

If you go from this date to the beginning of the novel, then the entire chronological order of events is clarified with full disclosure. Weeks, months and years Tolstoy noted with such a sequence and accuracy that he could repeat the words of Pushkin: "We dare to assure that in our romance the time calculated by the calendar" 2.

Anna Karenina arrived in Moscow at the end of the winter of 1873 (h. I). The tragedy at the Orabilovka station occurred in the spring of 1876 (h. VII). In the summer of the same year, Vronsky went to Serbia (h. VIII). The chronology of the novel was built not only on the calendar sequence of an event, but also on a certain choice of details from modern life.

So appear in the novel of mention of Samara hunger and the Khiva campaign (1873), on the general military service and Sunday schools (1874), about the project of the monument to Pushkin and the university issue (1875), about Milan Obrenovic and Russian volunteers ( 1876).

Many valuable observations on the historical realities of the novel collected in the comment of V. Savrodnik to the two-volume edition of Anna Karenina (M. - L., 1928), in Articles S. L. Tolstoy "On the reflection of life in Anna Karenina (" Literary Legacy ", Vol. 37-38) and N. K. Hudzia" The design of the lion of Tolstoy and their embodiment "(" New World ", 1940, No. 11-12), as well as in the books V. A. Zhdanova" Creative history "Anna Karenina "(M., 1957) and HH Guseva" Lev Nikolayevich Tolstoy. Materials for biography from 1870 to 1881 "(M., 1963).

1 A. H. Moshin. Clear glade and Vasilievka. St. Petersburg, 1904, p. 30-31.

2 A. S. Pushkin. Cathedral cit., t. Iv. M., 1975, p. 164.

9

The work of Tolstoy over the novel "Anna Karenina" lasted until 1878, when finally this book was published by a separate three-volume edition. It was the first edition of the famous Tolstoy novel, which from 1875 to 1877 was printed in the magazine "Russian Bulletin".

"Anna Karenina" at the exit to the light had a huge success. Every new head of the novel "raised all the society on rapids," he writes one of the contemporaries, "and there was no end to the vendor, delights, and purses, and disputes, as if the matter was about the question, each personally close" 1. In this sense, the success of Anna Karenina exceeded the success of the war and the world.

However, the opinions of critics were divided by a decisive way. MH Katkov, editor of the conservative magazine "Russian Bulletin", which is not without difficulty and through the mediation of N. N. Insurance, it was possible to obtain the right of the first publication of the novel, refused to print the epilogue "Anna Karenina" due to the judgment of Tolstoy about Russian volunteers in Serbia, but hurried Give your interpretation of a new book Tolstoy.

Already in the May issue of the magazine for 1875, the "semi-solid" article appeared "about the new Roman gr. Tolstoy "2, signed by the initial letter" A ". The author of this article was V. G. Avseenko, critic and novelist of the Karkovsky circle.

Aveseenko argued that "Anna Karenina" is, first of all, a large-minded romance, and Tolstoy himself is an artist belonging to the school of "pure art". The social sense of the novel was reduced to the chance of "cultural heredity, which in general lacks our society." The author somewhat embarrassed the peasant scenes in the novel and the Men's Pravysius Levin, but he was delighted with the scene of the ball and many of the Great Lights, although those illuminated, in his opinion, too "objectively."

Articles Avseenko surprised Dostoevsky. "AVSEENKO," Dostoevsky writes in the "Writer's Diary", answering him criticism, "depicts himself as a writer of a figure who lost on the adoration of the highest light. Shorter, he fell NIC and adores gloves, carriage, perfume, lipstick, silk dresses (especially the moment when the lady sits in the chair, and the dress is suicified near her legs and

1 "Correspondence L. N. Tolstoy with gr. A. A. Tolstoy. " St. Petersburg., 1911, p. 273.

2 "Russian Bulletin", 1875, No. 5, p. 400-420.

the bird) and, finally, Laces, who meet a lady, when she returns from the Italian opera "1.

Calling "Anna Karenina" "the Great Roman", the critic of the "Russian Bulletin" as it were to challenge democratic journalism. And this challenge did not remain unanswered. "Russian Bulletin" - the monarchical and large-scale magazine - overlooking the new composition of Tolstoy. This was enough to cause a storm of indignation in the radical press.

P. N. Tkachev, critic and publicist of the democratic magazine "Case", one of the most common editions of the 70s. If Aveseenko's articles (and he wrote a series of articles on the novel in the "Russian Bulletin" and in the Russian world newspaper), you can call the grandmother of the Great Roman, then Tkacheva's article (he performed under the pseudonym "P. Nikitin") should be called pamphlets on Tolstoy And his interpreter.

It seems, however, that Tkachev trusted too much to the interpreter and judged the novel mainly on what he was written in the Russian Bulletin. The most important article of Tkacheva was called "Salon Art" 2. The name is very characteristic, which encloses the direct assessment of the novel and the decisive attitude of the criticism.

Tkachev, essentially, repeated the very shaky statements of Avseenko. Only changeless "Sign": what was said with the loss, repeated with disgust; And the fact that this is a novel from a great life, written in the laws of "pure art", both critics have completely agree.

Tolstoy article of this kind considered the generalization of all the events of his novel. "And if there are short-sighted critics," he said, "that I wanted to describe only what I like, as a Blond dins and what shoulders at Anna Karenina, they are mistaken" (vol. 62, p. 268-269).

There was much more difficult attitude towards the novel in "domestic notes". Tolstoy suddenly, it would seem, the confidence of the most insightful critics of his time. Even Nekrasov, who offered Tolstoy to print "Anna Karenin" in "domestic notes", after the novel appeared in the "Russian Bulletin", as if completely cooled to Tolstoy.

Not deceived by the "Great Military" theme of the novel by N. K. Mikhailovsky. In his ferrisions, published in

1 F. M. Dostoevsky. Full Cathedral cit., t. 10. SPb., 1895. Since 133.

2 "Case", 1878, No. 2, 4.

"Domestic Notes" called "Note Profan", he noted the explicit and indigenous difference between the novel Tolstoy from the general direction of the Russian Bulletin magazine and especially from Aveseenko's articles.

Saltykov-Shchedrin, who played a leading role in the "domestic notes" of the 70s, sharply responded about the novel. He clearly saw that the novel of Tolstoy was operated for mercenary reaction purposes. And he had a feeling of anger and against the "Conservative Party", and against the "aristocratic" and "anti-nigilastic", by definition of the "Russian Bulletin", novel 1.

Subsequently, when the novel was published entirely, Saltykov-Shchedrin did not repeat these sharp words of condemnation, told in the heat of a fierce journal controversy. It is impossible to think that he did not "understand" or did not appreciate the art of a thick and vast social sense of Anna Karenina.

Finally, in 1877, a final article appeared in the "domestic notes" in which all the content of the novel was given to absurd 2.

Meanwhile, the rinks did not know how to get ridiculously and from the novel, and from his author. In 1877, he printed anonymously in the "Russian Bulletin" (No. 7) the article "What happened by the death of Anna Karenina".

It was a post on all items, renunciation from the novel. "The idea of \u200b\u200bthe whole did not work out ... There was a smoothly wide river, but I did not fall into the sea, but lost in the sands. It was better to go ashore in advance than to float on the shallow. " - So was the verdict of the Russian Bulletin.

The fate of Anna Karenina was dramatically. "The Great Motor Roman", "Salon Arts" - these were, in essence, the formula of condemnation. On the side of Tolstoy, only readers left, who opened something more in his novel than what they saw critics. Based on the definitions of Avseenko and Tkachev, it was impossible to explain the reader's success of the novel.

In general, he said about "Anne Karenina" as a great artistic work only Dostoevsky. He dedicated a novel article called "Anna Karenina, as a matter of much importance."

For Dostoevsky "Anna Karenina" was, first of all, not a greatness, namely modern novel. In Tolstoy ON.

1 M. E. Saltykov-Shchedrin. Cathedral cit. in 20 volumes, t. 18, kN. 2. M., 1975, p. 180-181.

2 "Domestic Notes", 1877, No. 8, p. 267-268.

i saw the artist belonging to the Great "Pushkin Pleiad", which testified not to the tendency to "clean art", but about the irreversive strength of the artistic truth and simplicity.

Anna Karenina struck contemporaries not only "daily content", but also the "huge psychological development of the soul of human", "terrible depth and power", "unprecedented, - as Dostoevsky said, - we have a realism of the artistic image."

Dostoevsky had its own attitude to those problems that touched Tolstoy. He spoke about the "eternal guilt of man", condemned the "drugs of socialists", sought to "indisputably the question".

According to these statements, it is rather possible to judge Dostoevsky and his worldview than the thickness, such a large difference was between them. It is curious that Tolstoy "missed" the article of Dostoevsky and never spoke about it, even as if she did not read it.

But Dostoevsky first pointed to the Great Artistic Value of the novel Tolstoy. Anna Karenina is perfection as an artistic work, "Dostoevsky wrote," ... and that with which nothing like from European literatures in the real era cannot compare "1. The history of Russian and world literature confirmed the correctness of these words of the Great Writer.

Roman Tolstoy "Anna Karenina" translated into many languages \u200b\u200bof the world. From books and articles dedicated to this work, you can make a whole library. "I have called" Anna Karenina "without hesitation," the greatest social novel in all world literature, "writes the modern German writer Thomas Mann 2.

In the novel of Tolstoy "denial of life", "care from reality" is replaced by respect for life and its real affairs and concerns, to the life of a person and the requirements of his soul. Therefore, the novel, despite the tragic plot, produces a life-affirming impression.

Somehow Tolstoy noticed: "If I would tell me that what I would write will be to read the present children in 20 years and will cry over it and laugh, and love life, I would devote him all my life and all my strength" ( vol. 61, p. 100).

1 F. M. Dostoevsky. Full Cathedral cit., t. 11. SPb., 1895, p. 247.

2 T. Mann. Cathedral cit. in 10 volumes, t. 10. M., 1960, p. 264.

These words were spoken over a hundred years ago. And the distant descendants of Tolstoy again and again lean over his books and learn to understand and love life. Tolstoy and these days remains a great artist, who, according to Leonid Leonova, "the command of the pen will inspires the reader any of the spectrum of human feelings - always with a shade of naive, as a miracle, surprise, - it silently converts the human soul, making it a persistent, responsive , irreconciland to evil "1.

1 Leonid Leonov. Word about fat. M., 1901, p. 35

Babayev E.G. Comments. L.N. Tolstoy. [T. 9] // L.N. Tolstoy. Collected Works in 22 TT. M.: Fiction, 1982. T. 9. P. 417-449.

"Anna Karenina". Meeting at the stations of the pain

The seventies of the year of last century were a period of rapid development of capitalism in Russia. Along with the growth of industry and trade in the country there was a process of impoverishment and dedication of the village. The peasants were starving, ruined, threw the earth and went to the cities where they crossed themselves on the new horrors of ruin and homeless life.

Lion Tolstoy knew the plight of the Russian village.
The 70s - a period of particularly intense and painful thoughts of Tolstoy over the social problems of the era. During these years, the Lion Tolstoy is even more penetrated with hatred of the dominant forms of oppression, even closer to the world of patriarchal peasantry.
Evidence of the deep pondering of the great artist about the fate of his country, his tireless searches from the social implication was the novel "Anna Karenina".

"Anna Karenina" is one of the largest creations of Tolstoy. With great strength, the indigenous questions of the life of the Boreframe Russia are put in it, the social shifts that occurred in the country after the "reform" were reflected in 1861

"Anna Karenina". Date Anna and Son

In the center of the plot of Roman - the tragedy of the young, gifted, complete vitality of a woman who came into a collision with a false morality of the Great Sweetheart. Anna's spiritual drama, broken off the bond of an unequal marriage, a pussy attitude towards it from a large-scale society is shown in thick as a typical conflict of the era, as a clash of humanity with silent, sincerity with hypocrisy during the celebration of Mr. Coupon.

Already from the first pages of the work, we feel the turning point of the era depicted in the novel, the zyibility and precision of the dominant relationship. "Everything was mixed in the house of the Blond." Everything was mixed in the surrounding life. Generic aristocratic know ruins. The owners of life are the delints of Bulgarian and merchants Ryabinin. Rurikovich Oblisky is humiliated with a relaxed banker to get a "profitable place".

"Anna Karenina". Haymaking

Anna tragedy, her loneliness and doomed caused not only by the fact that she neglected - in the name of life - false, hypocritical laws of the noble environment, but also in the new living conditions, the laws of bourgeois morality are opposed to her, even more cruel and inhuman.

Honest and sincere Anna with her desire for large and pure love organically not a meant of morals generated by bourgeois relations; She is as disheeted by the "free" techniques of the Betsy Tverskaya saloon, how much and dead chiffness of the mug of the Countess Lydia Ivanovna.

And in this hopelessness, in the irreconcilable clashes of the natural aspirations of a living person with the hypocritical morality of the proposed world, the cause of the tragic death of Anna was concluded.

With a lot of power, they are put in the novel and the problems of economic development of the Poreframe Russia. The pages of the novel are numerous images of the landlords (Sviyazhsky, Stepan Vasilyevich, etc.), who feel the crisis of the flag farms and seeking to exit him in an even greater use of the people. All their searches, of course, are doomed to failure. Honest and deep are ideological search for Konstantin Levin.

Levin strongly rejects the fastener system of farm, based on the enslavement of the peasants. It is not a member of the bourgeois orders, defended by Kozneshyev, Sviyazhsky and other liberals. Levin is looking for a path to the "bloodless revolution", the path of combining the interests of landowners and peasants. However, real reality destroys its utopian illusions.

The "meaning of life", to which Levin comes under the influence of the words of the old man of Fokanich, calling for living "in God's". And nevertheless, the image of Levin - a person close to the people, a fearless challenger - one of the most vivid positive images of Russian literature XIX century.
A significant place in the novel occupy the paintings of the people's life, shown with warmth and lyrism. High mental quality of peasants, their honesty and hard work is opposed to the moral lowness and spiritual devastation of the dominant classes.

Portrait M.A. Gutung

Working on the novel "Anna Karenina" lasted five years - from 1873 to 1877. Initially, he was conceived as a work devoted to the main problems of family and marriage - its content focused exclusively around the family tragedy of the cannon. "In Anna Karenina, I love the thought of family," said Lion Tolstoy. However, as always, Tolstoy, in the process of work, the idea of \u200b\u200bthe work has significantly expanded, deepened, and the novel about the family drama converts into an extensive epic story about the entire flagship of Russia.
Anna Karenina Roman was published in the Russian Bulletin magazine in 1875-1877. Last - the eighth - part of the novel came out with a separate publication in 1877

Upon leaving the novel caused violent and contradictory responses. The revolutionary-democratic criticism (V. V. Stasov) noted the outstanding artistic advantages of the new product of Tolstoy. Liberal and populic criticism collapsed on a novel with sharp attacks.

Anna Karenina Roman was one of the favorite works of V. I. Lenin. According to N. K. Krupskaya testimony, he read many times and reread this work.

The exposition of the hall includes materials characterizing the creative history of Anna Karenina, and illustrations for the novel.

Exhibits
Portrait of thick. I. N. Kramskaya. Butter. 1873 Copy N. V. Orlova.
Portrait of L. N. Tolstoy Work I. N. Kramsky is one of the best lifetime portraits of a writer. The artist drew Tolstoy during his work on the novel "Anna Karenina". Portrait originals are located in the Tretyakov Gallery and in the Jointland House of Tolstoy.

Maria Alexandrovna Gardung - Daughter A.S. Pushkin. Tolstoy met with her in Tula in the 70s. Some features of her appearance Lion Tolstoy gave Anna Karenina.

Maria Alekseevna Dyakova-Sukhotina - Sister of a close friend L.N. Tolstoy D.A.Sukhotin. Some circumstances
Her unsuccessful marriage with M.Susukhin was reflected in Anna Karenina in the description of her family life.

In the handwritten department of the L.N. Tolstoy Museum is kept by eleven options for the start of the novel "Anna Karenina".