The image of Anna Karenina is one of the most attractive in world literature. Multiple film adaptations confirm that despite cardinal changes in society, interest in him does not go out. The ambiguity of the image of Karenina is still worrying. Doubts about making this or that decision, the impossibility of doing one way or another, dictated by the internal character, all these questions remain close modern reader, so far from the conventions of the nineteenth century. Therefore, the prototype of Anna Karenina is of undoubted interest.
The history of writing the novel is well documented in the memoirs of Tolstoy's wife and children, his friends and acquaintances. Real events And real people, intertwined with destinies, found their embodiment on the pages of "Anna Karenina". It is known that the prototype of Anna Karenina is a synergy of the appearance of Maria Hartung, Pushkin's daughter, the fate and character of Maria Alekseevna Dyakova-Sukhotina, and tragic death Anna Sergeevna Pirogova.
The charming, refined M. A. Sukhotina (nee Dyakova) was once a hobby of the young Leo Tolstoy, which he repeatedly mentioned in his diary entries. Maria Alekseevna, the wife of the vice-president of the Moscow Palace Office, Sergei Mikhailovich Sukhotin, who was friends with Tolstoy, went to the sovereign's close associate, a brilliant aristocrat, Ladyzhensky. In 1968, a few years before the concept of Anna Karenina, Sukhotin got divorced. This divorce made a lot of noise in the world, and Sergei Mikhailovich shared his experiences with Tolstoy. At that time, the law was strict - a person guilty of a divorce not only repented, but also did not have the right to conclude new marriage. The noble Sukhotin did not want to slander himself and at the same time felt sorry for his wife, whom he sincerely loved. Interestingly, the fates of these people are tightly intertwined. Eldest daughter L.N. Tolstoy, Tatyana Lvovna Tolstaya, married the son of Maria and Sergei Sukhotin, Mikhail. For Mikhail, this was the second marriage, he was widowed, left with six children, and for Tatiana - the first. At the time of the wedding, she turned three. Sofya Andreevna and Lev Nikolaevich were against this union and only reconciled with time. In marriage, Tatyana and Mikhail had a daughter, also named Tatyana.
Of course, there were others in the light scandalous stories. So the story of the daughter of Prince. P. A. Vyazemsky. Being the wife of P. A. Valuev, she was in love with Count Stroganov. They said she was poisoned.
Most researchers agree that S. M. Sukhotin served as the prototype for Karenin. However, Tolstoy's son, Sergei Lvovich, was not sure about this. According to his recollections, Sukhotin was not a typical official, he served in Moscow, and not in the ministry, in St. Petersburg. He believes that in Karenin there are features of P. A. Valuev, an educated, liberal person, but at the same time a formalist. As a minister, he dealt with cases of "foreigners." Another of Karenin's prototypes could be the uncle of Tolstoy's wife, Vladimir Aleksandrovich Islavin, who rose to the rank of Privy Councilor. There is a resemblance in Karenin with Baron V. M. Mengden (1826-1910), a member State Council, who was an active campaigner, but a dry and unattractive person. His wife, Elizaveta Ivanovna, nee Bibikova, Obolenskaya in her first marriage, was very pretty (by the way, her son Dmitry is considered the prototype of Stiva). According to the assumption of S. L. Tolstoy, the writer could imagine Mengden's behavior in the event of his wife's infidelity. The surname Karenin originated from the ancient Greek that Tolstoy was studying at the time of writing the novel. Karenon in Homer means "head".
And this is what Anna Karenina looked like. Tolstoy endowed her with the features of Pushkin's eldest daughter, Maria Alexandrovna. There are many memories of this. And the Arabic curls of hair, and the unexpected lightness of a plump but slender figure, smart face, all this was characteristic of M. A. Gartung. Her fate was not easy, and perhaps Tolstoy caught a premonition of a future tragedy in her beautiful face.
| Portrait of Maria Pushkina (I. K. Makarov, ). M. A. Pushkina is 17 years old. |
And finally, Anna's death. IN original intention Karenina's name was Tatyana, and she parted with her life in the Neva. But in the family of Tolstoy's neighbor, Alexander Nikolaevich Bibikov, with whom they maintained good neighborly relations and even started building a distillery together, a tragedy happened.
Together with Bibikov as a housekeeper and civil wife lived Anna Stepanovna Pirogova. According to memories. she was ugly, but with a soulful face. Bibikov was hospitable, and treated Tolstoy's children very well. Anna Stepanovna bustled about and treated her to homemade sweets. Anna was jealous, especially of governesses, and one day she left for good. For three days nothing was known about her, until she sent a letter from the station, giving the driver a ruble. Bibikov did not read the letter and the messenger returned it. Anna Sergeevna threw herself under a passing train. According to the memoirs of Sofya Andreevna Tolstoy, he saw the body of Pirogova on the marble table of the barracks, cut by a train - this shocked him. It is also known that Anna's jealousy was justified. Bibikov soon married his governess, exactly the one to whom he was jealous.
Based on the materials of Basmanov A.E. Leo Tolstoy, "Anna Karenina" // Ogonyok. 1983. No. 42.
From the memoirs of S. L. Tolstoy
The theme of the defense of the Fatherland L.N. Tolstoy dedicated the epic novel "War and Peace", in which the prototypes of his most bright heroes on the battlefield are quite well-known warriors in Russia, including Denis Davydov. Knowing how scrupulously Tolstoy was able to work on historical and documentary material, we cannot exclude that Tolstoy read those newspapers and magazines that covered events, both in hot pursuit and 2-3 decades after the war with Napoleon. As, for example, the newspaper "St. Petersburg Vedomosti" for 25 October. 1812, in which the "Journal of military operations" was published, where the name A.N. Chechensky was mentioned twice. "Contemporary" A.S. Pushkin's memoirs of D. Davydov about 1812 and in Art. "Occupation of Dresden" the main character is exclusively A.N. Chechensky - the legendary commander of the 1st Bug regiment.
However, L.N. Tolstoy recalls Chechensky only in the novel Anna Karenina and far from being a hero of the war of 1812, but as a “famous prince”, as a regular at the English Club and as a bigamist living in St. Petersburg for two families whose children communicate with each other. It turns out that in the life of the legendary commander of the Russian army, interest in which is still not waning, there has come a period when his personal life came to the fore? Or did Tolstoy have a personal interest in Chechensky? Let's try to follow the intention of the author of the novel in relation to this real hero.
The only one historical hero, introduced into the novel, and even into the circle of close friends of the fictional character - Steve Oblonsky, is not familiar to his childhood friend Konstantin Levin, but is well known to the old prince Shcherbatsky, Kitty's father, who "jokingly lost both his entire fortune and part of his wife's fortune ”, Presumably, being, like Chechensky, a regular of this English club.
But Prince Shcherbatsky, as we understand, does not call the Prince of Chechnya “famous” because of his witty club jokes. The merits of the Chechen to the Fatherland were so great that, Tolstoy believed, it was not even worth spreading about them: it is enough to pronounce the name that at one time, it seems, was on everyone’s lips - the exploits of the military commander, Colonel of the Life Guards of the Hussar Regiment, were so loud , Major-General of the retinue since 1822, on December 14, 1825, during the coronation of Emperor Nicholas I, who was standing near Emperor Nicholas I, which A. I. Herzen mentions, referring to the “Notes” of D. Davydov, A. I. Herzen in the book “Past and Dumas”2.
And the fact that 32-year-old Konstantin Levin did not hear anything about him does not detract from the merits of Chechensky, but suggests that the problems state of the art societies obscure the past heroic era, which fell on the young years of the general, who three years ago fell into the category of "sloops", i.e. already aged, according to the porter Vasily.
However, women think differently than young men. In var. No. 19 hands. No. 13 Anna, having met Vronsky, freezes in admiration: "So here he is, this extraordinary son, this hero, this phoenix who is in love and which, after all, no woman can be worth."
“Extraordinary son”, “hero”, “phoenix” - this is not about the son of his mother, but about the son of his Motherland, about the defender of the Fatherland! Phoenix means invulnerable in battles, or remaining in the ranks with any injuries! Anna heard a lot about his heroism, and therefore elite- Russia heard a lot! Women dream of him! Anna considers herself unworthy of his love! The most open to the press and society and romanticized war in Russia was the war with Napoleon, and the participants in high-profile battles, especially the cavalry, hussars - in today's language, were the most hyped ... Not about young man who are still looking for themselves in this life - Vronsky writes these words to Tolstoy, putting them into the mouth of his main character, but about a man who took cities and fortresses without a single shot in Russia and Europe, saving thousands of lives on both opposing sides.
IN draft version No. 6 Stepan Arkadyevich is 41 years old, and not 34, as in final version, and this explains why he is friendly with Chechensky: in 1828, Major General Chechensky was 48 years old. It's almost one generation. The answer to the question of why it is necessary to return to 1828 is in my article “The Mystery of Anna Karenina” (see “Nana Karenina”, journal “Siberian Lights”, 2008, No. 2)
If in 1828 Chechensky is still in St. Petersburg, and his family, in which 6 children already live in the Pskov province, then the very next year he returns to Belarus and serves as a Guardian or Full Member, secular, in the Slutsk Trustee Committee for the Poor - an institution subordinate to the Council of the Imperial Philanthropic Society. Chechensky will also be a member of this Committee as a Benefactor or Honorary Member for the last three years of his life.
It is interesting that Anna and Vronsky, in the draft versions of the novel, have two children. With the prince of Chechnya, Tolstoy emphasizes this - in both families there are children, i.e. and in the “illegal” family there is more than one child: “The prince of Chechny had a wife and a family - adult pages, children, and there was another, illegal family, from which there were also children. Although the first family was also good, the Chechen prince felt happier in the second family. And he took his eldest son to a second family and told Stepan Arkadyich that he found it useful and developing for his son. Let us pay attention to the fact that of all his children, the father takes only his son to the second family!
Major General Chechensky really had a son, Nikolai, and in 1828 he was 4 years old. In 1834, the year of his father's death, he will be 10 years old. In the next 1835, he will become a cadet of the page corps - the most elite educational institution Imperial Russia, as evidenced by the preserved in the archives "No. 4. Document of the cadet of the page Nikolai Chechensky." But where did Tolstoy get such detailed information about the family of the Prince of Chechnya, a Pskov landowner, and, in particular, about his son, if, presumably, they were not published anywhere? Speech, as we understand it, is in the novel about historical face, and not about a fictional artistic image.
In addition, despite the fact that the Raevsky-Davydovs, who raised A.N. Chechensky, were never princes, Count Tolstoy does not use the name Chechensky without the prefix "prince". Where did Lev Nikolaevich get information about the origin of A.N. Chechensky? In the service record of the major general, in the column "From what rank", it is written: "Chechen nation from Murzin children"3, which means - from princely children, or prince 4. But after all, the Service record of an officer of the Russian army, if not a secret document, then and not public!
One of original titles the novel had "Two marriages", and Anna really married twice, but in the final version Anna is equalized, in this respect, with only one hero of the novel - with the prince of Chechnya, who has "legal" and "illegal" families. Is it necessary to explain that the prince of Chechnya in the novel is not at all an accidental hero?
It is also interesting that Anna is already in var. No. 1, hands. No. 1 bears the name Nana, (mother - in Chech.) and Vronsky, among other names of non-Russian origin, (Udashev, Balashev) also bears the surname Usmansky, which is based on Chechen name Usman.
If we accept the version of A. Shemyakin, Dr. ist. n., that the prototype of Vronsky was N.N. Raevsky 5, the grandson of the illustrious general, then we must admit that certain character traits, facts from the biography and external data Tolstoy really took from the grandson of Raevsky, but Nikolai Alexandrovich Chechensky, a major general, very similar to his father in his youth.
Portrait of Colonel N.N. Raevsky, the work of the Serbian artist, Professor Stevan Todorovich, who can still be seen today above the entrance to the Russian church in the village of Gornji Androvac, built in honor of the hero who died for the freedom of Serbia on August 20, 1876, there is one face with a portrait of “N.N. Raevsky" in the general uniform of the brush unknown artist. The story of the confusion of two Alexanders in the Raevsky family was repeated a generation later with grandchildren in the same family. But in the drafts we will find quite a few hints from the author, so as not to doubt which of the two Nikolaev Raevskys is hiding behind the image of Vronsky in Tolstoy.
And the last. Initially, Tolstoy took the epigraph to the novel: "My vengeance" (where the word "mine" is written with a small letter). The researchers agreed that this is supposedly a truncated translation of the German phrase, which, as a rule, is translated: "Vengeance is mine," says the Lord, "and I will repay." However…
"Mein ist die Rache, spricht der Herr, und ich will vergelten." - this phrase sounds in the original. “My revenge,” the master will say, “and I want to repay,” is a literal translation into Russian. Or "die Rache ist mein, ich will es vergelten" - "Revenge is mine, I want to reward it." Vergelten - in Russian - to repay (for smth. to someone). "Der Herr" - has several meanings in Russian: master, master, lord, lord. It is understandable why a more accurate translation turned out to be closer to Tolstoy: "My vengeance"! Isn't that why Anna in manuscript No. 1 is called Nana, and she " disgusting woman", and Alexey Alexandrovich -" rasprovazhno, "emphasizes the author: "explains and says plishel, and you want to laugh and feel sorry"?
To whom and for what did L.N. Tolstoy when he wrote his novel "Anna Karenina"? The question, I hope, is rhetorical. The fact that without the prince of Chechnya the answer to this question would be incomplete, Tolstoy understood well. It remains for us to understand this, exclaiming after Anna: “So here he is, this hero ...”!
____________
1 K.B. Zhuchkov. A.N. Chechen. - "In the Battles - ahead of everyone ...". Gas "Selskaya Nov", No. 54, July 18, 2012, Bezhanitsy, Pskov region.
2 A. I. Herzen Past and Dumas, Chapter III, Footnotes.
3 RGVIA, F. 409, Op. 2, D. 40221 (ps. 366-459)
4 “Murza translated into English. lang. means "prince". This high level Turkic nobility. In Russia, they were princes,” the website “History of the Family”: http://istorya-familii.ru/story.php?name=% 9C
5 A. Shemyakin. Death of Count Vronsky.
* A speech was made at the Fifth International Tolstoy Congress "The War of 1812 in Russian Culture: Literature and Art". To the 200th anniversary Patriotic War 1812 Moscow. September 27, 2012
Additional material (on the prototypes of the novel)
The novel "Anna Karenina" Tolstoy wrote in Yasnaya Polyana. His relatives recognized familiar pictures, familiar people and even themselves in the book. The writer's son, Sergei Lvovich Tolstoy, recalled: “The father took the material for her (for Anna Karenina) from the life around him. I knew many faces and many episodes described there. But in Anna Karenina characters not quite the ones who actually lived. They just look like them. The episodes are combined differently than in real life.”
In each of Tolstoy's heroes there is something of his worldview. For example, Levin's lyrical mood, in which the living features of Tolstoy are guessed, is fanned by the landscape of Moscow (part one, chapter IX In the image of Levin, in general, a lot comes from the author: features of appearance, and life conflicts, and experiences, and reflections.
Levin's surname itself is formed on behalf of Tolstoy: “ Lev Nikolaevich” (as he was called in the home circle). The surname Levin was perceived precisely in this transcription. However, neither Tolstoy nor his relatives insisted on such a reading.
The story of Levin and Kitty embodies Tolstoy's memories of his family life. Levin writes on the card table initial letters the words that Kitty wanted to say, and she guesses their meaning. The explanation of Tolstoy with his fiancee, and then with his wife, took place approximately in the same way (Part Four, Chapter XIII). S. A. Tolstaya (nee Bers) writes about this in detail in her notes (“The Marriage of L. N. Tolstoy” in the book “L. N. Tolstoy in the Memoirs of Contemporaries”, M., 1955).
V. G. Korolenko noted the closeness of the way of thinking of Tolstoy’s heroes and the writer himself: “Pierre’s doubts and spiritual discord, Levin’s reflections, his falls, mistakes, more and more searches - this is his own, native, organically inherent in the soul of Tolstoy himself.”
Anna Karenina, according to T. A. Kuzminskaya, resembles Maria Alexandrovna Hartung (1832-1919), Pushkin's daughter, but "not in character, not in life, but in appearance." Tolstoy met M.A. Gartung on a visit to General Tulubyev in Tula. Kuzminskaya says: “Her light gait easily carried her rather full, but straight and graceful figure. I was introduced to her. Lev Nikolayevich was still sitting at the table. I saw him staring at her intently. "Who is this?" he asked, coming up to me. - M-me Hartung, daughter of the poet Pushkin. “Yes,” he drawled, “now I understand ... Look at her Arabic curls on the back of her head. Surprisingly thoroughbred.”
In the diary of S. A. Tolstoy there is a reference to another prototype of Tolstoy's heroine. S. A. Tolstaya talks about tragic fate Anna Stepanovna Pirogova, whose unhappy love led to death. She left home "with a bundle in her hand", "returned to the nearest station - Yasenki, where she threw herself onto the rails under a freight train." All this happened near Yasnaya Polyana in 1872. Tolstoy went to the railway barracks to see the unfortunate woman. In the novel, both the motivation for actions and the nature of events were changed.
The prototype of Karenin was the “reasonable” Mikhail Sergeevich Sukhotin, chamberlain, adviser to the Moscow palace office. In 1868, his wife, Maria Alekseevna, obtained a divorce and married S. A. Ladyzhensky. Tolstoy was friendly with Maria Alekseevna's brother and knew about this family history.
Surname Karenin has literary source. Sergei Tolstoy recalled how his father told him: “Karenon - Homer has a head. From this word I got the surname Karenin. Apparently, Karenin is a “head” person, his mind prevails over feeling.
The prototype of Oblonsky is called Vasily Stepanovich Perfilyev, the district marshal of the nobility, and then the Moscow governor, married to the second cousin of Leo Tolstoy.
In the character of Nikolai Levin, Tolstoy reproduced many of the features of the nature of his own brother, Dmitry. “I think that it was not so much the bad, unhealthy life that he led for several months in Moscow, but the internal struggle of pangs of conscience that immediately ruined his powerful organism,” Tolstoy recalled.
Some features of the artist Mikhailov, whose studio Anna and Vronsky visit in Rome, resemble, according to S. L. Tolstoy, the artist I. N. Kramskoy. In the autumn of 1873, Kramskoy painted a portrait of Leo Tolstoy in Yasnaya Polyana. Their conversations about the worldview and creativity, about the old masters gave Tolstoy the idea to introduce into the novel scenes with the participation of the “new artist”, brought up “in the concepts of disbelief, denial and materialism”.
Real facts reality entered the novel transformed, obeying the creative concept of Tolstoy. Therefore, it is impossible to completely identify the heroes of Anna Karenina with their real prototypes. “You need to observe many homogeneous people in order to create one specific type,” says Tolstoy.
Homework.
1. Determine the features of the genre and composition of the novel;
2. Find arguments in favor of the fact that Tolstoy's novel, following Pushkin, can be called "free";
3. Find connections between the image of Anna Karenina and Tatyana Larina (leading).
Lesson 2
The purpose of the lesson: determine the features of the genre and compositions of the novel; identify its main storylines.
Methodical methods: teacher's lecture; questions conversation.
Lesson equipment: portrait of L. N. Tolstoy by Kramskoy; edition of Anna Karenina.
During the classes
I. Teacher's word
Tolstoy called his novel "broad, free." This definition is based on Pushkin's term "free novel". Between Pushkin's novel "Eugene Onegin" and Tolstoy's novel "Anna Karenina" there is an undoubted connection, which manifests itself in the genre, in the plot, and in the composition. Tolstoy continued Pushkin's traditions of updating the form of the novel, expanding its artistic possibilities.
The free novel genre has evolved overcoming literary schemes and conventions. In Tolstoy's novel, there is no absolute plot completeness of the provisions on which the traditional novel plot was built. The choice of material and the free development of storylines are determined only by the concept of the writer. Tolstoy himself wrote about this in the following way: “I can’t and I can’t put certain boundaries on my fictional faces - somehow marriage or death. It involuntarily seemed to me that the death of one person only aroused interest in other persons, and marriage was for the most part a tie, not a denouement of interest” (vol. 13, p. 55).
Tolstoy destroyed the traditional “known boundaries” of the novel genre, which involves the death of a hero or a wedding, by completing the plot, a point in the history of the characters.
Prove that Tolstoy's novel does not meet the traditional ideas about the novel for his time. Compare "Anna Karenina" with Pushkin's "Eugene Onegin".
(Tolstoy's novel continues after the wedding of Levin and Kitty, even after Anna's death. The author's creative concept - the embodiment of "family thought" - dictates the free development of the plot, makes it vital, truthful, reliable. In Pushkin's novel, too, it seems as if there is no beginning and end, no completion of storylines. The novel begins unconventionally - with Onegin's thoughts on the way to the village to his dying uncle, the novel continues after the death of one of the main characters - Lensky, and after the marriage of the main character - Tatiana. In "Eugene Onegin" there is no traditional ending. After the explanation Onegin and Tatyana, the author simply leaves the hero “in a moment that is bad for him.” Pushkin’s novel is like a piece of life, snatched by the author, allowing him to express his ideas, raise questions that are not only acute for his time, and show the material and spiritual life of society.)
Teacher. Contemporary critics Tolstoy was reproached for the dissonance of the plot, for the fact that the plot lines are independent of each other, that there is no unity in the novel. Tolstoy, on the other hand, emphasized that the unity of his novel is based not on external plot constructions, but on an “internal connection” determined by a common idea. For Tolstoy, the inner content, clarity and certainty of attitude to life, which permeate the entire work, is important.
IN free novel there is not only freedom, but also necessity, not only breadth, but also unity.
In many scenes, characters, positions of Tolstoy's novel, artistic unity and unity are strictly maintained. copyright. “There is a center in the field of knowledge,” writes Tolstoy, “and there are countless radii from it. The whole problem is to determine the length of these radii and their distance from each other. The concept of “one-centeredness” was the most important for Tolstoy in his philosophy of life, which was reflected in the novel “Anna Karenina”. It is built like this: it has two main circles - Levin's circle and Anna's circle. Moreover, Levin's circle is wider: Levin's story begins earlier than Anna's story and continues after her death. And the novel does not end in disaster on railway(part seven), but by Levin’s moral quest and his attempts to create a “positive program” for updating private and common life(part eight).
Anna's circle, which can be called the circle of life of "exceptions", is constantly shrinking, leading the heroine to despair, and then to death. Levin circle - circle “ real life". It expands and has no clear external boundaries, like life itself. There is an inevitable logic to this. historical development, which, as it were, predetermines the denouement and resolution of the conflict, and the ratio of all parts in which there is nothing superfluous. Such is the hallmark of classical clarity and simplicity in art.
II. Class work.
Exercise. Try to graphically depict the most general ideas O life path the main characters of Tolstoy's novel in accordance with the author's concept of "one-centeredness".
Let us recall Tolstoy's famous "formula": "And there is no greatness where there is no simplicity, goodness and truth" ("War and Peace"). The novel "Anna Karenina" corresponds to this formula.
Another formula is found in Tolstoy's reasoning: “There are different degrees of knowledge. Complete knowledge is that which illuminates the whole subject from all sides. The clarification of consciousness is accomplished in concentric circles.” The composition of "Anna Karenina" can serve as ideal model for this formula of Tolstoy, which presupposes the presence of a homogeneous structure of characters and the regular development of a “beloved dream”.
The many circles of events in the novel, which have a common center, testify to the artistic unity of Tolstoy's epic concept.
What is the basis for the development of the plot of the novel? What do you think is the author's "favorite dream"?
(The internal basis of the developed plot in the novel “Anna Karenina” is the gradual liberation of a person from class prejudices, from confusion of concepts, from the “torturous lie” of separation and enmity. life quest Annas ended in disaster, but Levin, through doubt and despair, sets out on the road to goodness, to truth, to the people. He thinks not of economic or political revolution, but about a spiritual revolution, which, in his opinion, should reconcile interests and create "harmony and connection" between people. This is the "favorite dream" of the author, and Levin is its spokesman.)
Teacher. Let's try to slightly expand our understanding of the plot and composition of the novel. We will try to briefly define the content of the parts of the novel, to trace how the author's intention is gradually revealed.
Name the main events of the parts of the novel. Find key images.
(In the first part key image- an image of general discord, confusion. The novel opens with an insoluble conflict in the Oblonskys' house. One of the first phrases of the novel: "Everything is mixed up in the Oblonskys' house" is the key one. Levin is refused by Kitty. Anna loses her peace, foreseeing a future catastrophe. Vronsky leaves Moscow. The meeting of the heroes at the blizzard portends the tragedy of their relationship. Levin, just like his brother Nikolai, wants to "get away from all the abomination, confusion, and someone else's and his own." But there is nowhere to go.
In the second part, the characters seem to be scattered by the wind of events. Levin has closed himself in his estate alone, Kitty wanders around the resort towns of Germany. Vronsky and Anna were connected by "confusion" with each other. Vronsky triumphs that his "charming dream of happiness" has come true, and does not notice that Anna says: "It's all over." At the races in Krasnoye Selo, Vronsky unexpectedly suffers a “shameful, unforgivable” defeat, a harbinger of a life collapse. The crisis is experienced by Karenin: “He experienced a feeling similar to what a person would feel if he calmly passed over the abyss along the bridge and suddenly saw that this bridge had been dismantled and that there was an abyss. This abyss was life itself, the bridge was that artificial life that Alexey Alexandrovich lived.
The position of the heroes in the third part is characterized by uncertainty. Anna stays at Karenin's house. Vronsky serve in the regiment. Levin lives in Pokrovsky. They are forced to make decisions that do not coincide with their desires. And life turns out to be entangled in a “web of lies.” Anna feels this especially keenly. She says about Karenin: “I know him! I know that he, like a fish in water, swims and enjoys lying. But no, I will not give him this pleasure, I will break this web of lies of his, in which he wants to entangle me; let it be what will be. Everything is better than lies and deceit!
In the fourth part of the novel, relations are established between people who are already divided by dull enmity, tearing the "web of lies". It tells about the relationship between Anna and Karenin, Karenin and Vronsky, Levin and Kitty, who finally met in Moscow. Heroes are affected by two opposing forces: moral law kindness, compassion and forgiveness and powerful law public opinion. This law operates constantly and inevitably, and the law of compassion, goodness, manifests itself only occasionally, like an epiphany, when Anna suddenly felt sorry for Karenin, when Vronsky saw him "not evil, not false, not funny, but kind, simple and majestic."
The leading theme of the fifth part is the theme of choosing the path. Anna left with Vronsky for Italy. Levin married Kitty and took her to Pokrovskoye. There is a complete break with past life. Levin in confession draws attention to the words of the priest: "You are entering a time of life when you have to choose a path and stick to it." The choice of Anna and Vronsky is illuminated by the painting by the artist Mikhailov "Christ before the Judgment of Pilate", which was artistic expression problems of choice between the "power of evil" and the "law of good". Karenin, who was deprived of a choice, accepts his fate, "surrendering himself into the hands of those who took such pleasure in his affairs."
"Family Thought" is outlined with different sides in the sixth part. Levin's family lives in Pokrovsky. Vronsky's illegal family is in Vozdvizhensky. Oblonsky's house in Ergushov is being destroyed. Tolstoy depicts pictures of the life of a “correct” and “wrong” family, life “in the law” and “outside the law”. The social law is considered by Tolstoy in conjunction with the law of "good and truth".
In the seventh part, the heroes enter the last stage spiritual crisis. Happening here major events: the birth of a son with Levin, the death of Anna Karenina. Birth and death, as it were, complete one of the circles of life.
The eighth part of the novel is the search for a "positive program" that was supposed to help the transition from the personal to the general, to " people's truth". Let us recall that Tolstoy also comes to this idea in the novel War and Peace. The plot center of this part is the "law of good". Levin comes to the firm realization that "the achievement of the common good is possible only with the strict observance of that law of goodness, which is open to every person.")
Homework.
Select and analyze episodes that reveal the “family thought” of L. N. Tolstoy.
The daughter of Alexander Sergeevich Pushkin, Maria Alexandrovna, died of starvation at the age of 86, without having time to receive her new personal pension, appointed to her by Anatoly Lunacharsky, People's Commissar of Education of the new government of the Land of Soviets. Until the end of her days, Maria Alexandrovna, who was left alone, in any weather, came to the monument to Pushkin on Tverskoy Boulevard - on a date with her father, whom she almost did not remember, but who became a legend for her.
proud posture
Maria Pushkina at the age of 12. Photo: Public Domain
She was named Mary in honor of her great-grandmother - Maria Alekseevna Hannibal. Maria Alexandrovna was born on May 19, 1832 in St. Petersburg, on Furshtatskaya Street.
Pushkin doted on his first child. Two weeks after the birth of Maria, Alexander Sergeyevich jokingly wrote to Princess V.F. Vyazemskaya: “Imagine that my wife had the embarrassment to resolve herself with a small lithograph from my person. I am desperate, in spite of all my self-importance.”
The girl spent the early years of her childhood in the countryside - Maria was taken to the Linen Factory immediately after the death of her father, she was then barely five years old.
She remembered Pushkin vaguely, and all her life her brilliant progenitor was more of a legend for her than a living character of flesh and blood.
A huge role in the upbringing of Maria Alexandrovna was played by her mother, Natalya Nikolaevna. The girl got great home education, at the age of nine she spoke fluently, wrote and read German and French, played the piano, embroidered, and was excellent at horseback riding. No wonder all her life she was noted for her majestic, proud posture.
Later, Maria Alexandrovna studied at the privileged Catherine's Institute, with her and her brothers, teachers recommended by her father's friends were seriously engaged.
Prototype Karenina
In the rare memoirs that have survived about Mary, contemporaries note her aristocracy, the sophistication of her manners, but at the same time her simplicity in communication, friendliness and rare wit. There is also evidence of her very tender relationship with both her mother, Natalia Nikolaevna, and her stepfather, Peter Lansky.
The appearance of Maria Alexandrovna was also unusual. “The rare beauty of her mother was mixed in her with the exoticism of her father, although the features of her face, perhaps, were somewhat large for a woman,” wrote a contemporary.
It is these wrong traits that formed the basis appearance main character of the novel Lev Tolstoy"Anna Karenina". They met the writer in Tula, at one of General Tulubyev's receptions. It was said that Pushkin's daughter immediately attracted the attention of the count. And when they told him who this woman was, Lev Nikolaevich exclaimed: “Yes, now I understand where she got these thoroughbred curls on the back of her head!”“She served him as the type of Anna Karenina, not in character, not in life, but in appearance. He himself admitted this,” wrote Tolstoy’s sister-in-law T. Kuzminskaya.
Let us recall the description of Anna in the novel: “On her head, in black hair, her own without admixture, there was a small garland pansies and the same on a black ribbon belt between white lace. Her hair was invisible. Were noticeable only, decorating her, these masterful short rings of curly hair, always knocking out at the back of her head and temples. There was a string of pearls on a chiseled strong neck.
Didn't make it to retirement
In December 1852, after graduating from the institute, Pushkina was granted the highest honor as a lady-in-waiting and was under the Empress Maria Alexandrovna, the wife of Emperor Alexander II.
Despite the increased attention to her from the gentlemen, Maria Alexandrovna married late, at twenty-eight. Major General Leonid Gartung, manager of the Imperial Stud Farms in Tula and Moscow, became her husband.
Their marriage ended tragically after 17 years. In 1877, the general was undeservedly accused of stealing bills and other securities of a certain Zanftleben, a pawnbroker, whose executor duties were taken over by Hartung. Leonid Nikolaevich turned out to be a victim of vile intrigues. Desperately trying to avoid shame, the general shot himself right in the courtroom. A note was found with him, in which Hartung says: "I swear to the almighty gods that I have not stolen anything and I forgive my enemies."
The death of her husband was a terrible blow for Maria Alexandrovna. In one of her letters to her relatives, she wrote: “I was convinced from the very beginning of the trial that I was innocent of the horrors that my husband was accused of. I lived with him for 17 years and knew all his shortcomings; he had many of them, but he was always of impeccable honesty and with with the kindest heart. Dying, he forgave his enemies, but I, I do not forgive them.
Until the end of her days, she remained faithful to him. Maria and Leonid had no children. The woman was left completely alone and without the slightest means of subsistence, but did not lose heart. Active core social life, became an honorary trustee and chairman of the first Pushkin Public Library, attended literary evenings.
Great-granddaughter of the poet Natalia Sergeevna Shepeleva she recalled: “Aunt Masha was always distinguished by her unchanging love of life and her manners were truly the manners of a society lady who had lived in the highest circle for many years. When she appeared in the living room, until late in the evening, jokes and laughter did not cease in her.
In 1918, the People's Commissariat of Social Security, having examined the living conditions of Maria Alexandrovna "to determine the degree of her need," decided to allocate her a personal pension. "Pushkin's merits to Russian literature" were taken into account.
Despite the difficult fate, Maria Alexandrovna always maintained good spirits. Photo: Public Domain
However, she never received it. Maria Alexandrovna died of starvation in Moscow on March 7, 1919.
This woman, and in the heat, and in the slush, to last day of her life visiting the grave of her famous father, the poet Nikolai Dorizo devoted the following touching lines.
In all of Russia, only she knows,
To her,
lonely
gray-haired old woman
how kind they were
and sometimes hot
These are Pushkin's bronze hands.
Prototype Anna Kareninawas eldest daughter Alexander Sergeevich Pushkin Maria Hartung. The extraordinary sophistication of manners, wit, charm and beauty distinguished Pushkin's eldest daughter from other women of that time. The husband of Maria Alexandrovna was Major General Leonid Gartung, the manager of the Imperial Horse Yard. True, Pushkin's daughter, who served as a prototype Tolstoy, didn’t throw herself under any train. She survived Tolstoy by almost a decade and died in Moscow on March 7, 1919 at the age of 86. She met Tolstoy in Tula in 1868, and immediately became the object of his harassment. However, after receiving gate turn, Tolstoy prepared an unfortunate fate for the heroine written off from her, and when in 1872, in the vicinity of Yasnaya Polyana, a certain Anna Pirogova threw herself under a train because of unhappy love, Tolstoy decided that the hour had struck.
Spouse Tolstoy Sofia Andreevna and his son Sergei Lvovich recalled that on that morning when Tolstoy started working on "Anna Karenina", he accidentally looked into Pushkin's volume and read an unfinished passage "Guests were coming to the dacha ...". "That's how to write!" exclaimed Tolstoy. On the evening of the same day, the writer brought his wife a handwritten piece of paper, on which was the now textbook phrase: "Everything is mixed up in the Oblonskys' house." Although in the final edition of the novel she became the second, not the first, giving way to "all happy families", as is known, like a friend on a friend...
By that time, the writer had long nurtured the idea of writing a novel about a sinner rejected by society. Tolstoy finished his work in April 1877. In the same year, it began to be published in the Russky Vestnik magazine in monthly portions - all reading Russia burned with impatience, waiting for the continuation.
The surname Karenin has a literary source. Where does the name Karenin come from? - writes Sergei Lvovich Tolstoy. — Lev Nikolayevich began to study Greek in December 1870 and soon became so familiar with it that he could admire Homer in the original… Once he told me: “Karenon — Homer has a head. From this word I got the surname Karenin.
According to the plot of the novel Anna Karenina Realizing how hard, hopeless her life is, how senseless her cohabitation with her lover Count Vronsky, rushes after Vronsky, hoping to explain and prove something to him. At the station, where she was supposed to board the train to go to the Vronskys, Anna recalls her first meeting with him, also at the station, and how on that distant day some lineman was run over by a train and was crushed to death. Right Anna Karenina the thought comes to mind that there is a very simple way out of her situation, which will help her wash away the shame and untie everyone's hands. And at the same time it will be a great way to take revenge on Vronsky, Anna Karenin and throws himself under the train.
Could this happen tragic event in fact, in the very place that he describes in his novel Tolstoy? Zheleznodorozhnaya station (in 1877 a class IV station) small town With by the same name 23 kilometers from Moscow (until 1939 - Obiralovka). It was in this place that the terrible tragedy described in the novel took place. "Anna Karenina".
In Tolstoy's novel, this is how the suicide scene is described Anna Karenina: "... she did not take her eyes off the wheels of the passing second car. And exactly at the moment when the middle between the wheels caught up with her, she threw back her red bag and, shrugging her head into her shoulders, fell under the car on her hands and with a slight movement, like preparing to get up at once, she knelt down.
In fact, Karenina Not I could do it the way I told you about it Tolstoy. A person cannot be under a train by falling into full height. In accordance with the trajectory of the fall: when falling, the figure rests its head against the lining of the car. The only way left is to kneel in front of the rails and quickly stick your head under the train. But it is unlikely that such a woman would do this as Anna Karenina.
Despite the dubious (without touching, of course, the artistic side) scene of suicide, the writer nevertheless chose Obiralovka not by chance. The Nizhny Novgorod railway was one of the main industrial highways: heavily loaded freight trains often ran here. The station was one of the largest. In the 19th century, these lands belonged to one of the relatives of Count Rumyantsev-Zadunaisky. According to the reference book of the Moscow province for 1829, there were 6 households in Obiralovka with 23 peasant souls. In 1862, a railway line was laid here from the Nizhny Novgorod railway station that existed at that time, which stood at the intersection of Nizhegorodskaya street and Rogozhsky shaft. In Obiralovka itself, the length of sidings and sidings was 584.5 sazhens, there were 4 arrows, a passenger and a residential building. Every year, the station was used by 9,000 people, or an average of 25 people a day. The station settlement appeared in 1877, when the novel itself was published. "Anna Karenina". Now there is nothing left of the former Obiralovka on the current Zhelezka
