full title · Anna Karenina
author · Lev (Leo) Nikolaevich Tolstoy
type of work · Novel
genre · Novel of ideas; psychological novel; tragedy
language · Russian
time and place written · 1873–1877; the estate of Yasnaya Polyana, near Moscow
date of first publication · 1873–1877 (serial publication)
publisher · M. N. Katkov
narrator · Tolstoy uses an unnamed, omniscient, detached, third-person narrator
point of view · The nameless narrator of the novel presents both facts and inner thoughts of characters that no single character in the plot could know. Chiefly with regard to Anna and Levin, but occasionally to others as well, the narrator describes characters’ states of mind, feelings, and attitudes. For a lengthy section at the end of Part Seven, the narrator enters directly into Anna’s mind.
tone · As in many realist novels of the same time period, the narrator maintains an impersonal but sympathetic tone, focusing on both facts and feelings but without authorial commentaries on the fates of characters. Unlike War and Peace and some of Tolstoy’s other earlier novels, Anna Karenina does not include explicit philosophical generalizations, except in the opening sentence of the novel.
tense · Past
setting (time) · The 1870s
setting (place) · Various locations throughout Russia, including Moscow, St. Petersburg, and the Russian provinces, with brief interludes in Germany and Italy
protagonists · Anna Karenina; Konstantin Levin
major conflict · Anna struggles between her passion for Vronsky and her desire for independence on the one hand, and her marital duty, social convention, and maternal love on the other; Levin struggles to define his own identity and reach an understanding of faith in an alienating and confusing world
rising action · Anna meets Vronsky in the train station, initiating an acquaintance that grows into adulterous passion and family upheaval; their consummation of the affair leads to Anna’s abandonment of her husband and son. Meanwhile, Kitty rebuffs Levin’s marriage proposal, prompting him to withdraw to his estate in the country and reflect on the meaning of life.
climax · Anna makes a public appearance at the opera, forcing a confrontation between her desire to live life on her own terms and the hostile opinions of St. Petersburg society, which scorns and rejects her; this episode seals her fate as a social outcast and fallen woman. Meanwhile, Levin’s search for meaning is rewarded by marriage to Kitty, stable family life, and an understanding of faith.
falling action · Anna commits suicide, unable to bear her lack of social freedom and the jealousy and suspicion arising from her unstable relationship with Vronsky. Meanwhile, Levin continues his new life as enlightened husband, father, and landowner.
themes · Social change in nineteenth-century Russia; the blessings of family life; the philosophical value of farming
motifs · The interior monologue; adultery; forgiveness
symbols · Trains; Vronsky’s racehorse; Levin and Kitty’s marriage
foreshadowing · A man dies at the train station when Anna first arrives, foreshadowing her own death at a train station years later; Vronsky’s actions cause the fall and death of his horse Frou-Frou, foreshadowing the later death of his beloved Anna.
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In your analysis of Levin, you claim that he is not self centered, however I cannot concur. In part 3 chapter 4 of the novel when Levin is in an argument with his brother and says "I think that the motive force of all our actions is, after all,personal happiness." Please tell me what you think about this because I am not finished with the book and I would sincerely like to know if this opinion of Levin's will change or if your analysis requires revision.
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