Anna Karenina 1 Anna Karenina 2

1878 novel by Leo Tolstoy

Anna Karenina
Cover page of the first volume of Anna Karenina, Moscow, 1878
Author	Leo Tolstoy
Original title	Анна Каренина
Translator	Constance Garnett (initial)
Country	Russian federation
Language	Russian
Genre	Realist novel
Publisher	The Russian Messenger
Publication date	1878
Media type	Print (series)
Pages	864
ISBN	978-1-84749-059-9
OCLC	220005468

Anna Karenina (Russian: «Анна Каренина» , IPA: [ˈanːə kɐˈrʲenʲɪnə])^[1] is a novel past the Russian author Leo Tolstoy, first published in book course in 1878. Widely considered to exist one of the greatest works of literature ever written,^[2] Tolstoy himself called it his first true novel. It was initially released in serial installments from 1875 to 1877, all but the concluding part appearing in the periodical The Russian Messenger. ^[iii]

A complex novel in eight parts, with more than a dozen major characters, Anna Karenina is spread over more than than 800 pages (depending on the translation and publisher), typically contained in two volumes. Information technology deals with themes of expose, faith, family, spousal relationship, Imperial Russian lodge, desire, and rural vs. city life. The story centers on an extramarital affair between Anna and dashing cavalry officer Count Alexei Kirillovich Vronsky that scandalizes the social circles of Saint Petersburg and forces the young lovers to flee to Italia in a search for happiness, simply later on they render to Russia, their lives farther unravel.

Trains are a motif throughout the novel, with several major plot points taking place either on passenger trains or at stations in Saint Petersburg or elsewhere in Russia. The story takes identify against the properties of the liberal reforms initiated by Emperor Alexander II of Russia and the rapid societal transformations that followed. The novel has been adapted into various media including theatre, opera, picture, television, ballet, figure skating, and radio drama.

Main characters [edit]

Anna Arkadyevna Karenina ( Анна Аркадьевна Каренина ): Stepan Oblonsky's sister, Karenin'due south wife and Vronsky's lover.
Count Alexei Kirillovich Vronsky ( Алексей Кириллович Вронский ): Anna'due south lover, cavalry officeholder.
Prince Stepan "Stiva" Arkadyevich Oblonsky ( Степан "Стива" Аркадьевич Облонский ): civil servant and Anna's brother, human about town, 34 years of age. (Stepan and Stiva are Russianized forms of Stephen and Steve, respectively.)
Princess Darya "Dolly" Alexandrovna Oblonskaya ( Дарья "Долли" Александровна Облонская ): Stepan'southward wife, 33 years of age.
Alexei Alexandrovich Karenin ( Алексей Александрович Каренин ): senior statesman and Anna's husband, 20 years her senior.
Konstantin "Kostya" Dmitrievich Levin/Lyovin ( Константин "Костя" Дмитриевич Лёвин ): Kitty'south suitor, Stiva's old friend, landowner, 32 years of age.
Nikolai Dmitrievich Levin/Lyovin ( Николай Дмитриевич Лёвин ): Konstantin'southward elderberry blood brother, impoverished alcoholic.
Sergei Ivanovich Koznyshev ( Сергей Иванович Кознышев ): Konstantin's one-half-blood brother, celebrated writer, 40 years of age.
Princess Ekaterina "Kitty" Alexandrovna Shcherbatskaya ( Екатерина "Кити" Александровна Щербацкая ): Dolly's younger sis and later Levin'due south wife, eighteen years of historic period.
Prince Alexander Shcherbatsky ( Александр Щербацкий ): Dolly and Kitty's father.
Princess Shcherbatsky (no name or patronymic given): Dolly and Kitty's female parent.
Princess Elizaveta "Betsy" Tverskaya ( Елизавета "Бетси" Тверская ): Anna'due south wealthy, morally loose society friend and Vronsky's cousin.
Countess Lidia (or Lydia) Ivanovna ( Лидия Ивановна ): leader of a high gild circle that includes Karenin, and shuns Princess Betsy and her circle. She maintains an interest in Russian Orthodoxy, mysticism and spirituality.
Countess Vronskaya: Vronsky'due south mother.
Sergei "Seryozha" Alexeyich Karenin ( Сергей "Серёжа" Каренин ): Anna and Karenin's son, 8 years of age.
Anna "Annie" ( Анна "Ани" ): Anna and Vronsky's daughter.
Agafya Mikhailovna ( Агафья Михайловнa ): Levin's one-time nurse, now his trusted housekeeper.

Plot introduction [edit]

Anna Karenina consists of more than the story of Anna Karenina, a married socialite, and her affair with the flush Count Vronsky, though their relationship is a very potent component of the plot.^[4] The story starts when she arrives in the midst of her brother's family unit being broken upward by his unbridled womanizing—something that prefigures her own later situation.

A bachelor, Vronsky is eager to marry Anna if she volition agree to get out her married man Karenin, a senior government official. Although Vronsky and Anna go to Italia, where they can be together, leaving behind Anna'south child from her first matrimony. They accept trouble making friends. When they render to Russia, Anna suffers shunning and isolation due to the relationship. While Vronsky pursues his social life, Anna grows increasingly possessive and paranoid about his supposed infidelity.

A parallel story within the novel is that of Konstantin Levin, a wealthy country landowner who wants to marry Kitty, sister to Dolly and sister-in-law to Anna'south brother Stepan Oblonsky. Levin has to propose twice before Kitty accepts. The novel details Levin's difficulties managing his estate, his eventual marriage, and his struggle to accept the Christian religion, until the birth of his commencement kid.

The novel explores a various range of topics throughout its approximately one k pages. Some of these topics include an evaluation of the feudal organisation that existed in Russia at the time—politics, non but in the Russian authorities, merely likewise at the level of the individual characters and families, religion, morality, gender, and social class.

Summary [edit]

The novel is divided into 8 parts and 239 chapters. Its epigraph is "Vengeance is mine; I will repay", from Romans 12:xix, which in turn quotes from Deuteronomy 32:35. The novel begins with 1 of its most oft-quoted lines:

Все счастливые семьи похожи друг на друга, каждая несчастливая семья несчастлива по-своему.
Vse schastlivyye sem'i pokhozhi drug na druga, kazhdaya neschastlivaya sem'ya neschastliva po-svoyemu.
Happy families are all akin; every unhappy family is unhappy in its ain fashion.

Part 1 [edit]

Prince Stepan Arkadyevich Oblonsky ("Stiva"), a Moscow blueblood and civil servant, has been unfaithful to his wife, Princess Darya Alexandrovna ("Dolly"). Dolly has discovered his affair with the family'south governess, and the household and family are in turmoil. Stiva informs the household that his married sister, Anna Arkadyevna Karenina, is coming to visit from Petrograd in a bid to calm the situation.

Meanwhile, Stiva's childhood friend, Konstantin Dmitrievich Levin ("Kostya"), arrives in Moscow with the aim of proposing to Dolly's youngest sister, Princess Katerina Alexandrovna Shcherbatskaya ("Kitty"). Levin is a passionate, restless, but shy aristocratic landowner who, unlike his Moscow friends, chooses to alive in the land on his large estate. He discovers that Kitty is besides being pursued past Count Alexei Kirillovich Vronsky, an army cavalry officeholder.

Whilst at the railway station to meet Anna, Stiva bumps into Vronsky who is there to meet his mother, the Countess Vronskaya. Anna and Vronskaya accept traveled and talked together in the same carriage. As the family unit members are reunited, and Vronsky sees Anna for the outset time, a railway worker accidentally falls in front of a train and is killed. Anna interprets this as an "evil omen".

At the Oblonsky home, Anna talks openly and emotionally to Dolly well-nigh Stiva's affair and convinces her that Stiva still loves her despite the adultery. Dolly is moved by Anna's speeches and decides to forgive Stiva.

Kitty, who comes to visit Dolly and Anna, is but 18. In her first season every bit a debutante, she is expected to brand an excellent match with a man of her own social standing. Vronsky has been paying her considerable attention, and she expects to dance with him at a ball that evening. Kitty is very struck by Anna's beauty and personality and becomes infatuated with her just every bit much as with Vronsky. When Levin proposes to Kitty at her home, she clumsily turns him down, believing she is in love with Vronsky and that he will propose to her, and encouraged to do then by her mother, who believes Vronsky would exist a better match (in contrast to Kitty'south father, who favors Levin).

At the ball Kitty expects to hear something definitive from Vronsky, but he dances with Anna instead, choosing her as a partner over a shocked and heartbroken Kitty. Kitty realizes that Vronsky has fallen in love with Anna and has no intention of marrying her, despite his overt flirtations. Vronsky has regarded his interactions with Kitty just as a source of amusement and assumes that Kitty has acted for the same reasons. Anna, shaken past her emotional and physical response to Vronsky, returns at once to St. Petersburg. Vronsky travels on the same train. During the overnight journey, the two see and Vronsky confesses his dearest. Anna refuses him, although she is affected by his attentions.

Levin, crushed by Kitty's refusal, returns to his estate, abandoning whatever promise of marriage. Anna returns to her married man, Count Alexei Alexandrovich Karenin, a senior government official, and her son in Petrograd.

Role 2 [edit]

The Shcherbatskys consult doctors over Kitty's wellness, which has been declining since Vronsky's rejection. A specialist advises that Kitty should go away to a health spa to recover. Dolly speaks to Kitty and understands she is suffering because of Vronsky and Levin, whom she cares for and had hurt in vain. Kitty, humiliated by Vronsky and tormented past her rejection of Levin, upsets her sis past referring to Stiva's infidelity, saying she could never love a man who betrayed her. Meanwhile, Stiva visits Levin on his country manor while selling a nearby plot of state.

In St. Petersburg, Anna begins to spend more time in the inner circumvolve of Princess Elizaveta ("Betsy"), a fashionable socialite and Vronsky's cousin. Vronsky continues to pursue Anna. Although she initially tries to pass up him, she somewhen succumbs to his attentions and begins an affair. Meanwhile, Karenin reminds his wife of the venial of paying too much attention to Vronsky in public, which is becoming the subject of gossip. He is concerned about the couple's public epitome, although he mistakenly believes that Anna is higher up suspicion.

Vronsky, a keen horseman, takes part in a steeplechase event, during which he rides his mare Frou-Frou too hard—his irresponsibility causing him to fall and interruption the equus caballus'south back. Anna is unable to hibernate her distress during the accident. Before this, Anna had told Vronsky that she is meaning with his child. Karenin is also present at the races and remarks to Anna that her behaviour is improper. Anna, in a country of extreme distress and emotion, confesses her matter to her husband. Karenin asks her to interruption information technology off to avert further gossip, believing that their marriage will exist preserved.

Kitty and her mother travel to a High german spa to enable Kitty to recover from her sick health. At that place, they meet the wheelchair-using Pietist Madame Stahl, who is accompanied past the kind and virtuous Varenka, her adopted daughter. Influenced by Varenka, Kitty becomes extremely pious and concerned for others, but when her father joins them she becomes disillusioned later on learning from him that Madame Stahl is faking her illness. She then returns to Moscow.

Part 3 [edit]

Portrait of a Immature Woman (or so chosen "Anna Karenina") by Aleksei Mikhailovich Kolesov, 1885, National Museum in Warsaw

Levin continues working on his estate, a setting closely tied to his spiritual thoughts and struggles. He wrestles with the idea of falseness, wondering how he should become about ridding himself of it, and criticising what he feels is falseness in others. He develops ideas relating to agriculture, and the unique relationship between the agricultural labourer and his native land and culture. He comes to believe that the agricultural reforms of Europe will not work in Russian federation because of the unique culture and personality of the Russian peasant.

When Levin visits Dolly, she attempts to understand what happened betwixt him and Kitty and to explain Kitty'due south behaviour. Levin is very agitated by Dolly'southward talk virtually Kitty, and he begins to feel afar from Dolly as he perceives her loving behaviour towards her children as false. Levin resolves to forget Kitty and contemplates the possibility of matrimony to a peasant adult female. Nevertheless, a adventure sighting of Kitty in her railroad vehicle makes Levin realize he still loves her. Meanwhile, in Petrograd, Karenin refuses to separate from Anna, insisting that their relationship will continue. He threatens to take abroad Seryozha if she persists in her affair with Vronsky.

Part 4 [edit]

When Anna and Vronsky continue seeing each other, Karenin consults with a lawyer nigh obtaining a divorce. During the fourth dimension menstruum, a divorce in Russian federation could only be requested past the innocent party in an affair and required either that the guilty party confessed or that the guilty party be discovered in the act of adultery. Karenin forces Anna to hand over some of Vronsky's love messages, which the lawyer deems bereft as proof of the affair. Stiva and Dolly argue confronting Karenin'south drive for a divorce.

Karenin changes his plans after hearing that Anna is dying after the hard birth of her daughter, Annie. At her bedside, Karenin forgives Vronsky. However, Vronsky, embarrassed by Karenin's magnanimity, unsuccessfully attempts suicide past shooting himself. As Anna recovers, she finds that she cannot bear living with Karenin despite his forgiveness and his attachment to Annie. When she hears that Vronsky is about to leave for a military posting in Tashkent, she becomes desperate. Anna and Vronsky reunite and abscond to Italy, leaving behind Seryozha and Karenin's offer of divorce.

Meanwhile, Stiva acts every bit a matchmaker with Levin: he arranges a meeting between him and Kitty, which results in their reconciliation and appointment.

Role 5 [edit]

Levin and Kitty marry and beginning their new life on his country estate. Although the couple are happy, they undergo a bitter and stressful get-go 3 months of marriage. Levin feels dissatisfied at the amount of time Kitty wants to spend with him and dwells on his inability to be equally productive every bit he was every bit a available. When the marriage starts to better, Levin learns that his brother, Nikolai, is dying of consumption. Kitty offers to accompany Levin on his journey to see Nikolai and proves herself a swell assistance in nursing Nikolai. Seeing his married woman take charge of the state of affairs in an infinitely more capable fashion than he could have washed himself without her, Levin'due south love for Kitty grows. Kitty eventually learns that she is pregnant.

In Italia, Vronsky and Anna struggle to find friends who will have them. Whilst Anna is happy to exist finally solitary with Vronsky, he feels suffocated. They cannot socialize with Russians of their own class and observe it difficult to amuse themselves. Vronsky, who believed that being with Anna was the cardinal to his happiness, finds himself increasingly bored and unsatisfied. He takes upward painting and makes an attempt to patronize an émigré Russian creative person of genius. Nonetheless, Vronsky cannot see that his own art lacks talent and passion, and that his conversation near fine art is extremely pretentious. Increasingly restless, Anna and Vronsky decide to return to Russia.

In St. Petersburg, Anna and Vronsky stay in one of the best hotels, but have dissever suites. It becomes clear that whilst Vronsky is yet able to move freely in Russian guild, Anna is barred from information technology. Even her old friend, Princess Betsy, who has had diplomacy herself, evades her company. Anna starts to become anxious that Vronsky no longer loves her. Meanwhile, Karenin is comforted past Countess Lidia Ivanovna, an enthusiast of religious and mystic ideas fashionable with the upper classes. She advises him to keep Seryozha abroad from Anna and to tell him his mother is dead. However, Seryozha refuses to believe that this is true. Anna visits Seryozha uninvited on his ninth altogether merely is discovered by Karenin.

Anna, desperate to regain at least some of her former position in society, attends a show at the theatre at which all of St. Petersburg'southward high order are present. Vronsky begs her not to go, but he is unable to bring himself to explicate to her why she cannot nourish. At the theatre, Anna is openly snubbed past her old friends, one of whom makes a deliberate scene and leaves the theatre. Anna is devastated. Unable to detect a place for themselves in Saint petersburg, Anna and Vronsky leave for Vronsky'due south country manor.

Part 6 [edit]

Dolly, her mother the Princess Scherbatskaya, and Dolly's children spend the summer with Levin and Kitty. The Levins' life is uncomplicated and unaffected, although Levin is uneasy at the "invasion" of and then many Scherbatskys. He becomes extremely jealous when one of the visitors, Veslovsky, flirts openly with the pregnant Kitty. Levin tries to overcome his jealousy, and briefly succeeds during a hunt with Veslovsky and Oblonsky, but somewhen succumbs to his feelings and asks Veslovsky to leave. Veslovsky immediately goes to stay with Anna and Vronsky at their nearby estate.

When Dolly visits Anna, she is struck past the divergence between the Levins' aristocratic-yet-simple abode life and Vronsky's overtly luxurious and lavish state estate. She is as well unable to keep pace with Anna's fashionable dresses or Vronsky'southward extravagant spending on a hospital he is building. In addition, all is not quite well with Anna and Vronsky. Dolly notices Anna's broken-hearted behaviour and her uncomfortable flirtations with Veslovsky. Vronsky makes an emotional request to Dolly, asking her to convince Anna to divorce Karenin then that the two might marry and live normally.

Anna has become intensely jealous of Vronsky and cannot comport when he leaves her, fifty-fifty for short excursions. When Vronsky leaves for several days of provincial elections, Anna becomes convinced that she must ally him to prevent him from leaving her. Afterward Anna writes to Karenin once again seeking a divorce, she and Vronsky get out the countryside for Moscow.

Role seven [edit]

While visiting Moscow for Kitty'southward confinement, Levin quickly gets used to the metropolis's fast-paced, expensive and frivolous gild life. He accompanies Stiva to a gentleman's lodge, where the 2 run into Vronsky. Levin and Stiva pay a visit to Anna, who is occupying her empty days by existence a patroness to an orphaned English girl. Levin is initially uneasy about the visit, but Anna easily puts him under her spell. When he admits to Kitty that he has visited Anna, she accuses him of falling in love with her. The couple are subsequently reconciled, realising that Moscow lodge life has had a negative, corrupting result on Levin.

Anna cannot understand why she can attract a man like Levin, who has a young and cute new wife, but can no longer attract Vronsky. Her relationship with Vronsky is under increasing strain, because he can move freely in Russian society while she remains excluded. Her increasing bitterness, colorlessness, and jealousy cause the couple to contend. Anna uses morphine to aid her sleep, a habit she began while living with Vronsky at his country estate. She has become dependent on it. Meanwhile, after a long and difficult labour, Kitty gives birth to a son, Dmitri, nicknamed "Mitya". Levin is both horrified and profoundly moved by the sight of the tiny, helpless baby.

Stiva visits Karenin to seek his commendation for a new post. During the visit, Stiva asks Karenin to grant Anna a divorce with her equally the innocent party (which would require him to confess to a not-real affair), only Karenin'due south decisions are now governed by a French "clairvoyant" recommended by Lidia Ivanovna. The clairvoyant evidently had a vision in his sleep during Stiva's visit and gives Karenin a cryptic message that he interprets in a way such that he must pass up the request for divorce.

Anna becomes increasingly jealous and irrational towards Vronsky, whom she suspects of having love affairs with other women. She is besides convinced that he will give in to his mother's plans to marry him off to a rich gild woman. They take a bitter row and Anna believes the human relationship is over. She starts to recall of suicide as an escape from her torments. In her mental and emotional confusion, she sends a telegram to Vronsky asking him to come home to her, and and so pays a visit to Dolly and Kitty. Anna'southward confusion and anger overcome her and, in conscious symmetry with the railway worker's death on her first meeting with Vronsky, from basis level at the terminate of a railway platform, she throws herself with fatal intent between the wagon wheelsets of a passing freight train.

Part 8 [edit]

Sergei Ivanovich's (Levin's brother) latest book is ignored by readers and critics and he participates in the Russian commitment to Pan-Slavism. Stiva gets the postal service he desired and so much, and Karenin takes custody of Vronsky and Anna's baby, Annie. A group of Russian volunteers, including the suicidal Vronsky, depart from Russia to fight in the Orthodox Bulgarian revolt that has cleaved out confronting the Turks, more than broadly identified as the Russo-Turkish War (1877–1878).

A lightning storm occurs at Levin'due south estate while his wife and newborn son are outdoors and, in his fear for their safe, Levin realizes that he does indeed dear his son as much as he loves Kitty. Kitty's family unit is concerned that a man as altruistic as her husband does not consider himself to be a Christian.

Subsequently speaking at length to a peasant, Levin has a true modify of heart, concluding that he does believe in the Christian principles taught to him in childhood and no longer questions his organized religion. He realizes that one must decide for oneself what is acceptable concerning one's own organized religion and beliefs. He chooses not to tell Kitty of the change that he has undergone.

Levin is initially displeased that his return to his organized religion does not bring with information technology a consummate transformation to righteousness. However, at the cease of the story, Levin arrives at the decision that despite his newly accepted beliefs, he is human and will keep making mistakes. His life tin can at present be meaningfully and truthfully oriented toward righteousness.

Style and major themes [edit]

Tolstoy'due south style in Anna Karenina is considered by many critics to be transitional, forming a span between the realist and modernist novel.^[6] According to Ruth Benson in her book about Tolstoy'due south heroines, Tolstoy's diaries testify how displeased he was with his style and approach to writing in early on drafts of Anna Karenina, quoting him as stating, "I loathe what I accept written. The galleys of Anna Karenina for the Apr event of Russkij Vestnik now lie on my table, and I really don't have the eye to correct them. Everything in them is and so rotten, and the whole thing should exist rewritten—all that has been printed too—scrapped, and melted down, thrown abroad, renounced (1876, JI 62: 265)".^[7]

Anna Karenina is normally idea to explore the themes of hypocrisy, jealousy, faith, fidelity, family, spousal relationship, society, progress, carnal desire and passion, and the agrarian connection to country in dissimilarity to the lifestyles of the city.^[8] According to literary theorist Kornelije Kvas, in the novel Anna Karenina, "unofficial institutions of the system, presented through social salons, role every bit function of the ability apparatus that successfully calms the disorder created past Anna's irrational emotional activity, which is a symbol of resistance to the arrangement of social behavioral command."^[nine] Translator Rosemary Edmonds wrote that Tolstoy does not explicitly moralise in the book, but instead allows his themes to emerge naturally from the "vast panorama of Russian life." She also says i of the novel'south key messages is that "no one may build their happiness on some other's pain."^[10]

Levin is often considered a semi-autobiographical portrayal of Tolstoy's ain beliefs, struggles, and life events.^[ten] Tolstoy's first name was "Lev," and the Russian surname "Levin" means "of Lev." According to footnotes in the Pevear/Volokhonsky translation, the viewpoints Levin supports throughout the novel in his arguments match Tolstoy'due south outspoken views on the aforementioned issues. Moreover, co-ordinate to W. Gareth Jones, Levin proposed to Kitty in the same manner every bit Tolstoy to Sophia Behrs. Additionally, Levin'due south request that his fiancée read his diary as a style of disclosing his faults and previous sexual encounters parallels Tolstoy'due south own requests to his fiancée Behrs.^[11]

Historical context [edit]

The events in the novel take place confronting the backdrop of rapid transformations every bit a effect of the liberal reforms initiated past Emperor Alexander II of Russian federation, principal among these the Emancipation reform of 1861, followed by judicial reform, including a jury system; military reforms, the introduction of elected local governments (Zemstvo), the fast development of railroads, banks, industry, telegraph, the rise of new concern elites and the turn down of the old landed aristocracy, a freer press, the awakening of public opinion, the Pan-Slavism move, the woman question, volunteering to help Serbia in its military conflict with the Ottoman Empire in 1876 etc. These contemporary developments are hotly debated by the characters in the novel.^[12]

The suburban railway station of Obiralovka, where one of the characters commits suicide, is now known as the town of Zheleznodorozhny, Moscow Oblast.

Translations into English [edit]

Anna Karénina, translated by Nathan Haskell Dole (New York: Thomas Y. Crowell & Co., 1887)
Anna Karenin, translated by Constance Garnett (London: William Heinemann, 1901). Notwithstanding widely reprinted
- Revised past Leonard J. Kent and Nina Berberova as Anna Karenina (Random Business firm, 1965), republished past Modern Library (2000)
Anna Karénin, translated past Leo Wiener (Boston: The Colonial Press, 1904)
Anna Karenina, translated past Rochelle S. Townsend (London: J. M. Dent & Sons, 1912; New York: Due east. P. Dutton & Co., 1912)
Anna Karenina, translated by Louise and Aylmer Maude (Oxford: Oxford University Press, 1918)
- Revised past George Gibian (Norton Critical Edition, 1970)
Anna Karenin, translated by Rosemary Edmonds (Penguin, 1954)
Anna Karenina, translated by Joel Carmichael (Bantam Books, 1960)
Anna Karenina, translated by David Magarshack (New American Library, 1961)
Anna Karénina, translated by Margaret Wettlin (Progress Publishers, 1978)
Anna Karenina, translated past Richard Pevear and Larissa Volokhonsky (Penguin, 2000)
Anna Karenina, translated by Kyril Zinovieff and Jenny Hughes (Oneworld Classics, 2008)
Anna Karenina, translated past Rosamund Bartlett (Oxford University Press, 2014)^[13]
Anna Karenina, translated past Marian Schwartz (Yale University Press, 2015)^[13]

Comparisons of translations [edit]

Writing in the year 2000, academic Zoja Pavlovskis-Petit compared the unlike translations of Anna Karenina on the market place. Commenting on the revision of Constance Garnett's 1901 translation she says: "The revision (1965) ... by Kent & Berberova (the latter no mean stylist herself) succeeds in 'correcting errors ... tightening the prose, converting Briticisms, and casting light on areas Mrs Garnett did not explore'. Their edition shows an excellent understanding of the details of Tolstoy's world (for case, the fact that the elaborate coiffure Kitty wears to the brawl is not her own hair—a detail that eludes nigh other translators), and at the aforementioned time they use English language imaginatively (Kitty's shoes 'delighted her feet' rather than 'seemed to make her feet lighter'—Maude; a paraphrase). ... the purist will exist pleased to encounter Kent & Berberova give all the Russian names in full, every bit used by the writer; any reader will exist grateful for the footnotes that elucidate annihilation not immediately accessible to someone not well acquainted with imperial Russian federation. This emended Garnett should probably be a reader'south first selection."

She further comments on the Maudes' translation: "the revised Garnett and the Magarshack versions do improve justice to the original, but still, the World's Classics edition (1995) ... offers a very full List of Characters ... and proficient notes based on the Maudes'." On Edmonds's translation she states: "[it] has the advantage of solid scholarship ... Yet she lacks a true sensitivity for the linguistic communication ... [leading] to [her] missing many a subtlety." On Carmichael'due south version she comments: "this is a—rather breezily—readable translation ... but at that place are errors and misunderstandings, every bit well as awkwardness." On Magarshack's translation she comments: "[it] offers natural, simple, and straight English prose that is appropriate to Tolstoy'south Russian. In that location is occasional clumsiness ... and imprecision ... but Magarshack understands the text ... and fifty-fifty when unable to translate an idiom closely he renders its real meaning ... This is a practiced translation." On Wettlin's Soviet version she writes: "steady just bromidic, and sounds like English language prose written by a Russian who knows the language merely is not completely at domicile in it. The advantage is that Wettlin misses hardly any cultural detail."^[14]

In In Quest Of Tolstoy (2008), Hughes McLean devotes a total affiliate ("Which English Anna?") comparing different translations of Anna Karenina.^[15] His determination, subsequently comparing vii translations, is that "the PV [Pevear and Volokhonsky] translation, while perfectly adequate, is in my view not consistently or unequivocally superior to others in the marketplace."^[xvi] He states his recommendations in the terminal two pages of the survey: "None of the existing translations is actively bad ... Ane'south choice ... must therefore be based on nuances, subtleties, and refinements."^[17] He eliminates the Maudes for "disturbing errors" and "did not find either the Margashack or Carmichael ever superior to the others, and the lack of notes is a drawback." On Edmonds's version he states: "her version has no notes at all and all also oftentimes errs in the direction of making Tolstoy's 'robust clumsiness' adjust to the translator's notion of good English language manner."^[18]

McLean's recommendations are the Kent–Berberova revision of Garnett's translation and the Pevear and Volokhonsky version. "I consider the GKB [Garnett–Kent–Berberova] a very good version, even though information technology is based on an out-of-appointment Russian text. Kent and Berberova did a much more than thorough and careful revision of Garnett's translation than Gibian did of the Maude 1, and they take supplied fairly full notes, conveniently printed at the bottom of the page."^[nineteen] McLean takes Pevear and Volokhonsky to task for non using the best critical text (the "Zaidenshnur–Zhdanov text") and offering flawed notes without consulting C.J. Turner's A Karenina Companion (1993), although he calls their version "certainly a good translation."^[nineteen]

Reviewing the translations by Bartlett and Schwartz for The New York Times Book Review, Masha Gessen noted that each new translation of Anna Karenina concluded up highlighting an aspect of Tolstoy's "variable phonation" in the novel, and thus, "The Tolstoy of Garnett... is a monocled British gentleman who is simply incapable of taking his characters as seriously as they have themselves. Pevear and Volokhonsky... created a reasonable, calm storyteller who communicated in conversational American English language. Rosamund Bartlett... creates an updated ironic-Brit version of Tolstoy. Marian Schwartz... has produced what is probably the to the lowest degree smooth-talking and most contradictory Tolstoy yet." Gessen found Schwartz's translation to be formally closer to the original Russian, but often weighed downwardly with details every bit a effect; Bartlett'due south translation, like Pevear and Volokhonsky's, was rendered in more than idiomatic English and more readable.^[20]

Anna Karenin [edit]

The title has been translated as both Anna Karenin and Anna Karenina. The get-go instance eschews the Russian practice of employing gender-specific forms of surnames, instead using the masculine form for all characters. The second is a direct transliteration of the actual Russian name. Vladimir Nabokov explains: "In Russian, a surname catastrophe in a consonant acquires a final 'a' (except for the cases of such names that cannot be declined and except adjectives like OblonskAYA) when designating a woman."^[one] Since surnames are not gendered in English, proponents of the first convention—removing the Russian 'a' to naturalize the proper noun into English—fence that it is more consistent with English naming do, and should be followed in an English translation. Nabokov, for instance, recommends that "only when the reference is to a female phase performer should English language feminise a Russian surname (following a French custom: la Pavlova, 'the Pavlova'). Ivanov's and Karenin's wives are Mrs Ivanov and Mrs Karenin in Britain and the US—not 'Mrs Ivanova' or 'Mrs Karenina'."^[one]

The practice favored past near translators, however, has been to allow Anna's actual Russian name to stand. Larissa Volokhonsky, herself a Russian, prefers the 2d option, as did Aylmer and Louise Maude, who lived in Russian federation for many years and were friends of Tolstoy. A handful of other translators, including Constance Garnett and Rosemary Edmonds, both not-Russians, prefer the first.

Adaptations [edit]

The novel has been adapted into diverse media including opera, motion-picture show, television, ballet, and radio drama. The first film adaptation was released in 1911 but has not survived.^[21]

Film and television [edit]

1911: Anna Karenina (1911 motion picture), a Russian adaptation directed by Maurice André Maître^[22] ^[23]
1914: Anna Karenina (1914 movie), a Russian adaptation directed by Vladimir Gardin
1915: Anna Karenina (1915 moving picture), an American version starring Danish actress Betty Nansen
1918: Anna Karenina (1918 film), a Hungarian accommodation starring Irén Varsányi as Anna Karenina
1927: Love (1927 film), an American version, starring Greta Garbo and directed by Edmund Goulding. This version featured pregnant changes from the novel and had two different endings, with a happy i for American audiences
1935: Anna Karenina (1935 motion picture), starring Greta Garbo and Fredric March; directed by Clarence Brown
1948: Anna Karenina (1948 film) starring Vivien Leigh and Ralph Richardson; directed by Julien Duvivier
1953: Anna Karenina (1953 film), a Russian version directed by Tatyana Lukashevich
1953: Panakkaari (Rich adult female), a Tamil language adaptation directed by K. Due south. Gopalakrishnan, starring T. R. Rajakumari, M. Grand. Ramachandran and V. Nagaiah.
1960: Nahr al-Hob (The River of Love), an Egyptian pic directed by Ezz El-Dine Zulficar, starring Omar Sharif and Faten Hamama.
1961: Anna Karenina (1961 pic), a BBC Tv set adaptation directed by Rudolph Cartier, starring Claire Bloom and Sean Connery.^[24] ^[25]
1967: Anna Karenina (1967 film), a Russian version directed by Alexander Zarkhi
1977: Anna Karenina, a 1977 ten-episode BBC series, directed by Basil Coleman and starred Nicola Pagett, Eric Porter and Stuart Wilson^[26] ^[27]
1975/1979: Anna Karenina (1975 moving-picture show), moving picture of the Bolshoi Ballet production, directed past Margarita Pilikhina, starting time released in Finland in 1976. U.S. release in 1979^[28] ^{[ unreliable source? ]} ^[29] ^{[ unreliable source? ]}
1985: Anna Karenina (1985 film), a Tv Movie starring Jacqueline Bisset and Christopher Reeve, directed by Simon Langton
1997: Anna Karenina (1997 film), the commencement American version filmed entirely in Russia, directed by Bernard Rose and starring Sophie Marceau and Sean Edible bean
2000: Anna Karenina (2000 Idiot box series), a British version by David Blair and starring Helen McCrory and Kevin McKidd^[30]
2012: Anna Karenina (2012 film), a British version by Joe Wright from a screenplay by Tom Stoppard, starring Keira Knightley and Jude Law
2013: it:Anna Karenina (miniserie televisiva 2013), an English-language Italian/French/Spanish/High german/Lithuanian Idiot box co-production by Christian Duguay and starring Vittoria Puccini, Benjamin Sadler and Santiago Cabrera; alternatively presented as a two-function mini-series or a unmarried three hours and 15 minutes film^[31] ^[32] ^[33]
2015: The Beautiful Lie (2015 miniseries), an Australian contemporary re-imagining of Anna Karenina, by Glendyn Ivin and Peter Salmon starring Sarah Snook, Rodger Corser, Bridegroom Samuel, Sophie Lowe^[34]
2017: Anna Karenina: Vronsky's Story, a Russian adaption directed by Karen Shakhnazarov

Theatre [edit]

1992: Helen Edmundson adjusted Anna Karenina for a production by Shared Feel which toured effectually the U.k. and internationally; Edmundson won a Time Out Laurels and a TMA Award^[35] ^[36]
1992: Anna Karenina, musical with volume and lyrics by Peter Kellogg and music past Daniel Levine. Opened on Broadway at Circle in the Square, August 26, 1992; closed October 4, 1992 after eighteen previews and 46 performances.^[37]
1994: Anna Karenina, musical past Hungarian authors Tibor Kocsák (music) and Tibor Miklós (book and lyrics)

Ballet [edit]

1979: Anna Karenina, choreography by André Prokovsky, with music by Tchaikovsky^[38]
2005: Anna Karenina, choreography by Boris Eifman, with music by Tchaikovsky
2019: Anna Karenina, choreography by Yuri Possokhov, with music from Ilya Demutsky^[39]

Radio [edit]

1949: The MGM Theater of the Air, starring Marlene Dietrich and directed past Marx Loeb^[40]

Opera [edit]

1978 Anna Karenina, equanimous past Iain Hamilton
2007 Anna Karenina, equanimous by David Carlson

Meet as well [edit]

Anna Karenina principle
Leo Tolstoy bibliography

References [edit]

^ ^a ^b ^c Nabokov, Vladimir (1980). Lectures on Russian Literature. New York: Harvest. p. 137 (note). ISBN0-fifteen-649591-0.
^ McCrum, Robert (iv March 2007). "Can I make upwardly my ain mind?". TheGuardian.com . Retrieved fourteen October 2018. The answers to this survey, [What are the 10 Greatest Works of Literature of All Fourth dimension?], supply the meat of [The Top Ten: Writers Option Their Favourite Books], in which Anna Karenina emerges equally the All Time Number 1 Work of Literature.
^ Todd, William K. III (2003). "Anna on the Installment Program: Educational activity Anna Karenina through the History of Its Series Publication," Approaches to Didactics Tolstoy's "Anna Karenina," ed. Liza Knapp and Amy Mandeleker, New York: Modern Language Assoc. of America, p. 55.
^ Tolstoy, Leo (2012). The Anna Karenina Companion: Includes Complete Text, Study Guide, Biography and Character Index.
^ Cinematic Adaptations of Anna Karenina. Irina Makoveeva (Academy of Pittsburgh).[1]
^ Mandelker, Amy (1996). Framing Anna Karenina : Tolstoy, the adult female question, and the Victorian novel. Columbus: Ohio State University Printing. p. 241. ISBN0-8142-0613-i.
^ Ruth Benson. Women in Tolstoy. Academy of Illinois Printing. p. 75.
^ GradeSaver. "Anna Karenina Themes". gradesaver.com.
^ Kvas, Kornelije (2019). The Boundaries of Realism in World Literature. Lanham, Bedrock, New York, London: Lexington Books. p. 99. ISBN978-1-7936-0910-half-dozen.
^ ^a ^b Tolstoy Anna Karneni, Penguin, 1954, ISBN 0-14-044041-0, see introduction by Rosemary Edmonds
^ Feuer, Kathryn B. Tolstoy and the Genesis of War and Peace, Cornell University Press, 1996, ISBN 0-8014-1902-half-dozen
^ Miller, Forrest Allen, 1931- (1968). Dmitrii Miliutin and the reform era in Russian federation. Vanderbilt University Press. OCLC 397207329. {{cite book}}: CS1 maint: multiple names: authors listing (link)
^ ^a ^b Trachtenberg, Jeffrey (Sep 8, 2013). "How Many Times Can a Tale Be Told?". The Wall Street Periodical . Retrieved 2013-09-09 .
^ Pavlovskis-Petit, Zoja. Entry: Lev Tolstoi, Anna Karenina. Classe, Olive (ed.). Encyclopedia of Literary Translation into English, 2000. London, Chicago: Fitzroy Dearborn Publishers, pp. 1405–06.
^ McLean, Hughes. In Quest Of Tolstoy, Academic Studies Press, 2008, pp. 53–70.
^ McLean, Hughes. In Quest Of Tolstoy, Bookish Studies Printing, 2008, pp. 54–55.
^ McLean, Hughes. In Quest Of Tolstoy, Academic Studies Press, 2008, p. 69.
^ McLean, Hughes. In Quest Of Tolstoy, Bookish Studies Printing, 2008, p. 70.
^ ^a ^b McLean, Hughes. In Quest Of Tolstoy, Bookish Studies Printing, 2008, p. 71.
^ Gessen, Masha (24 Dec 2014). "New Translations of Tolstoy's 'Anna Karenina'". The New York Times . Retrieved 5 April 2015.
^ Makoveeva, Irina (2001). "Cinematic Adaptations of Anna Karenina" (PDF). Studies in Slavic Cultures (2). Archived from the original (PDF) on September eleven, 2013. Retrieved Baronial xvi, 2013.
^ "Anna Karenina (1911)". IMDb.
^ "Poster for Anna Karenine (1911)" (jpg) . Retrieved sixteen Baronial 2013. used to show spelling of the title
^ Wake, Oliver. "Cartier, Rudolph (1904–1994)". Screenonline. Archived from the original on one March 2007. Retrieved 2007-02-25 .
^ "Lost BBC period drama of Anna Karenina found starring Sean Connery". London: The Daily Telegraph. 2010-08-17. Archived from the original on 20 August 2010. Retrieved 2010-08-17 . .
^ "Anna Karenina (TV Mini-Serial 1977)". IMDb.
^ "Masterpiece Theatre – The Archive – Anna Karenina (1978)". pbs.org.
^ Amazon.com: Anna Karenina (VHS): Maya Plisetskaya, Alexander Godunov, Yuri Vladimirov, Nina Sorokina, Aleksandr Sedov, M. Sedova, Vladimir Tikhonov, Margarita Pilikhina, Vladimir Papyan, Boris Lvov-Anokhin, Leo Tolstoy: Movies & TV. ASIN 6301229193.
^ "Anna Karenina (1976)". IMDb. Retrieved 2012-12-26 .
^ Anna Karenina at IMDb
^ Anna Karenina (Tv set Mini-Series 2013– ) at IMDb
^ "Anna Karenina shooting in Lithuania". FilmNewEurope. 2012-xi-23. Retrieved 2019-05-26 .
^ "Anna Karenina". Lux Vide South.p.A . Retrieved 2019-05-26 .
^ The beautiful lie
^ "Edmundson, Helen – Drama Online". dramaonlinelibrary.com.
^ "Nick Hern Books – Helen Edmundson". nickhernbooks.co.britain.
^ "Anna Karenina". IBDB . Retrieved March 10, 2022.
^ Anderson, Jack (2009-08-20). "André Prokovsky, Dancer and Ballet Choreographer, Dies at 70". The New York Times. ISSN 0362-4331. Retrieved 2020-04-12 .
^ "Anna Karenina". Joffrey Ballet . Retrieved xv Feb 2019.
^ Morse, Leon (October 22, 1949). "The MGM Theater of the Air". Billboard. Retrieved 25 December 2014.

External links [edit]

Anna Karenina at Standard Ebooks
Anna Karenina at Project Gutenberg
Anna Karenina public domain audiobook at LibriVox
Anna Karenina at the Internet Book List

Source: https://en.wikipedia.org/wiki/Anna_Karenina

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