The concept of a language game in modern linguistics. Linguistic features of a language game in the speech of a strong language personality

12.04.2020

"Family thought" in the novel in the novel by L. Tolstoy "Anna Karenina"

Plan

I. The creative concept of the novel

1. History of creation

2. Precursors of work

II. "Family thought" in the novel

1. Tolstoy's views on the family

2. Development of the theme in the novel

III. The meaning of the novel

I. Creative concept

1. History of creation

Happy is he who is happy at home

L.N. Tolstoy

Anna Karenina has occupied the writer's creative thought for more than four years. In the process of artistic implementation, its original concept has undergone radical changes. From a novel about an "unfaithful wife", which at first bore the names "Two Marriages", "Two Couples", "Anna Karenina" has turned into a major social novel, reflecting an entire era in the life of Russia in vivid typical images.

At the beginning of 1870, in the creative mind of Tolstoy, there was a plot about a married woman "from high society, but who lost herself", and she was supposed to look "only miserable and not guilty." Numerous ideas and plans that occupied the writer then kept distracting him from this plot. Only after writing The Prisoner of the Caucasus, publishing the ABC and the final decision to refuse to continue the "Peter's novel", Tolstoy returned to the family plot that arose more than three years ago.

From the letters it is clear that Tolstoy himself thought his new work had been roughly completed in the spring of 1873. In fact, however, the work on the novel turned out to be much longer. New characters, new episodes, events, themes and motives were introduced. The image of the title heroine has undergone revision and rethinking, the individual characteristics of other characters have been deepened and the accents in the author's assessment have been shifted. This significantly complicated the plot and composition, led to a modification of the genre nature of the novel. As a result, the work stretched out for a whole four years - until the middle of 1877. During this time, twelve editions of the novel were formed. In January 1875, the publication of Anna Karenina in the Russian Bulletin magazine began, and in 1878 the novel was published as a separate edition.

Initially, the work was thought of as a family and everyday novel. In a letter to N. Strakhov, Tolstoy says that this is his first novel of this kind. The statement is not accurate: Tolstoy's first experience in the genre of a family novel, as you know, was "Family Happiness". The main, basic idea that Tolstoy loved and strove to artistically embody in his new novel was "family thought". It arose and took shape at an early stage of the creation of "Anna Karenina". This thought determined the theme and content of the novel, the relationship between the heroes and the essence of the novel's conflict, the dramatic tension of the action, the main plot line and the genre form of the work. The atmosphere surrounding the heroes was intimate and intimate. The social space of the novel looked extremely narrow.

Tolstoy soon felt that within the framework of the family plot, he was cramped. And, continuing to develop the same plot situation - about a "woman who lost herself," Tolstoy gave the story of the intimate experiences of the heroes a deep socio-philosophical meaning, an important topical public sound.

Tolstoy always responded to the demands of modernity with extraordinary sensitivity. In the previous epic novel, there was only the "secret presence of modernity"; the novel "Anna Karenina" is fiercely modern in terms of material, problematics and the entire artistic concept. As the novel plot unfolds with increasing intensity, Tolstoy “captures” and introduces into the narrative many questions that worried both the author and his contemporaries. These are not only family relationships, but also social, economic, and civil, and generally human. All the most important aspects and phenomena of our time in their real complexity, entanglement and mutual cohesion are fully and vividly reflected in Anna Karenina. Each of the families depicted in the novel is naturally and organically included in the life of society, in the movement of the era: the private life of people appears in close connection with historical reality and in its causation.

In its final form, Anna Karenina became a socio-psychological novel, which, however, retains all the qualities and genre features of a family romance. Being a multi-problem work, the novel "Anna Karenina" acquired the features of a modern epic - a comprehensive narrative about the fate of the people as a whole, about the state of Russian society in a difficult, critical period of existence, about the future of the country, nation, Russia.

The time of action in Anna Karenina is synchronous with the time of the creation of the novel. This is a post-reform era, even more precisely: the 70s of the XIX century with an excursion into the previous decade. This is a period of strongly shaken and "overturned" Russian social reality, when the end of the patriarchal immobility of Russia came.

Tolstoy expressively and aptly defined the essence of the radical changes that have taken place and have taken place in the words of Konstantin Levin: “... now, when all this has turned upside down and is just getting it right, the question of how these conditions will be met is only one important question in Russia ... ".

Tolstoy's heroes live and act at the very beginning of this period, when life raised before them "all the most difficult and insoluble questions." Neither the writer himself, nor his double Levin, nor the other heroes of Anna Karenina had any clear idea of \u200b\u200bthe answer to them. There was much that was unclear, incomprehensible and therefore alarming. Visibly one thing was seen: everything had moved from its place, and everything was in motion, on the road, on the way. And the image of a train that appears more than once in the novel symbolizes the historical movement of the era. In the running and rumbling of the train there is the noise, rumbling and impetuous running of time and epoch. And no one knew whether the direction of this movement was correctly determined, whether the destination station was chosen correctly.

The crisis, a turning point after the reform era appears in Tolstoy's novel not only as a historical and social background, against which characters appear graphically clearly "drawn" and rich in realistic colors, dramatic narrative frames run and a tragic denouement of the main conflict takes place, but this is a living, objectively given reality, in which the heroes are constantly immersed and which surrounds them everywhere and everywhere. And since they all breathe the air of their epoch and feel its "tremors", each one has a characteristic imprint of a "shaken" time - anxiety and anxiety, self-doubt and distrust of people, a presentiment of a possible catastrophe.

The era was reflected more in the emotions of the heroes of the novel than in their minds. Tolstoy, in all its complexity, completeness and artistic truth, recreated the social, moral and family-everyday atmosphere saturated with thunderstorms, which, sometimes explicitly and directly, sometimes indirectly and hidden, affects the state of mind of his heroes, their subjective world, psyche and warehouse thoughts, on the general moral character of people. Hence the intensity of emotions and the intensity of human passions that the most significant heroes of "Anna Karenina" live with, their sharp reaction - positive or negative - to what is happening in life, the confusion of their relationship.

2. Precursors of work

Tolstoy's literary activity after War and Peace is characterized mainly by two trends: the expansion of sociality and the deepening of psychologism. The social scope of phenomena has expanded significantly and became more diverse, and the psychological analysis of human nature has deepened. This process was interdependent.

While finishing the last pages of the epic novel, Tolstoy, despite the fact that for more than six years he worked to the point of exhaustion, felt the need to turn to new themes and images. Already in the fall of 1869, when the final point was not yet put in the manuscript "War and Peace" and the chapters of the epilogue were being printed, Tolstoy had the idea to write a "folk novel". Creative imagination the writer, this novel in general outlines was presented as an epic story based on material, motives and images of oral folk art, in particular on epics. The protagonists of the novel Tolstoy was going to make the epic Russian heroes, among whom Ilya Muromets was seen as the main character, only significantly updated and mentally transferred to modern times: this is a Russian intelligent man of the middle of the century, widely educated, well aware of modern philosophical systems, trends and schools and at the same time closely associated with the folk origins of life.

However, the idea of \u200b\u200bthe "folk novel" was soon replaced by another - a historical novel from the Peter the Great era. Tolstoy began writing a novel about Peter I and the people of his time at the very beginning of 1870 and, sometimes stopping for new urgent literary and social affairs, continued to work for almost three years. But this novel also had to be postponed. The writer himself explained the reason for this as follows: "... I found that it was difficult for me to penetrate into the souls of the people of that time, before they were not like us." There was, apparently, another important reason: the deeper Tolstoy penetrated into the personality of Peter I, comprehended the originality of his moral character and the essence of his practical deeds, the more antipathy he felt towards the tsar as a person and statesman. He was repelled in Petra by cruelty and buffoonery. Later, Tolstoy would say unambiguously: "Tsar Peter was very far from me." Be that as it may, the novel about Peter remained unwritten; numerous sketches of individual chapters have survived, including over thirty versions of the beginning of the novel.

When the first sketches of the future "Peter's" novel were being made, Tolstoy gradually began to think over the plan of a book for children's reading and elementary education of children, and at the same time began to preliminary collect materials. The educational book conceived by Tolstoy, called "ABC", was published at the end of 1872. Three years later, Tolstoy, having significantly altered the "ABC", updated and supplemented its content and, dividing it into two halves, published two separate books - "New Alphabet" and "Russian Books for Reading" (1875). In the midst of work on the ABC, Tolstoy wrote to one of his friends: “My proud dreams about this ABC are as follows: this alphabet will only be used by two generations of Russian children, from tsarist to peasant, and they will get their first poetic impressions from Having written this ABC, I can die in peace. "

"Azbuka" was an educational and pedagogical book: it is at the same time a school manual for students primary grades, and a kind of collection of literary and artistic texts and popular science articles, that is, something like a reader. The ABC is divided into four books, each of which, in turn, consists of four sections: first there is material for reading exercises, then texts in Church Slavonic, then - initial information on arithmetic and natural sciences, and, finally, guidelines for teachers. Author's advice and instructions addressed to teachers and containing an originally developed methodology for teaching writing and counting, and numerous articles-stories on physics, astronomy and natural science, and literary works proper - everything in this book was written or radically revised by Tolstoy himself. Considering that the "ABC" contains about eight hundred pages, it is easy to imagine what a colossal work the writer spent on its creation.

The target setting of the "ABC", intended mainly for peasant children and the broad masses of the people who are just joining primary education, determined the characteristic features of the artistic form of the literary works included in it. They, as a rule, are small in volume and are built on an entertaining and instructive plot, are distinguished by the utmost conciseness of the narration, clear composition, clarity and simplicity of the author's language and dialogical speech. In the "elementary" stories, there is neither that profound Tolstoyan psychologism, which is called the "dialectic of the soul," nor a syntactically complex phrase structure, nor difficult vocabulary. Poetics, style, language - everything in the ABC is new in comparison with what and how Tolstoy wrote in the previous twenty years. But to his confession, he decisively changed the previous "methods of his writing and language." Talking about new methods of writing and deliberately polemically sharpening his thought, Tolstoy declared at the beginning of 1872 that he now does not write and will never again write such "verbose nonsense" as "War and Peace". Now he strictly demands that in a literary work "everything should be beautiful, short, simple and, most importantly, clear." As for his own "elementary" stories, Tolstoy sees their artistic merit "in the simplicity and clarity of drawing and stroke, that is, language."

It was these qualities - simplicity, conciseness and dynamism of narration - that Tolstoy at that time discovered in Russian folklore, and in Pushkin's prose, and in ancient literature. "... Songs, fairy tales, epics," wrote Tolstoy in March 1872, "everything simple will be read as long as the Russian language remains." And further: "... the language spoken by the people and in which there are sounds for expressing everything that the poet can only wish to say is dear to me<...> I just love the definite, clear and beautiful and moderate, and I find all this in folk poetry and language and life, and the opposite in ours. "According to the writer's wife, Lev Nikolaevich was carried away by the dream" of a work as pure, elegant, where there would be nothing superfluous, like all ancient Greek literature, like Greek art. "It is known that Tolstoy knew ancient literature and ancient art perfectly, and in order to read the works of ancient authors in the original, from the end of 1870 he began to study the Greek language independently and within three months mastered im perfect.

The writer himself recognized the story "Prisoner of the Caucasus" as an example of those "techniques and language" that Tolstoy at that time began to use in his work and was also going to use in the future when writing works not only for children, but also "for big ones" ( 1872). The story was written specifically for the "ABC". Executed in a new style, this work was Tolstoy's outstanding artistic creation of the early 70s. With the story "Prisoner of the Caucasus" and a series of stories in the "ABC" Tolstoy laid the foundation for realistic prose for children in Russian literature.

Simultaneously with the writing of the ABC, Tolstoy devoted a lot of energy and talent to the cause of public education and school-teaching activity, which he resumed after a ten-year break. Tolstoy considered it his duty as a writer and a person to energetically and practically contribute to making the entire population of Russia literate, to familiarize the entire people - and, above all, of course, the peasantry - to education and culture. He was convinced that education in Russia the masses it can and should "put on a foot on which it does not and has not stood anywhere in Europe." Tolstoy devoted to this vital problem the article "On Public Education" (1874), which was published in Nekrasov's "Notes of the Fatherland". The article sparked a lively discussion. In the Yasnaya Polyana estate, Tolstoy opened a school in January 1872. Classes with students were conducted by the whole family - both Lev Nikolayevich himself and his children Seryozha, Tanya, Ilya.

Tolstoy was alarmed by the abnormal situation in which undoubtedly talented people perish because of poverty and widespread illiteracy among the Russian people! They need to be rescued as soon as possible, to help them show their natural abilities in every possible way. At the end of 1874, Tolstoy wrote: “I do not reason, but when I enter the school and see this crowd of ragged, dirty, thin children, with their bright eyes and so often angelic expressions, anxiety, horror, like the one that I would feel at the sight of people drowning. Oh, priests, how to get them out, and who first, who ate to pull out. And the most precious thing is drowning here, precisely that spiritual, which is so obvious in children. I want education for the people only for that to save those Pushkins, Ostrogradskys, Filarets, Lomonosovs drowning there. And they are teeming in every school. " These thoughts and moods, which did not give the writer a day of rest, permeated his greatest work of fiction of the 70s - the novel "Anna Karenina".

II. "Family thought" in the novel

1. Tolstoy's views on the family

The family has always been and will be the "ontological" center of any social and personal upheavals and cataclysms: wars, revolutions, betrayals, quarrels, enmity, as well as peace, love, goodness, joy, etc. Tolstoy himself called his "family experience" "subjective and universal." He considered the family model of human relations as a universal, universally significant basis of brotherhood, love, forgiveness. and so on, since it is our relatives that we tend to forgive first of all, endure offenses from them, forget the harm they have done and pity them for this evil, for the very kinship, the very common life turns their "evil" into their "weakness" the inability to be kind makes us, as it were, "accomplices" of this "evil", since a morally normal person simply cannot but feel guilty that a person close to him is "bad".

And at the same time, only within the framework of family life, family ties can there be obvious deviations from the "law of love", flagrant violations of the principles of humanity and morality, which in other situations do not look so shocking (for example, the envy of a son to his father, from which Tolstoy suffered, the wife's hatred of her husband, etc.), when it can be said with good reason that "a man's enemies are his own household." And Tolstoy deeply experienced all these situations, knowing both aggressiveness, and craftiness, and the variety of such evil. Staying in the family until last days his life, Tolstoy acted consistently and principledly. His life, in the midst of the contrast between luxury and poverty, slavery and freedom, "hatred" and "love", proceeded in the most intense, central space of human moral life. No war, no exile, no social disasters, etc. could not give him as much experience of dealing with the vices of life as did "family war", "family exile" and "family trouble".

In a family, a person is born and dies, his whole life passes through it. Here he first encounters the demands of the "common", goes through the first school of relations with people and learns with complete evidence and irrefutable certainty that his happiness is inseparable from the happiness of others and that others are himself.

Tolstoy was convinced that "the human race develops only in the family." Consequently, its destruction in his eyes was fraught with the most dire consequences for all mankind. The family is the foundation, the source of both the clan and the personality. It is necessary for the existence of both the "general" and the "personal". If the "common" - the human race, people, society, state - cannot do without a family, then an individual, according to Tolstoy, lives a full, serious life only in a family. A general need in the form of a deep personal need. And the writer's contemporaries lost a proper understanding of the family, its deepest meaning in the life of an individual and society.

2. Development of the theme in the novel

Tolstoy gives in the novel a number of views on the family. Yashvin and Katavasov are episodic heroes, but with their own specific and characteristic views on marriage. Both see the family as a hindrance to something more important: one - playing cards, the other - science. For Serpukhovsky, a young, prosperous general, "marriage is the only means of comfortably loving and doing one's own thing." And finally, the most fully developed attitude to the family life of secular youth, to which Vronsky belongs. He and his friends see in her something base, prosaic-boring, the lot of gray and ordinary people. Tolstoy showed in the novel many very different people: Oblonsky, Yashvin, Katavasov, Serpukhovskoy, Vronsky, Petritsky, who treat the family as a secondary matter. Moreover, their views on the family are not theoretical, but purely practical. The heroes are guided by them in life, so their beliefs are real, albeit incorrect, from the point of view of the author. They create a spiritual atmosphere that points to the deep trouble of modern society, which was tragically expressed most vividly in the fate of Anna Karenina.

Tolstoy's "family thought" is revealed in a complex combination of all episodes, events, descriptions of the heroes, but nevertheless, its core is formed by two storylines: Anna - Vronsky, Kitty - Levin. We must not forget that, although the novel is named after one heroine, her story takes up only about a third of the entire volume of the work. Levin, who is not directly related to Anna's fate, has been given no less attention than her.

The stories of the heroes, obviously, develop in parallel and in different directions: Kitty and Levin, from disappointment, difficult experiences, come to lasting and calm family happiness. Anna and Vronsky are steadily and inevitably moving towards the tragedy. The connection between Kitty and Levin is life, the relationship between Anna and Vronsky is developing under the sign of death. "How happy it turned out for Kitty that Anna came," said Dolly, "and how unhappy for her. Quite the opposite," she added, astonished by her thought. "Then Anna was so happy, and Kitty considered herself unhappy. How quite the opposite! " On the contrary to what? On the contrary, the notions of happiness and welfare that prevail in society. The reason for the opposite fate of the heroes is in their different attitude to family and marriage. These views do not clash in the public arena of disputes and disputes, therefore it is impossible, fundamentally impossible, an event-driven, plot connection between the two lines. But the essence of the heroes' views is fully revealed by their life, their fate. Here Tolstoy follows the philosophical traditions of the Russian realistic novel: Pushkin, Lermontov, Goncharov, Turgenev. Just like his predecessors and contemporaries, the author of Anna Karenina shows the impact of the environment on a person, using the same methods of arranging positive and negative principles: examining how good, honest, just people break the moral law.

The marriage of Anna and Karenin - this is quite obvious - was almost accidental for her and involuntary for her husband, and for both of them, one of those marriages that are rarely lasting and do not give people happiness, because they are made without a living participation of the heart, without mutual love. Anna herself would later hear frequent conversations about such marriages in Betsy Tverskaya's salon. The wife of the envoy expressed a view that is widespread in secular society: feelings, passions, love are not needed for a happy marriage. "I only know happy marriages by reason," said the messenger's wife. Vronsky, who took part in the dispute, objected to this: "Yes, but on the other hand, how often the happiness of marriages by reason scatters like dust precisely because the very passion appears that was not recognized ...". This is exactly what happened in the Karenin family.

Anna and Aleksey Karenin lived together for eight years, but very little is said about their marriage life in the novel, and the first years of their marriage are not mentioned at all. It is not known, for example, how long Anna was "governor" in the provinces and when she and her husband moved to St. Petersburg. Having settled in the capital, Anna freely and easily entered the highest aristocratic society. She was given access to three different circles of selected persons of the St. Petersburg world, where, according to the author, she "had friends and close ties." One consisted of high-ranking government officials closely associated with Karenin in service and therefore often visited his house, but this "official, official circle of her husband" was rather boring, and Anna avoided him whenever possible. With much more eagerness Anna appeared in the circle, the center of which was Countess Lidia Ivanovna; Anna usually came there accompanied by her husband, who highly valued the Countess. Anna was especially closely connected with the people of the "croquet party" - with the circle of Princess Betsy of Tverskaya. In this salon, which united the cream of the Petersburg world, Anna was introduced by its mistress, Princess Betsy, who was a distant relative of Anna - the wife of her cousin - and was Vronsky's cousin. Anna willingly and often visited this salon, which later became the place of her meetings with Vronsky.

It is obvious that Anna, in her marriage, indulged in the usual social entertainment and pleasures for which she had a lot of free time. But she, however, was like the young ladies and ladies of the Petersburg world in that she was distinguished by her modest behavior and unconditional marital fidelity. Although there was something "false in the whole warehouse of their family life," however, outwardly the life of Anna and Karenin looked quite prosperous, monotonously calm, as they say, without storms and upheavals. Anna had a child, and she sincerely took up the upbringing of her Seryozha, whom she loved very much. She treated the duties and duties of her wife strictly, and Karenin had no reason or reasons for mistrust of her, for jealousy and family scenes. In the part of the novel where it is about Anna before her betrayal to her husband, there is not even a mention of the clashes between them, about quarrels, mutual reproaches and insults, and even more so about hatred for each other. It is not evident that Karenin was faithful to her during the years of their marriage. In a word, for the time being, Anna absolutely did not express any dissatisfaction with her family life with Karenin, her fate and her position in secular society.

Karenin is far from an ideal husband, and he was not her match. But all the same, one should not forget that harsh, derogatory and destructive judgments came to Anna's mind after her betrayal to Karenin and that her words were dictated by hatred for him, which was born of a flared passion for Vronsky. Accusing her husband that he does not know what love is, does not know at all whether it exists in the world, Anna is silent about the fact that she herself, honestly and conscientiously fulfilling marital duties, also had no idea of \u200b\u200blove for a long time. until this feeling was awakened in her by Vronsky.

And just at this time - at the moment of sharp shocks in her soul and the subsequent abrupt change in her behavior, views and lifestyle - Anna appears before the reader in all her proud beauty and feminine fascination.

Often in critical literature one can find an opinion about Vronsky as a person unworthy of Anna's high love, and this is what they see as the main reason for the death of the heroine. But Tolstoy, not in the least idealizing Vronsky, nevertheless writes that he was a man "with a very kind heart." Charm, beauty, justice, spiritual and intellectual originality of Anna is beyond doubt. Hence the thought most often follows a stable track: all the best perishes and must perish in this accursed world of bourgeois hypocrisy and lies. Indeed, how many novels we know about the obstacles in the way of lovers suffering from broken hopes. In Anna Karenina, a tragic situation develops after and as a result of the fulfillment of the heroes' desires. The center of gravity has been moved from courtship, rivalry, and the expectation of love to the image of the life of lovers.

If, for example, in Turgenev's novels the hero is tested with love, the ability to take one decisive step towards an explanation with his beloved, then in Tolstoy the essence of the hero is revealed in family life, in the process, and not in the moment. In the works that tell about the hero's desire for love, happiness is represented as the fulfillment of desire, and the rest of life seems to be deprived of value and meaning. Tolstoy polemically rejected such a view as perverting the essence of a person's life path. According to the author of "Anna Karenina", a person's life, so beloved by novelists, is not yet life, but only the threshold of it. For a writer, the most responsible and serious period begins when the lovers, having united, lead a life together, it is then that a person is revealed and the true value of his ideals and beliefs becomes clear.

Undoubtedly, society is guilty of the tragedy of the heroine, but not in the hypocritical condemnation of Anna's connection with Vronsky, but in the actual encouragement of her. As in the novels of Russian writers, Anna Karenina analyzes the impact of social ideals on a person and his destiny. Tolstoy's personality has several levels, and the true essence, its core, which determines actions and deeds, is not fully realized by the hero. The ideals of the heroes do not become the subject of reflection, discussion, dispute. They are not theoretical, but organic in nature and are perceived by the heroes as something indisputable, true and poetic, which is recognized by all advanced, real people.

"Vronsky never knew family life" - this is how the chapter begins, telling about his attitude towards Kitty. A key phrase to the image of the hero, defining and explaining the love story of Vronsky and Anna. It is here that the origins of the tragedy of these heroes must be sought.

Vronsky did not receive a true and, although elementary, but the most necessary, according to Tolstoy, education in the family. The kind of education that introduces a person to the spiritual foundations of life, not with the help of books, educational institutions, but through direct communication with the mother, father, brothers. He did not go through the elementary school of educating humanity, where the foundation of the personality is laid. "Marriage for him was never an opportunity. He not only did not like family life, but in the family, and especially in her husband, according to the general view of the bachelor world in which he lived, he imagined something alien, hostile, and more - funny ".

Tolstoy, following the precepts of the Russian realistic novel, spoke about the upbringing of the hero, which formed the core of his personality, which consists of sympathies, antipathies and, most importantly, what he loves. Only about the upbringing of two heroes - Levin and Vronsky - is reported in the novel, which speaks of their special significance for revealing and understanding the tragedy of the protagonist. The contrast of the beginnings in which Levin and Vronsky were brought up determines the multidirectionality of their paths in life.

Tolstoy does not tell in detail how they were brought up, what books they read, who their teachers and tutors were. He reports only about one, the most important and essential - about the family atmosphere and about the attitude of Levin and Vronsky towards their parents, and above all towards their mothers. Vronsky "in his heart did not respect his mother and, without realizing it, did not love her ...". For Levin, the concept of a mother was "a sacred memory, and his future wife should have been, in his imagination, a repetition of that charming, holy ideal of a woman, which was for him a mother." The line connecting the image of the mother with his wife was drawn by Tolstoy clearly and definitely. Maternal love, which befell a child, forms a true, deep and serious attitude towards a woman. "Love for a woman he (Levin) not only could not imagine without marriage, but before he imagined a family, and then that woman who would give him a family. "And if the general, theoretical views of the heroes of the novel change easily and sometimes even imperceptibly for themselves, then the feelings endured by their nature, theoretical views should change, develop, and Tolstoy lived just in an era when the emergence and development of ideas in Russia made a qualitative leap, when the abundance, contradictions and their rapid change became a new phenomenon in And in understanding the family as an institution that is invariably necessary for mankind, a person had to be guided by a reliable, in the eyes of the writer, means - a feeling acquired in life experience. After all, Tolstoy was convinced: “A person knows something completely only by his life. .. This is the highest, or rather the deepest knowledge. "

Vronsky was deprived of that positive experience of a happy life, which Levin possessed. Vronsky's mother blamed Karenina for her son's misfortunes, but in reality, the blame largely lay with herself. "His (Vronsky's) mother was a brilliant socialite in his youth, who during marriage, and especially after, had many novels known to the whole world. " "Because he already had it. What should be a family, how to build relationships between a husband, wife, children?" Levin knew comprehensive answers to these questions - the way his mother and father built them. to hotels, Nikolai conjures his brother: "Look, don't change anything in the house, but rather get married and start the same thing again."

The "deepest knowledge" acquired by the heroes in childhood largely predetermined their destinies, gave rise to a special structure of feelings in everyone. Tolstoy shows how what was laid in the feelings of the heroes unfolds into destiny.

Levin and Vronsky - each in his own way experiences, feels his love. It's like two different, mutually exclusive kinds of love, not understanding and completely closed to each other.

Vronsky's love closes him in on himself, separating him from people and the outside world, and, in fact, impoverishes him. If before he "amazed and worried people unfamiliar to him with his kind of unshakable calmness, now ... he seemed even more proud and self-sufficient. He looked at people as at things.<...> Vronsky saw nothing and no one. He felt like a king, not because he believed that he had made an impression on Anna - he still did not believe it - but because the impression she made on him gave him happiness and pride. "

Tolstoy, even speaking about the feelings of the hero, not only conveys them, but carefully analyzes them. It shows the strength, the attractiveness of Vronsky's feelings and at the same time reveals their egoistic essence, although it does not have anything either repulsive or sinister in its present form. The main subject of Tolstoy's depiction and research is human relationships, which puts an ethical assessment at the center of his artistic world. And it is present even in the description of the love feelings of the heroes, in an implicit, hidden form. Note the percussive words that carry the ethical meaning of the above passage: "proud, self-sufficient", "looked at people as at things", "saw nothing and no one", "felt like a king." In Tolstoy's world, a person, being alone with himself, experiencing the most personal, deeply intimate feeling, is revealed in relation to all people.

The ethical attitude of the author of Anna Karenina in the analysis of Vronsky's love experiences is fully clarified when they are compared with the feelings of Levin, who was in a special state of mind after Kitty's declaration of love. "It was remarkable for Levin that they (the people around him) were all visible to him today, and by small, previously imperceptible signs, he recognized the soul of everyone, and clearly saw that they were all good." True love makes a person wiser. Levin is not in a state of ecstasy, intoxication, when the illusion of a beautiful world arises, but in a state of insight, revealing what was hidden from him before. In Vronsky, who fell in love with Anna, interest in people and the world around him decreases, the world seems to disappear for him, and he is completely absorbed in a sense of contentment and pride in himself.

In parallel to the tragic fate of Anna with her unhappy family life, Tolstoy draws the happy family life of Levin and Kitty. This is where the various plot lines of the novel are brought together.

Kitty's image belongs to the best female images of Russian literature. The gentle, truthful eyes, in which the childlike clarity and kindness of her soul were expressed, gave her a special charm. Kitty longed for love as a reward for her beauty and attractiveness, she was all seized by young girlish dreams, the hope of happiness. But Vronsky's betrayal undermined her faith in people, she was now inclined to see in all their actions only one bad thing.

On the waters Kitty meets Varenka and at first perceives her as the embodiment of moral perfection, as the ideal of a girl living some other, hitherto unfamiliar life. From Varenka she learns that, in addition to the "instinctive life", there is a "spiritual life" based on religion, but not an official religion associated with rituals, but a religion of exalted feelings, a religion of sacrificing oneself in the name of love for others; and Kitty became attached with all her heart to her new friend; she, like Varenka, helped the unfortunate, looked after the sick, read the gospel to them.

Here Tolstoy strove to poeticize the religion of "universal" love and moral self-improvement. He tries to show that only on the path of turning to the gospel can one save oneself, get rid of the power of the "instincts" of the body and move on to a higher life, "spiritual." Varenka lives such a life. But this "being without youth", devoid of the "restrained fire of life", looked like "a beautiful ... but already faded, odorless flower." And an equal attitude towards people, and external calm, and her "tired smile" testified that Varenka was deprived of strong passions of life: she did not even know how to laugh, but only "sagged" from laughter. "She is all spiritual," says Kitty about Varenka. Reason has suppressed all normal human feelings in her. Levin contemptuously calls Varenka a "saint." Indeed, all her "love" for her neighbors was artificial and hid her lack of a vocation for real, earthly human love.

Kitty, of course, did not and could not become a second Varenka, she was too devoted to life and quickly felt the "pretense" of all these "virtuous" Varenek and Madame Stahl with their "invented" love for neighbors: "All this is not right, not that ! .. "She says to Varenka:" I can’t live according to my heart, but you live by the rules. I just fell in love with you, and you, truly, only to save me, to teach me! " So Kitty condemned Varenka's death and unnaturalness, who at first seemed ideal to her. She recovered from her moral illness and felt again all the charm of real life, not driven into any artificial "rules".

In the subsequent episodes of the novel (an unexpected meeting of the carriage in which Kitty was traveling, Kitty's meeting with Levin at Steva's, an explanation, a new proposal, a wedding), the writer reveals the full power of his heroine's spiritual charm. The chapter devoted to the wedding is imbued with Tolstoy's deep sympathy for the girl's fate and girlish dreams of happiness, which life has often so mercilessly shattered. The women attending the church recalled their weddings, saddened that many of them did not justify their hopes of happiness. Dolly thought about herself, remembered Anna, who, nine years ago, "stood clean in orange flowers and a veil. And now what?" The reply of an ordinary woman: "No matter how you say it, I feel sorry for our sister," - expressed the sorrowful thoughts of millions of women who, in a private society, could not find true happiness.

In the very first days of her family life, Kitty took up the household, "cheerfully building her future nest." Levin mentally reproached her that "she has no serious interests. Neither interest in my business, in the household, in the peasants, nor in music, in which she is quite strong, nor in reading. She does nothing and is completely satisfied" ( 19.55). Tolstoy, however, defends his heroine from these reproaches and "condemns" Levin, who did not yet understand that she was preparing for an important and responsible period of her life, when "she will at the same time be her husband's wife, mistress of the house, will wear, to feed and educate children. " And in view of this "terrible work" ahead of her, she had the right to moments of carelessness and happiness of love.

After Kitty's birth - "the greatest event in a woman's life" - Levin, barely restraining his sobs, knelt and kissed his wife's hand, he was immensely happy. "The whole female world, which had acquired a new meaning for him, unknown to him after he got married, now rose so high in his concepts that he could not embrace it with his imagination."

The cult of the woman-mother is at the heart of the image of Daria Alexandrovna Oblonskaya. Dolly in her youth was as attractive and beautiful as her sister Kitty. But the years of marriage have changed her beyond recognition. She sacrificed all her physical and mental strength to love for her husband and children. Steve's betrayal shook her to the core, she could no longer love him as before, all the interests of her life were now focused on children. Dolly was “happy” with her children and “proud of them,” here she saw the source of her “glory” and her “greatness”. The mother's tenderness and pride for her children, her touching concern for their health, her sincere grief when they committed bad deeds — that was what determined Dolly's mental life.

But once quiet, modest and loving Dolly, exhausted by many children, household chores, her husband's unfaithfulness, thought about her life, about the future of her children and for a moment envied Anna and other women who, as it seemed to her, did not know any torment, but enjoyed life. She thought that she could live the same way as these women free from children, not knowing the bitterness of life; but already the recognition of the young woman at the inn, who said that she was glad of the death of her child - "God unleashed" - seemed to her "disgusting." And when Anna declared that she did not want to have children, Dolly "with an expression of disgust on her face" answered her: "This is not good." She was horrified at the immorality of her judgments and felt her deep alienation from Anna. Dolly understood that she was living correctly, and her whole past life appeared before her "in a new radiance." So this "very prosaic", according to Vronsky's concepts, woman revealed her moral superiority over the "poetic" world of Vronsky - Anna.

Such Tolstoy heroines as Natasha Rostova, Marya Bolkonskaya, Dolly, Kitty, carry a lot of charm, they captivate with their true femininity, loyalty to marital duty, they are good mothers - and this is the positive content of Tolstoy's best female images.

So, we see two forces, completely different and, moreover, opposing: the brute force of public opinion, the internal moral law. It is the latter who is personified in God and for the violation of his person, an inevitable punishment befalls, which is expressed in the epigraph to the novel: "Vengeance is mine, and I will repay." Whether we understand by "az" a person who transgressed the law and punishes himself for this, or a god punishing a criminal, both will be true. The point is not that Anna cannot be subject to human judgment, since people are weak and sinful, but that their judgment is an insufficient and unreliable instance protecting the law. Social ideals change, have a historical character and therefore cannot guide a person in what, according to Tolstoy, bears the stamp of eternity.

The society depicted in the novel is hostile to the spiritual and moral principle of a person, it did not condemn, but loved adultery. No one in their hearts condemned either Anna or Vronsky or sympathized with Karenin. The lawyer, to whom Karenin turned for advice on divorce, could not hide his joy. "The lawyer's gray eyes tried not to laugh, but they jumped with irrepressible joy, and Alexey Alexandrovich saw that there was more than one joy of a person receiving a lucrative order - there was triumph and delight, there was a shine similar to that ominous shine that he saw in the eyes of his wife. " The feeling of a lawyer who has learned about the client's misfortune is involuntary, it comes from the very depths of his being, it is real. And this joy is universal. Karenin noticed "in all these acquaintances, with difficulty concealed joy of something." Everyone rejoices in Karenin's misfortune and hates him for being unhappy. "He knew that for this, for the very fact that his heart was tortured, they would be ruthless to him. He felt that people would destroy him, like dogs strangle a tortured dog squealing in pain." The protection of the family, which for thousands of years has been the source of life and the school of humanity, cannot be entrusted to transitory state institutions or public opinion. The family is preserved by the more powerful and completely inevitable - the inner nature of man, of which God is the absolute form.

III. The meaning of the novel

"Family Thought" is not only the theme of "Anna Karenina", but also an edification. An edification about what a family should be, and since a family is connected with a home, this is also an edification about a home. Let's read the famous beginning of the novel. The very first phrase will contain the word "family". The next noun is "home". Next comes "wife" and "husband". And over these protagonists the vengeance of the epigraph hovers.

"The thought of the people" in "War and Peace" was revealed as patience, steadfastness, non-violence. Vengeance is out of the question both from the point of view of Karataev and from the point of view of Kutuzov and Bolkonsky. "Do not think that people have made grief. People are His instrument," says Princess Marya in War and Peace. "We have no right to punish."

According to M.S. Sukhotin, Tolstoy himself defined the meaning of the epigraph to the novel "Anna Karenina" as follows: people, but from God, and what Anna Karenina experienced on herself. "

"War and Peace" is a doctrine of nonviolence, and the novel "Anna Karenina" is a work of fiction about modernity, not pretending to be a comprehensive doctrine of life, but instructive in one issue - home and family. However, in these two works, the general idea is that the one who lifts the sword brings misfortune first of all on himself. In War and Peace, this is Napoleon. In Anna Karenina she is the main character. And the sword that she raised is her unwillingness to endure, her challenge to fate. She put her passion above everything else. For which she paid.

Tolstoy appeared in Anna Karenina, as in the epic novel, as a brilliant realist artist. Tolstoy called his creative method, which he used to recreate reality in Anna Karenina, "bright realism" (62, p. 139). The realism of images, in the system of which the truth about a person and an era is captured, vital reliability, genuine psychological depth and a variety of uniquely vivid characters, dynamism of action and acuteness conflict situations, the social richness of the content, the philosophical intensity of reflections on the present and on life in general - this is what distinguishes Tolstoy's novel and makes it an outstanding phenomenon of Russian and world realistic art.

The novel "Anna Karenina", according to Dostoevsky, is "perfection as a work of art<...>, with which nothing similar from European literature in the present era can be compared. "In the creator of this novel, Dostoevsky saw the" extraordinary height of an artist "who could not be found equal in modern literature. have those social, philosophical and moral-ethical ideas that Tolstoy carries out with such passion and artistic persuasiveness in his novel: “People like the author of Anna Karenina are the essence of society's teachers, our teachers, and we are only their students. .. ", - wrote Dostoevsky.

Anna Karenina is the greatest social and at the same time family psychological novel of the 19th century. They were read by the writer's contemporaries, who followed the ever-increasing tension of the human drama in which the heroes were involved in magazine publications. Time has not erased the amazing freshness of the pictures of the past life, brilliantly drawn by Tolstoy.

List of used literature

1. Tolstoy L.N. Full composition of writings. - Reprint. reproduce ed. 1928 - 1958 - M .: Ed. Center "Terra", 1992. - T. 18, 19, 20. Anna Karenina: a novel.

2. Tolstoy L.N. Full composition of writings. - Reprint. reproduce ed. 1928 - 1958 - M .: Ed. Center "Terra", 1992. - T. 61. Letters. - 421 p.

3. Tolstoy L.N. Full composition of writings. - Reprint. reproduce ed. 1928 - 1958 - M .: Ed. Center "Terra", 1992. - T. 62. Letters. - 573 p.

4. Artyomov V. M. Freedom and morality in LN's pedagogy. Tolstoy. // Social. - humanizes. knowledge. - 2001. - № 3 ... - S. 133 - 142.

5. Bursov B.I. Leo Tolstoy and the Russian novel. - M.-L .: Publishing house of the Academy of Sciences of the USSR, 1963 .-- 152 p.

6. Dostoevsky F. M. About art. - M .: Art, 1973 - 632 p.

7. Kuleshov F.I. L.N. Tolstoy: From lectures on Russian literature of the 19th century. - Minsk, 1978 .-- 288 p.

8. Linkov V.L. The world of man in the works of L. Tolstoy and I. Bunin. - M .: Publishing house of Moscow State University, 1989 .-- 172 p.

9. Meleshko E. D. Christian ethics of L. N. Tolstoy: [monograph]. - M .: Nauka, 2006 .-- 308 p.

10. Rosenblum L. Tolstoy and Dostoevsky: ways of rapprochement // Questions of literature. - 2006. - No. 6. - P. 169 - 197.

11. L.N. Tolstoy in the memoirs of his contemporaries. - M .: Goslitizdat, 1955 .-- T. 2. - 559 p.

12. Tunimanov V.A. Dostoevsky, Strakhov, Tolstoy (labyrinth of clutches) // Russian literature. - 2006. - No. 3. - P. 38 - 96

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Introduction ………………………………………………………………………… .2

Personal relationships of the heroes of the novel …………………………… .... 4

The Karenin family …………………………………………………… 4
The Levin family ………………………………………………… ... 7
Oblonskys family ……………………………………………… .... 9

Life and position in society ………………………………………… .11

2.1. The Karenin family ………………………………………………… .11

2.2. The Levin family ………………………………………………….… 13

2.3. Oblonskys family ………………………………………………… .14

Conclusion ………………………………………………………………… ..15

List of used literature ……………………………………… .16

Introduction

This work is devoted to the study of the “ideal of the family” L.N. Tolstoy. The relevance of this work lies in the fact that in our time, the "family issue" is very acute. The novel looks at both young families and couples who have formed their union over the years. This novel is valuable not only as a work of fiction, but also as an instruction to all people who have their own family.

The purpose of this work is to compare three families (Oblonskikh, Karenins and Levin) and find the "ideal of the family" in the opinion of L.N. Tolstoy.

The object of this work will be the text of the novel by Lev Nikolaevich Tolstoy "Anna Karenina", as well as the writer's diaries and letters.

In accordance with the set goal, the following specific tasks are solved in the work:

1) Study the life of each family;

2) Consider the personal relationships of the characters in the family;

3) Consider the position of families in society;

This work consists of an introduction, two chapters, a conclusion, a list of used literature. The work will use the following research methods:

1) comparison, analogy

2) inference

3) comparison

Lev Nikolaevich Tolstoy is one of the most significant Russian writers and thinkers. Participant in the defense of Sevastopol, educator, publicist, at the end of his life the founder of a new religious and moral teaching - Tolstoyism. In the late 50s L.N. Tolstoy met Sofia Andreevna Bers, the daughter of a Moscow doctor from the Eastsee Germans. He was already in his fourth decade, Sofya Andreevna was only 17 years old. It seemed to him that this difference was very great, his love would be non-reciprocal, the marriage would be unhappy, and sooner or later a young woman would fall in love with another, also young, like herself. Based on the personal motive that worried him, he writes his first novel, "Family Happiness", in which the plot develops along this path. In reality, Tolstoy's novel played out quite differently. For three years he endured in his heart a passion for Sophia, Tolstoy married her in the fall, and he had the greatest fullness of family happiness that can only be found on earth. In the person of his wife, he found not only the most faithful and devoted friend, but also an irreplaceable helper in all matters, practical and literary. Seven times she copied endlessly the works he was altering, supplemented and corrected by him, and a kind of transcripts, that is, not completely agreed upon thoughts, unwritten words and phrases under her hand, experienced in deciphering this kind, often received a clear and definite expression. For Tolstoy, the brightest period of his life begins - an ecstasy of personal happiness, very significant thanks to the practicality of Sofya Andreevna, material well-being, the greatest, easily given tension of literary creativity and, in connection with it, unprecedented glory of all-Russian, and then worldwide.

1. Personal relationships of the heroes of the novel

1.1 The Karenin family

Anna Karenina is a socially married woman and also the mother of an eight-year-old son. Anna occupies a high position in society thanks to her husband. She lives, like everyone else in her environment, an ordinary social life. But Anna is different from other secular people. She doesn't know how to be hypocritical. Anna always feels the falsity of the surrounding relationships, and this feeling intensifies after meeting Vronsky.

Alexey Aleksandrovich Karenin is the heroine's husband, a high-ranking St. Petersburg official. The main character traits are prudence, has willpower. At the beginning of the novel, Aleksey Aleksandrovich Karenin is a successful official who is constantly rising in the service and strengthening his secular position. He is a very influential person, respected in society for decency, honesty, justice and hard work.

The Karenin family in the novel reveals the following type of relationship. Dolly, the heroine of the novel, recalls that she “did not like their very house; there was something fake in the whole warehouse of their family life. " For Aleksey Aleksandrovich Karenin, the family is a legalized form of relationship. Karenin understands that he is powerless, that "everyone is against him and that he will not be allowed to do what now seemed so natural and good to him, but will be forced to do what is bad, but they think they should." The opinion of people, the traditions of society turn out to be the most significant for him, because this person lives by reason. Thus, family life Anna takes on a deeper meaning. We are already talking about the collision of the human soul.

Anna, on the other hand, compares her husband to a soulless mechanism, calls him an “evil machine”. Karenin suffers from his wife's betrayal, but in a very peculiar way, he wants to “shake off the dirt with which she splashed him in her fall, and continue to follow her path of an active, honest and useful life”. Now, for his part, he is toughly and irreconcilably tearing the inner bonds that connected them: “Without honor, without a heart, without religion, a spoiled woman! .. I was mistaken in linking my life with her ... I don't care about her.” He lives with his mind, not his heart. His hatred for Anna prompts him to take cruel revenge on her. Alexey Alexandrovich Karenin separates the main character from her beloved son Seryozha. Anna has to choose, and she takes a "step" towards Vronsky, but this is a very narrow path, it leads to an abyss. Anna does not want to change anything in her life, but she has already taken this “step”. She follows the path she has chosen, suffering and torment. Anna is unable to solve these problems. She wants to get away from them. Just living happily: to love and be loved

Karenin is not an “evil machine,” as Anna calls her husband in a fit of despair. Tolstoy shows his sincerity, humanity in the scene of reconciliation with his wife. Even Vronsky admits that at the moment of reconciliation Karenin was "at an unattainable height." After all, her relationship with Karenin, before her infatuation with Vronsky, she had a soft, even, respectful, truly family relationship, when two try to become one, live with the experiences, joys and sorrows of the other - the kind of relationship that Vronsky dreams of, and from which Anna hysterically and sharply refuses: “Why are you not telling the truth while bragging about your directness? “I never brag, and I never tell a lie,” he said quietly, holding back the anger that was building up in him. - It's a pity if you don't respect ... - Respect was invented in order to hide an empty place where love should be. And if you don’t love me, then it’s better and more honest to say it ”. Relations with Vronsky are gradually heating up. Anna behaves like a jealous and passionate lover who wants to keep her beloved man with her, to own him completely, to the end. Vronsky single-handedly tries to establish family life, behave with Karenina like a reasonable, patient husband, which annoys Anna every time: “in his tenderness now she saw a shade of calmness, confidence that had not been there before and that annoyed her”. Vronsky still fails to improve relations with Anna. He does not know how to properly behave with her in this situation.

The author himself condemns Anna not because she, with all the courage of a strong and direct person, challenged society, but because she dared to destroy the family for the sake of personal feelings. Reading the chapters of the novel devoted to Anna, we see that the reasons for her actions lie not only in her proud character, but also in the social pressure on the heroine, which the woman is bound to in society. The “laws” of this society deprive Anna of any independence. Vronsky saw this and tried to help Karenina, but nothing came of it. And Vronsky's helplessness oppressed and angered Anna, but she, too, could not do anything. Her personal life was crumbling, and with life, her inner world collapsed.

1.2 The Levin family

An ideal example of the family that Vronsky is trying to create is the family of Levin and Kitty.

Konstantin Levin is a landowner, lives in the countryside, runs a large farm. He seeks to form a life based on love, he believes in personal happiness and in the happiness of all the people around him. For Levin, family is the deepest manifestation of feelings that is possible between people. The love of his whole life, Kitty, the girl he chose, on which his fate depends. For Vronsky, Kitty, who has not yet understood herself and her love, is just a girl whom he has turned his head. He decides to propose to Kitty Shtcherbatskaya, but is refused. This refusal hurt him deeply. After much suffering and trials, fate brings him back to Kitty. This time she accepted the offer from Constantine and began preparations for the wedding.

Konstantin Levin is the embodiment of Leo Nikolaevich Tolstoy himself. The very surname, which the writer pronounced with an emphasis on the letter "ё", indicates a connection with the author, to autobiographical origins.

Kitty Shtcherbatskaya is a princess, a beautiful young girl from a good family, the younger sister of Dolly Oblonskaya. She is sweet and pretty. Count Vronsky begins to look after the girl, and she reciprocates. At the same time, Konstantin Levin proposes to her, and she refuses, not wanting to offend him, since she does not feel affection for him. Soon Vronsky leaves without making Kitty the offer she has been waiting for so long. After Vronsky's departure, she feels abandoned and humiliated. In connection with Kitty's poor health and her depression, her parents decide to take her abroad, where she meets Mrs. Stahl's pupil, Varenka. Thanks to Varenka, Kitty was filled with spiritual life, she strove to help people. Kitty returns from abroad already healthy, but not as cheerful as before. Fate brings her again to Levin, whom she looked at in a new way. Levin proposes to her again, and she agrees. After the wedding, she becomes a happy wife, supporting her husband in everything. She proves herself an excellent hostess, arranging the life of a young family. Kitty helps her beloved husband to care for her sick brother until his death. After Kitty gave birth to her first child, she also became a caring mother.

The image of Kitty Shtcherbatskaya embodies the features of an ideal wife, the ideas of the writer himself. A beautiful, good-natured woman who makes her home and protects it. Kitty is the happiest heroine in the novel. She has everything in her life that every girl, woman dreams of. Kitty's image belongs to the best female images of Russian literature. The gentle, truthful eyes, in which the kindness of her soul was expressed, gave her a special charm - for all this, Constantine fell in love with his wife. Based on this, I can conclude that the family of Konstantin Levin and Kitty is an example of a happy couple, people who have found their soul mate, ready to come to each other's aid at any moment.

1.3 Oblonsky family

Stepan Arkadyevich (Steve) Oblonsky is the brother of Anna Karenina. Steve is married to Dolly, that is, Daria Alexandrovna, Kitty Shtcherbatskaya's older sister. They have five children. Oblonsky is a very good-natured, sociable, cheerful person. He always feels healthy and blooming. He does not envy, he never takes offense, does not quarrel with anyone, but he also does not like to work and strain, therefore he is often lazy at work. Steve has a beautiful appearance. He is interested in women, is in love and cheats on his wife. He confesses to Dole of his betrayal, but does not repent, but worries only about the fact that he could not hide her from his wife, caused her mental pain. Dolly is dear to Steve, but she is no longer as attractive as she used to be, exhausted by a bunch of children and household. He believes that his wife should treat his infidelity with condescension. He loves to spend time with children, but Dolly devotes more time to them.

Daria (Dolly) Aleksandrovna Oblonskaya is the wife of Steve Oblonsky, Anna's brother. Dolly married for love, but her family has a lot of problems. Dolly is tortured by lack of money, worries about children, which she has to bear alone. She wears patched blouses to save money, gives all her strength to the children. Due to the eternal worries, Dolly has lost her attractiveness. She became untidy, to which her husband began to pay attention and began to cheat on her.Dolly is simply horrified by the betrayal, she cannot forgive them. She stopped respecting her husband, even his cheerful mood periodically begins to annoy her. The spouses either quarrel or reconcile. But she is sensitive, gentle, loyal and devoted, she loves children very much and takes care of them. These are the qualities that a real woman should have. She has a big heart, she sincerely loves people and prefers not to judge anyone, even the actions of her husband.

The Oblonsky family is not ideal, but these are people who overcome obstacles, misunderstandings of each other. Often they step on the same rake, but, as far as they can, try to forgive each other, love and raise children together.

2. Life and position in society

2.1 The Karenin family

Anna and Alexey Karenins lived together for eight years, but very little is said about their marriage life in the novel.For example, it is not known how long Anna was the “governor” and when she and her husband moved to St. Petersburg. Having settled in the capital, Anna freely and easily entered her husband's high society. She was given access to three different circles of selected people of the St. Petersburg world, where, according to the author, she "had friends and close ties." One consisted of high-ranking government officials with close ties to Karenin. With much greater eagerness, Anna appeared in the circle, the center of which was Countess Lidia Ivanovna. Anna usually came there accompanied by her husband, who appreciated the countess. Anna was especially closely connected with the people of the "croquet party" - with the circle of Princess Betsy of Tverskaya. In this salon, which united the cream of the Petersburg world, Anna was introduced by its mistress, Princess Betsy, who was a distant relative of Anna - the wife of her cousin - and was Vronsky's cousin. Anna often visited this salon, which later became the place of her meetings with Vronsky. Anna, being married, indulged in the usual social entertainment and pleasures for which she had a lot of free time. She is not like the young ladies and ladies of the St. Petersburg world in that she was distinguished by her modest behavior and marital fidelity. Although there was something “false in the whole warehouse of their family life,” however, outwardlyAnna and Karenin looked quite happy and very calm.

In a word, until a certain time, Anna did not in any way express any dissatisfaction with her family life with Karenin, her fate and her position in secular society. Karenin is far from an ideal husband, and he was not her match. But still, one should not forget that harsh judgments came to Anna's mind after her betrayal to Karenin. After that, she lost everything: family life, a high place in society, but she gained love, which covered all the losses.

2.2 The Levin family

In the very first days of her family life, Kitty took up the household, "cheerfully building her future nest." Levin mentally reproached her that “... she has no serious interests. No interest in my business, in the housekeeping, or in the peasants, or in music, in which she is quite strong, or in reading. She does nothing and is completely satisfied. " Kitty, on the other hand, defended herself from her husband's reproaches, because she was preparing for an important period in her life, when “at the same time she will be her husband’s wife, mistress of the house, will carry, feed and raise children”. After Kitty's birth, Levin, barely holding back tears of joy, knelt and kissed his wife's hand. At that moment he was happier than ever. After the birth of the baby, Levin, despite the admonitions of close people and the surprise of the peasant peasants, picks up a scythe and works on an equal basis with them. He is not afraid of physical labor, loves country life, takes responsibility for his household and counts every penny. Fragile Kitty turned out to be such. She cares for her dying brother Nikolai without disgust, enduring fatigue and sleepless nights. The life of Kitty and Levin is full, so they have no time to get bored, there is no need to go to the city for balls, they are not interested in gossip and various monetary fun.

2.3 Oblonsky family

The Oblonsky family is constantly going through some difficult life situations. Dolly, tortured by the household and children, mired in everyday life, always pregnant and giving birth, is no longer of any interest to her husband.

Steve himself flits from one “love” to another and feels that his wife knows about his adventures and turns a blind eye to them. Steve does not care about family matters and problems - only Dolly is concerned with them, like raising children. Steve's concerns include organizing good dinners for friends and family, keeping mistresses, betting on races and other small joys. Steve is mired in debt so much that his wife and her many children count every penny, looking for cheaper goods, mending clothes and looking for ways to pay off small debts to a woodman, fishmonger, and shoemaker. Dolly with the children in the village, in an old rotten house with a leaking roof, no food or money. Steve, who lives in the city, in letters to all the complaints of his wife promises to come as soon as possible, asking for forgiveness for all his misdeeds. Without waiting for help from her husband, Dolly herself, as best she can, is adjusting her life.

The Oblonskys do not have a family as such, since Steve destroyed everything with his own hands. Because of her husband's behavior, Dolly became both a mom and a dad for the children. She just wanted her children to grow up and not need anything.

Conclusion

"Ideal family", according to L.N. Tolstoy is a family based on love, forgiveness, trust between spouses. After all, it is our relatives that we are used to, first of all, forgiving everything, enduring insults from them, forgetting the harm they have caused.

The first chapter talks about the personal qualities of the heroes, about what kind of relationship develops between two people who have created a family. We learn about their personal lives. The second chapter talks about the position of heroes in society, about their interests and hobbies.

This study helped us to identify the “ideal of the family” for Lev Nikolaevich Tolstoy. An example of an ideal family in the novel is the Levin family, which lives in spiritual harmony, in love and fidelity. In this paper, three models of family relationships were considered. The topic of this research is relevant, since we can meet each of these models in modern society.

The novel by Lev Nikolaevich Tolstoy helps the reader understand what the relationship should be based on, what should be a priority in family life. L.N. Tolstoy argued that "the human race develops only in the family." Family for a person is the basis for a happy life. It is necessary for every person. And Konstantin and Kitty Levin are examples of this.

List of used literature:

1. Tolstoy L.N. Full composition of writings. - Reprint. reproduce ed. 1928 - 1958 - M .: Ed. Center "Terra", 1992. - T. 18, 19, 20. Anna Karenina: a novel.

2. Linkov V.L. The world of man in the works of L. Tolstoy and I. Bunin. - M .: Publishing house of Moscow State University.

3. Babaev E.G. “Anna Karenina” by L.N. Tolstoy - "The novel of wide breathing". - In the book: Babaev E.G. From the history of the Russian novel of the XIX century. - M., 1984.

4. Tolstoy L.N. "Anna Karenina" M., "Science", 1970,1-4 volumes.

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Siotanova Daria, 11b grade

Compare three families (Oblonskikh, Karenin and Levin) and find the "ideal of the family" according to L.N. Tolstoy.

Study the everyday life of each family; Consider the personal relationships of the characters in the family; Consider the position of families in society.

Karenins? Levins? Oblonskys?

Ideal Not ideal Have a good position in society. Anna's betrayal. Have a well-established relationship. For Alexey Alexandrovich, the family is just a legalized form of relationship. The opinion of the world and the traditions of society influence their relationship.

Ideal Not ideal Love. The beginning of a relationship. Mutual understanding between people. Long trials and suffering from love. Willingness to come to the rescue in difficult times.

Ideal Not ideal Ability to forget offenses. Steve's treason. Ability to forgive each other. Steve's reluctance to do business.

MUNICIPAL ESTABLISHMENT OF CULTURE

"CENTRAL CITY LIBRARY

them. V. I. LENIN "

Service department

Family thought

in the novel by L.N. Tolstoy "Anna Karenina"

Nizhny Novgorod

1 lead: The most widely read novel of classical literature, Anna Karenina, was written “thanks to the divine Pushkin,” the author himself said about it.

The writing of the novel has its own background, a kind of intrigue.

And you need to start, perhaps, with this. By the beginning of the 70s of the century before last, Tolstoy finished writing and publishing "War and Peace". In a discordant chorus of critical reviews of the new hula composition, caustic remarks mingled with expressions of delight and appreciation. One thing was obvious: in the opinion of the reading public, Tolstoy took place as an outstanding historical novelist. And he himself was convinced of it. (By that time, Tolstoy had the historical "Sevastopol Stories" under his belt). And now, after the end of War and Peace, Tolstoy was looking for subjects for a new historical novel. The most incredible themes appeared in his notebook: the capture of Korsun by Prince Vladimir Svyatoslavich, the Baptist of Russia, the marriage of young Peter II to the daughter of Prince Menshikov, the story of Lieutenant Mirovich, who tried to free Tsarevich John Antonovich from the Shlisselburg fortress ...

In the end, the personality of Peter I pushed aside other historical figures, and Tolstoy plunged into the study of materials from the Peter's era.

But as Tolstoy did not “adjust” (a word from his letter to Fet) to write, the new composition did not move. Lev Nikolaevich admits with deep grief in one of his letters: “My work is going badly. Life is so good, easy and short, and its image always comes out so ugly, hard and long. " Truly, one must be Leo Tolstoy to find such an antithesis (opposition) of life and its depiction by means of a word!

2 leads: And suddenly everything changed.

The chance turned everything in the creative life of the writer. Sofya Andreevna Tolstaya, the writer's wife, left a unique testimony of how great things sprout from everyday life: “March 19. Last night Lyovushka suddenly said to me: "I wrote a leaf and a half, and it seems to be good." Thinking that this is a new attempt to write from the time of Peter the Great, I did not pay much attention. But then I found out that he began to write a novel from private and contemporary life. And strangely he attacked it. Seryozha kept pestering me to let him read out loud to his old aunt. I gave him Pushkin's Tale of Belkin. But it turned out that my aunt fell asleep, and I, too lazy to go downstairs, take the book to the library, put it on the window in the living room. The next morning ... Lyovochka took this book and began to reread and admire. "

The volume of Pushkin, forgotten on the windowsill, turned out to be a magical object. As soon as Tolstoy took it in his hands and immersed himself in reading, he found himself in the grip of Pushkin's harmony. He re-read Pushkin, as he recalled, for the seventh time. But only this time the perfection of Pushkin's prose was revealed to him; it did not have that painful antithesis: life is good, easy, short - its depiction is ugly, heavy and long. With Pushkin, everything was short, easy, beautiful, like life itself. Therefore, Tolstoy called Pushkin divine.

Reading Pushkin gave Tolstoy a sense of freedom, helped to find his true identity. Attempts to write historical novels turned out to be in disharmony with the exceptional gift of the writer to convey the poetry of living life - remember that it inspired the pages of War and Peace. The failure with a novel from the Petrine era is rooted not in the fact that Tolstoy disappointed the personality of Peter and the Petrine reforms, as the thick experts explain, but in the fact that this topic did not have room for the lyrical element that Tolstoy, an artist, needed for complete creativity.

Of all Tolstoy's works, Anna Karenina is the most lyrical. This gave the researchers a reason to compare Anna Karenina with Eugene Onegin.

1 lead: The comparison is undoubtedly true for the final text of the novel, but the composition did not appear immediately in its entirety and compositional completeness, it seemed to grow from the core, acquiring a special architecture, which the creator himself was proud of.

Three years before Tolstoy picked up a volume of Pushkin, Sofya Andreyevna Tolstaya wrote in her diary: “Last night he told me that he introduced himself to a type of woman, married, from high society, but having lost herself. He said that his task was to make this woman only miserable and not guilty, and that as soon as this type was introduced to him, like all the faces that had appeared before, they found a place for themselves and grouped around this woman.

2 leads: Tolstoy initially gives his heroine sharp, unattractive features. Tatyana Stavrovich - such a name was given to her in the first version of the novel - is vulgar, frankly selfish, appears in society "in a yellow dress with black lace, in a wreath and naked most of all." Tolstoy does not limit himself to this remark; he adds an essential feature to the portrait of the heroine: "There was together something provocative, daring in her gait and something simple and meek in her beautiful ruddy face." The husband of Tatyana Stavrovich (Karenin in the final version) is presented as a meek, kind person, provoking in the light of ridicule with his humble appearance and behavior. The lover, Balashov (in the final version Vronsky), is "short, stocky, nevertheless, attracting everyone's attention." Balashov participates in the races, and the scene of the illustrations of the races is preserved in the final version of the novel almost unchanged, although the names and characters of the characters change. Describing the scene of stormy explanations between husband and wife, Tolstoy suddenly finds a symbolic phrase: "devilish glitter" in the eyes of the heroine. This reflection of the outbreak of evil in the depths of the soul will remain an invariable feature of the image of a woman who has lost herself and is not guilty; "Demonic" will be seen in Anna Karenina's beautiful face.

A short novel about Tatyana Stavrovich ended with the fact that she realized that she was the culprit of the misfortunes of two people.

Tatiana makes a fatal decision - she writes a note to her husband and disappears from the house. “A day later, they found her body under the rails (crossed out:“ in the Neva ”).”

The plot of the novel has been largely preserved, but in the final text, enriched with new plot lines and many everyday details, it has lost its deliberate straightforwardness.

1 lead: In the process of working on the novel, Tolstoy not only changed the names of the characters, expanded the circle of characters. He created Anna from an unattractive Tatiana - and created one of the best female images in world literature.
Portrait of Anna
The very appearance of the heroine of the novel is "captured alive" with the daughter of Pushkin, Maria Alexandrovna Gartuzh, met by Tolstoy at the ball. Tolstoy immediately noticed her black "Arap curls on the back of her head" and gave this feature to Anna Karenina. (By the way, Tolstoy and Maria Alexandrovna were related to each other: Lev Nikolaevich was the fourth cousin of Alexander Sergeevich Pushkin).

Anna Karenina is usually compared with Tatyana Larina from Pushkin's Eugene Onegin. In criticism of L.N. Tolstoy, you can read the following statement: "Leo Tolstoy in" Anna Karenina "continued the story of Larina, followed another version of this collision: what would have happened if she had acted differently."

For the parallel Tatyana Larina - Anna Karenina, you can find interesting information in the draft versions of the novel.

In the final version, Anna is on the pages of the novel a lady of the highest Petersburg society. But before reaching such a position in the world, before marriage, Anna Oblonskaya was a Moscow young lady like Tatyana Larina. One of the drafts contains a phrase about Tatyana's girlish memories: "... when I lived as a girl in Moscow ..."

The orphan Anna was brought up in Moscow by her aunt and recalls how she rode horses with her to the Trinity-Sergius Lavra: “... Was it really me with red hands? How much of what then seemed so beautiful and inaccessible to me became insignificant, and what then is now forever inaccessible.

The aunt arranged the marriage of 16-year-old Anna with the young governor Karenin, the groom was 20 years older than the bride. Apparently, for the orphan-pupil, as well as for “poor Tanya”, “all the lots were equal” - Anna went down the aisle.

Over the years of her marriage, Anna from a simple girl "with red hands" turned into a charming woman; not only her appearance has changed - the dormant powers of her soul have awakened; the excitement of these elemental forces will turn her calm, outwardly prosperous life.

2 leads: In the final text, Anna appears only in the 18th chapter at the Nikolaevsky railway station in Moscow. Anna comes from St. Petersburg to Moscow with the intention of reconciling her dissolute brother Steve Oblonsky with his wife Dolly by all means.

The first appearance of the heroine in a railway situation and the death of a worker under the wheels almost in front of Anna's eyes is symbolic: in this one can hear the voice of fate, the prediction of her fate (Anna dies under the wheels of a steam locomotive).

Anna Karenina is described as Vronsky, who first met her at the station, sees her: “When he looked around, she also turned her head. Glittering gray eyes that seemed dark from thick eyelashes, friendly, rested attentively on his face, as if she recognized him, and immediately were transferred to the passing crowd, as if looking for someone. In this short look, Vronsky had time to notice a restrained liveliness that played in her face and fluttered between her sparkling eyes and a faint smile curling her ruddy lips. As if an excess of something overwhelmed her being so that by her will it expressed itself in a glint of a glance, then in a smile ... "

One casual observation by the artist about the "excess of something" overwhelming Anna reveals the dialectic of the heroine's soul, predetermining her tragedy. An accidental shock upsets the balance of this soul, and a rebellion of elemental forces will begin in it; only death will calm the rebellion.

Is such a collision, such a spiritual flavor possible for Tatyana Larina?

Let us recall the main thing that Pushkin said about the heroine who appeared at the high-society ball: "... everything was quiet, it was just in her." Tatiana's mental structure was determined by silence, harmonious balance, in her there was not an "excess of something." Despite the similarity of the girlish fate and social status of Tatyana Larina and Anna Karenina, they have a deeply different, if I may say so, "soul composition."

1 lead: Anna arrived in Moscow with the best intentions, but found herself in a pernicious atmosphere of evil. Anna is Steve's sister, and she, like him, cannot resist the temptation. But if Steve easily bears the burden of his sins and does not lose his inherent cheerfulness and emotional balance, then for Anna the temptation to sin means a mental disaster. "An excess of something" rises in her soul with an indomitable whirlwind, and there is nothing that can satisfy and calm her.

What Anna succumbed to turned out to be the devilish temptation of power. Anna appears at the ball of the Moscow governor-general with an indomitable desire to experience the power of her beauty on Vronsky. She succeeds in this, and, in love with Count Kitty, with despair sees in Vronsky's face "an expression of bewilderment and resignation that amazed her, similar to the expression of an intelligent dog when she is guilty." Anna, like a gambler, calmly and indifferently breaks the happiness of her young rival. At this moment, Kitty's eyes reveal "Something demonic" in Karenina's beauty.

Everything further in the relationship between Anna and Vronsky is a payback for her intoxicating celebration at the ball. For the power over this unaccustomed person to obey, Anna will pay with her husband, son, rejection from the usual secular circle and, having sacrificed everything, will make sure that the power of her beauty cannot be infinite. She experiences the state of a losing player.

2 leads: Tolstoy repeatedly stressed in the novel that Anna suffered a moral decline, that she herself felt guilty. Already in the first part of the work, in the famous description of the Moscow ball given in Kitty's perception, the value and attractiveness of Anna's beauty and her feelings for Vronsky were questioned. The young princess Shtcherbatskaya, looking at the charming Anna and sincerely admiring her beauty, at the same time unexpectedly and quite sincerely (and therefore for Tolstoy and objectively) felt as if "something alien, demonic and charming was in her."

The demonic charm, at first glance, so attractive and sweet, with the development of passion, so strengthened and strengthened in Anna that it turned out to be obvious her ability not only to embarrass young Kitty, but also to truly frighten, oppress and even insult Vronsky, who is in love with her. The heat of the hellfire is directly felt in the novel. So, Anna, talking to Vronsky, "glowing with a blush that burned her face," and her "look, the touch of her hand burned him." And the face of Anna, finally surrendered to the power of passion, Tolstoy compares with the terrible brilliance of a fire in the middle of a dark night. In a passionate infatuation with Karenina, she lived, as the novel says, "the poetry of hell."

Tolstoy constantly draws the readers' attention to the fact that Anna's love does not connect her with the world around her, but, on the contrary, distorts her idea of \u200b\u200bthe world, people, truth. For example, having arrived in St. Petersburg, Anna noticed on the platform that the sight of Karenin's ears made some kind of unpleasant impression on her.

And when she returned home and saw her beloved son, whom she did not want to part with, Anna unexpectedly discovered "a feeling similar to disappointment." Finally, even in Countess Lydia Ivanovna, a woman whom Anna always perceived very kindly, she could now see only one flaw. Through her passion for Vronsky, Anna acquired a completely new outlook on things, and everything around her began to appear to her in a very unattractive light.

So, Tolstoy shows that passion lived in Anna, an egoistic desire for the satisfaction of personal feelings, and not love. This passion made her torment, betray and deceive not only her husband, but also her son, and Vronsky, and herself. According to the writer, "the spirit of evil and deceit" became her inevitable companion. Even her husband's virtues angered Anna. “Would you believe,” she complained to her brother Steve Oblonsky, “that I am evil, that he is a kind, excellent person, that I am not worth his nail, I still hate him. I hate him for his generosity. "

1 lead: But fate determined the greatest test for Seryozha, her son, who undeservedly suffers because of the disintegrated family relations of his parents.

Having abandoned her son for Vronsky's sake, but continuing to love him, Anna in her soul understood the horror of her situation, understood that her son was the only salvation from fatal love. But when choosing between Seryozha and Vronsky, she preferred the latter. It would seem that the loss of a son and the birth of a daughter from a loved one should have developed Anna's maternal feelings, but the opposite happens. Love for her daughter fades away, caring for her does not burden Anna; having attached strangers to her, she withdrew from her upbringing. It is symbolic that before her death, remembering Seryozha, Anna did not think about her daughter. The evil spirit, who settled in Anna from the moment Vronsky appeared in her life, atrophied maternal feelings, made her a hostage of carnal pleasures and led to death.

2 leads: But let's return to the influence of A.S. Pushkin to "a family thought" in the novel "Anna Karenina".

Along with the already named facts that contributed to the creation of the novel, there is also a certain deep influence, which was first noticed by Marina Tsvetaeva, believing that the love triangle - Tatyana, Onegin, Tatyana's husband, the general is given by Tolstoy in the novel “Anna Karenina” in his mirror reflection: there, where Tatyana Larina stood, remaining true to the sense of duty, Anna appears, who completely surrenders to the feeling of love; if Tatyana Larina in the last chapter of the novel gives a lesson to Eugene Onegin, remaining faithful to the conjugal duty, then Anna Karenina, violating the conjugal duty, dooms herself to death. A parallel is noted between Onegin and Vronsky, the general and Karenin.

Like Tatyana, Anna married Karenin without love. Like Tatyana, Anna was accepted by the light and was considered a granddama. But Tatiana cannot make a person who shares shelter with her unhappy, and what she considers "... to be a petty slave feeling", Anna also calls this "a piece of bread" for the hungry, and about the honor of the family, and about her status Anna does not remember his wife.

1 lead: Having crossed some invisible line, to which she was protected, Anna admitted something into herself, after which everything in her worldview was distorted and began to commit acts that compromise her, her husband, and her family. Unlike Tatiana, Anna most of all loved herself in herself, she sacrificed everything that people usually live in order to satisfy their desires.

As already noted, Tatyana Larina and Anna Karenina are completely different persons, however, it is surprising how similar Onegin and Vronsky, living in different eras, are to each other. Tatiana understood, recognized, was able to understand Onegin's thoughts, Anna could not recognize Vronsky's thoughts.

It is known that Tatyana Onegin noted for his declaration of love:

Is it not because my shame

Now everyone would be noticed

And I could bring in society

Are you a seductive honor?

Tolstoy develops the image of Onegin by continuing it in Vronsky. Dragging and chasing Anna, Vronsky “... knew very well that in the eyes of Betsy and all secular people he did not risk being funny, he knew ... that the role of a man who stuck to a married woman and at all life in order to involve her in adultery, that this role - has something beautiful, majestic and can never be funny ... "

But both writers, Pushkin and Tolstoy, were great humanists and could not allow the victory of evil over good.

In Vronsky, like in Onegin, conscience awakens. Suddenly, at the bedside of Anna Vronsky, who is seriously ill, begins to understand that it is not at all ashamed and not ridiculous to be deceived by her husband, but on the contrary, it is ashamed to be who he was in this house, and to lead the way of life he led. The voice of conscience, in order to drown out the shame and guilt for everything that happened to him and Anna, forced him to take up a pistol and shoot, and later, after Anna's death, to decide to go to war in Serbia in order to find his death there.

2 leads: The original concept of the novel seemed "private" to Tolstoy. "The idea is so private," he said, "and there cannot and should not be great success." But, having stepped on the "romantic road", Tolstoy obeyed the internal logic of the plot, which unfolded as if against his will. "I often sit down to write one thing," Tolstoy confessed, "and suddenly I move on to wider roads: the composition grows."

Thus, Anna Karenina became a real encyclopedia of Russian life in the 1870s (just as the novel Eugene Onegin became an encyclopedia of Russian life in the early 19th century). And the novel is filled with many "realities" - details of social and spiritual life modern Russia... Almost on every page of newspapers and magazines of those years one can find an "explanation", "addition", "commentary", and sometimes, it seems, and sources, of certain scenes of the novel.

But for all the breadth of public life in Anna Karenina, Tolstoy was above all dear to her "main idea." In Anna Karenina, he once said, I love a family thought ... "

1 lead: And here again I would like to turn to the Pushkin traditions in the work of Tolstoy. The most famous "family thought" is understood by Tolstoy in a very Pushkin-like spirit.

The main idea of \u200b\u200bPushkin about the family is expressed by the poet in the following words: “Youth has no need for at home (at home - English), mature age is horrified by its solitude. Blessed is he who finds a girlfriend - then he went home.

And how soon will I transfer my penates to the countryside - fields, a garden, peasants, books, works of poetry - family, love, etc. " (1834)

“The thoughts and thoughts of Pushkin and Tolstoy are strikingly close: the ideal of the Family and the House is conceived by them not as“ secular ”and“ Petersburg ”, but national and even common,” notes the literary critic Yu.M. Lotman.

Another study says: “... Pushkin is close to the Christian-folk mythologeme of holiness, the inviolability of the marriage union, which became the center of his plot collisions. In Eugene Onegin, Pushkin created a kind of canon of behavior for a married woman, a role model for his own wife and a noblewoman in general.

It seems to us that this is the most important of Pushkin's thoughts - "family thought" - in Anna Karenina.

2 leads: Let us recall the famous beginning of the novel: “all happy families are alike, each unhappy family is unhappy in its own way. Everything was mixed up in the Oblonskys' houses. And then we read: "The wife found out that her husband was in connection with the French governess who was in their house, and announced to her husband that she could not live with him in the same house ..."

In the first phrase we meet the word "family", the next noun is "home". Next comes “wife” and “husband”.

The novel about Anna and Vronsky says: "They will be judged by God, not by us." But for Tolstoy, God was life itself, as well as that government law, which "is contained in the heart of every person."

1 lead: And then the question arises, how did Tolstoy himself relate to Anna Karenina, some critics called him the "prosecutor" of the unfortunate woman, believing that he built his novel as a system of accusations against her, seeing in her the cause of all the suffering experienced by her loved ones and by herself.

Others called him Anna Karenina's "lawyer", believing that the novel is a justification for her life, her feelings and actions, which in their essence were seemingly quite reasonable, but for some reason led to disaster.

In both cases, the role of the author turns out to be strange; it remains unclear why he could not stand up to the end of his role, i.e. did not give sufficient grounds to "condemn" Anna Karenina, and did not offer anything clear enough to "justify" her.

“Lawyer” or “prosecutor” are judicial concepts. And Tolstoy says about himself: "I will not judge people ..."

Who “justifies” Anna Karenina among the heroes of the novel? Princess Myakaya, who says: “Karenina is a wonderful woman. I don’t love her husband, but I love her very much. ”

But could Princess Myakaya have imagined or imagined what would happen to the one whom, in her words, she “loved very much” after she left both her husband and her son?

Who “condemns” Anna Karenina? Princess Lidia Ivanovna, who wants to instill a "spirit of condemnation" in Seryozha's heart and is ready to "throw a stone" if Karenin is unable to do so.

But could Lydia Ivanovna have imagined or imagined what would happen to the one whom she did not love very much and who so wanted to "punish"?

And could Vronsky have guessed that Karenin would take up their daughter with Anna?

And Anna herself could not have imagined that Vronsky would let her perish and give her daughter to Karenina?

Tolstoy did not recognize the right of Karenin and Lydia Ivanovna to "punish" Anna. And at the same time, the naive words of Princess Myakaya were funny to him. What did they know about the future? Nothing...

None of them saw the secret that was hidden in Anna's life, the power of introspection and self-condemnation that grew in her soul.

In her immediate feelings of love and repentance, she was immeasurably superior to those who condemned or justified her.

When Vronsky's mother said with hatred about her: "Yes, she finished the way such a woman should have finished." Koznyshev, Levin's brother, answered: "It is not for us to judge, Countess."

This general idea: "It is not for us to judge" - Tolstoy expressed at the very beginning of his book, in the epigraph: "Vengeance is mine, and I will repay (issued by me - EL)"

Tolstoy warns against hasty condemnation and frivolous justification, points to the mystery of the human soul, in which there is an endless need for good and its own "highest judgment" of conscience.

In Anna Karenina, Tolstoy “did not judge”, but grieved over the fate of his heroine, pitied and loved her. His feelings can rather be called paternal. He was both angry and annoyed with her, as one can be angry and annoyed with a loved one.

2 leads: In the artistic concept of Tolstoy's novel, the social framework and the contours of phenomena are very sharply drawn. No matter how much we talk about the psychological depth of Anna Karenina's emotional drama, about the "passions" that ruined her, we, nevertheless, must point out the hypocritical, sanctimonious laws of that time.

A young girl without love, given in marriage, Anna found herself in the power of the law on the indissolubility of marriage.

Karenin takes Vronsky's letters from Anna. And according to the law, as the head of the family, he had the right to view the correspondence of all his household. The law is entirely on his side. Anna is afraid that he will "take away his son," and according to the law he had such a right.

Anna has no rights, and she feels it very painfully. In fact, her position was hopeless. Seeking a divorce, she was seeking absurdity. If Karenin had given her a divorce, pointing out her guilt, i.e. proving the obvious, namely that she left her family and went with Vronsky to Italy, she would have lost, according to the law of that time, the right to remarry.

In order for Anna to be able to marry Vronsky, it is necessary that Karenin take the blame upon himself during the divorce. But Karenin believed that this would be "a deception before the divine and human law." Therefore, he hesitates, knowing that the proceedings according to the law (he has already visited a lawyer) will ruin Anna ...

1 lead: The artist Tolstoy saw his task not in "indisputably resolving the issue", but in teaching to love life "in all its manifestations." “If they told me that what I am writing will be read by today's children in 20 years,” writes Tolstoy, “and they will cry and laugh at him and learn to love life,“ I would devote my whole life and all my strength to him ".

Since Tolstoy said these words, not 20 years have passed, but many more years. More than a century has passed ... But his words have not lost their lively intonation. They seem to be said today and are addressed to us, to those who re-read now or open his immortal books for the first time.

And we will finish our story about "family thought" in the novel "Anna Karenina" with a poem by Inna Kabysh about Anna's love for Vronsky and not only ... I. Kabysh defines the genre of his poems as poetry, that is, prose in verse.

Inna Kabysh is a laureate of the Pushkin Prize (1996) awarded by the Alfred Toepfer Foundation (Hamburg) and the Anton Delvig Prize (2005).

Now I see that no one is to blame:

neither Vronsky nor the light.

It's just that love is "thin" and "wide",

and Anna loved "subtly"

and where it is thin, there it breaks.

Broad love is a bush

She has many branches.
A woman loves a man like a man

as something opposite,

as an enemy -

this is the "branch" about which it is said:

"And your attraction to your husband"
A woman loves a man as her own

like a belly

as part of yourself.
A woman loves a man like a brother -

like forty thousand brothers! -

like my own blood

as a senior.

A woman loves a man like a homeland:

like Medea,

for which Jason's betrayal -

treason.
A woman loves a man as a master

for it is said:

"And he will rule over you."
A woman loves everything with a "bush"

with all of me:

wife, mother, slave.
Anna loves with one "branch":

like a mistress.

It's beautiful and strong

and this is all she:

she has nothing more to love.
Anna's love is not a bush, but a flower in a vase:

beautiful,

fragrant,

but without a root and on one thin stem.
The flower dies because it is a flower.

Literature

Babaev E.G. "Anna Karenina" by L.N. Tolstoy - "The Novel of Wide Breathing". - In the book: Babaev E.G. From the history of the Russian novel of the XIX century. - M., 1984, p. 117-236.
Belous I.A. The final lesson based on the novel by L.N. Tolstoy "Anna Karenina". // Literature at school. - 2005. - No. 9. - with. 30-32.
Dvorkina E.M. An Extinguished Candle: A literary and musical composition based on the novel by L.N. Tolstoy "Anna Karenina". // Read, learn, play. - 2003. - No. 7. - with. 25-28.
Poltavets E. "Anna Karenina" in the modern school. // Literature. - 2003 .-- Jan. (No. 1). - with. 5-12.
Proskurina T.D. family relationship within the framework of A.S. Pushkin "Eugene Onegin" and L.N. Tolstoy "Anna Karenina" in the context of time. // Philological sciences. - 2000. - No. 2. - with. 93-98.
Tarasov A. Is Anna Karenina a righteous woman? // Literature at school. - 2001. - No. 3. - with. 2-5.

Leo Tolstoy devoted ten of the most difficult years in the life of Russia after the abolition of serfdom to "family affairs", and these ten years were perhaps the happiest for him. The writer put into the concept of a family not only a close circle of people, relatives and in-laws, but also his former serfs. He believed that he was morally responsible for this "big family." The writer builds a school, teaches peasant children and writes textbooks for them, methodological developments for other teachers. In addition, during this period of his life, he married Sofya Andreevna. It can be safely asserted that "family thought" took over the mind of the writer then.
Therefore, in the seventies of the nineteenth century, Tolstoy decided to reflect this idea in a literary work. In Yasnaya Polyana, he fruitfully worked on the novel "Anna Karenina" about the life of his contemporary society. The writer built the composition of the work on the opposition of two plot lines: Anna Karenina's family drama is portrayed in direct opposition to the life and home life of the young landowner Konstantin Levin, who has considerable mental strength to fight for family happiness as an hourly compromise for the sake of common harmony. In the image of Levin, we find so many similarities with the writer himself that he can be considered a conditional portrait of Tolstoy the landowner and caring father of the family. Levin is close to both the writer's lifestyle and his convictions, demeanor in communicating with people and neighbors, and even the psychology of perceiving domestic troubles.
The book turned out to be dynamic, easy to read, as if written in one breath. The apparent simplicity of the syllable of the novel "Anna Karenina" obviously comes to Tolstoy after the experience of teaching in his own rural school, for which he specially wrote "folk stories." Tolstoy wants his thoughts to reach the widest circle of readers, and not become the property of only a select few. The criticism of that time accused the writer, as they say, of deliberately "commercializing" the novel: a love story, simple and intelligible language contributed to the extraordinary popularity of the novel among readers. In fact, in addition to the “family thought”, which also includes the families of Steva Oblonsky, Kitty Shtcherbatskaya, Levin himself, and the exciting “love affair” of Vronsky and Anna Karenina, the novel contains many other narrative layers and themes: from the position of an artist-painter in a society with the personal tragedy of creativity to the fashionable "nihilism", the victim of which fell Levin's brother, dying of consumption.
The second most important thing runs through the whole novel "people's thought". The writer opposes the meaning of the existence of the "educated class" to the deep truth of peasant life. Moreover, he clearly exaggerates the moral purity of the common people in comparison with the "licentious" customs of the local nobility and the higher officials. Levin and Anna, the main spokesmen for "popular thought" and "family thought," allow themselves to neglect the conventions and laws of their contemporary life. Anna, in front of the shocked public, leaves her old husband for a young lover, and Levin, not in words, but in fact, acts as an ardent opponent of the serf system, a supporter of capitalist relations in agriculture.
But if Levin, with the flourishing of his landlord economy and family happiness, manages to prove the correctness of his convictions, then Anna Karenina turns out to be crushed by fate in the literal and figurative sense of the word.

He said that his task was to make this woman only miserable and not guilty. S. Tolstaya After finishing work on the novel War and Peace, Lev Nikolaevi became interested in the problems of family and marriage. The reality around him gave a lot of material about family life, and Tolstoy began work on a new novel, Anna Karenina. The theme of the family, put forward in the first place, turned out to be interconnected with social, social, philosophical issues, the work gradually grew to a major social novel, in which the writer reflected his contemporary life. The plot is simple, even banal. A married woman, mother of an eight-year-old child, is carried away by a brilliant officer. But everything is simple only at first glance. Anna suddenly realized that I cannot deceive myself, she dreams of love, that love and life are synonymous for her. At this decisive moment, she does not think about anyone except Alexei Vronsky. The inability to deceive, the sincerity and truthfulness of the heroine involve her in a serious conflict with her husband and the society in which she lives. Anna compares her husband to a soulless machine, calls him an evil machine. Karenin tests all feelings with the norms established by the state and the church. He suffers from his wife's betrayal, but in a very peculiar way, he wants to shake off the dirt with which she splashed him in her fall, and continue on his way of an active, honest and useful life. He lives with his mind, not his heart. It is his rationality that prompts the path of cruel revenge on Anna. Aleksey Aleksandrovich Karenin separates Anna from her beloved son Seryozha. The heroine has to choose, and she takes a step towards Vronsky, but this is a disastrous path, it leads to an abyss. Anna did not want to change anything in her life, it was rock that turned everything. She follows the path prepared for her, suffering and torment. Love for the abandoned son, passion for Vronsky, protest against the false morality of society were intertwined into a single knot of contradictions. Anna is unable to solve these problems. She wants to get away from them. Just live happily: love and be loved. But how unattainable for her is simple human happiness! Talking with her brother's wife, Anna confesses: You must understand that I love, it seems, equally, but both are more than myself, two creatures Seryozha and Alexei. Only these two creatures I love, and one excludes the other. I cannot connect them, but this is one thing I need. And if this is not the case, then all the same. Everything, all the same ... Anna realizes with horror that passionate love alone is not enough for Vronsky. He is a man of society. He wants to be useful, to achieve people and prominence. Quiet family life is not for him. For the sake of this Man and his ambitious plans, she sacrificed everything: peace, position in society, her son ... Anna understands that she has driven herself into a dead end. The writer is still in the epigraph: Vengeance is mine and I will repay him, that his heroine should not be judged by secular bigots, but by the Creator. In the novel, this idea is confirmed more than once. Anna's old aunt says in a conversation with Dolly: They will be judged by God, not us. Koznyshev, in a conversation with Vronsky's mother, asserts: It is not for us to judge, Countess. Thus, Tolstoy contrasted state and religious legality and secular morality, which asserted evil, lies and deceit, the wisdom of the biblical saying taken for the epigraph. Originally, the author wanted to portray a woman who lost herself, but was not guilty. Gradually, however, the novel grew into a broad, revealing canvas showing the life of post-reform Russia in all its diversity. The novel presents all strata of society, all classes and estates in the new socio-economic conditions, after the abolition of serfdom. Speaking about Anna Karenina, Tolstoy showed that she was worried about only purely problems: love, family, marriage. Not finding a decent way out of this situation, Anna decides to leave this life. She throws herself under the train, as life in her current position has become unbearable. Unwillingly, Tolstoy passed a harsh sentence to society with its deceitful sanctimonious morality, which drove Anna to suicide. In this society there is no place for sincere feelings, but only for established rules that can be circumvented, but hiding, deceiving everyone and yourself. Society rejects a sincere, loving person, as foreign body... Tolstoy condemns such a society and the laws it has established.

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