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luzestrella: when I got to the middle of the book I was shocked. It seens like the climax of all the main conclicts were already there. Why didn't the author cut the novel right there with that happy ending?
Unnusual for a ficcion novel indeep. But for that particular reason, for me it has it's charm.
The other half of the novel goes on describing what happened with the characters after they got what they wanted.… (mehr)
andejons: Similar premises: married, upper class women fall in love with men of less than perfect moral standing. The outcomes are very different though.
pingdjip: Like Tolstoy, Faber goes under his characters' skin, ponders their social manoeuvering, and follows the pitfalls and triumphs of their lives. Difference: Faber is funny and sometimes provocative and teasing in a "postmodern" way.
Tolstoy draws a vast panorama of the complex psychological developments of the protagonists set in the pre-revolutionary late 19th Century Russian Aristocratic society to which he himself belonged. The protagonists are composite portraits of the persons around him: friends and acquaintances, his family. With penetrating perception Tolstoy records the shades of meaning expressed in their words, their hidden thoughts. Anna breaking out of a dull marriage, then clinging in her love to Vronsky - „caring for nothing but his caresses“ (VII-30, 796) reminded me of Don José, not understanding that ‘L’amour est un oiseau rebelle’ ; Vronsky begins to feel that the fulfilment of his desires did not bring him the expected happiness. „It showed him the eternal error men make in imagining that happiness consists in the realisation of their desires.“ (V-8, S. 490)
Levin - largely a self-portrait - agonising: If you don’t have the consolation of a firm believe in a merciful god, how do you live? (VIII-9, 823), asking the unanswerable: „What am I? Where am I? And why am I here?“ (VIII-11, 827) as Gauguin will ask 20 years later in 1898: „Where Do We Come From? What Are We? Where Are We Going?“, questions inherent in most if no all works of serious art. The book demands to be read again, one reading will hardly do it justice. I will find a different translation next time.
James Meek: ‘Of all the scenes in the book the one most resembling the later life of the Tolstoys is not a Levin-Kitty scene, but the final row between Vronsky and Anna just before she goes out to throw herself under a train.’: (https://www.lrb.co.uk/the-paper/v32/n14/james-meek/some-wild-creature )
From all the thousand and more cover pictures this image of the sledge in front of the St. Petersburg Palace I prefer most; the title is also well integrated.
The text by Rosemary Edmonds is worth reading, not as an introduction but afterwards. (V-20)
Alle glücklichen Familien ähneln einander; jede unglückliche aber ist auf eigene Art unglücklich. (Übersetzer: Fred Ottow)
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Die Informationen stammen von der englischen "Wissenswertes"-Seite.Ändern, um den Eintrag der eigenen Sprache anzupassen.
"Respect was invented to cover the empty place where love should be." [Anna, p744 (2000)]
"He has long ceased loving me. And where love stops, hatred begins." [Anna, p763 (2000)]
Every minute of Alexei Alexandrovich's life was occupied and scheduled. And in order to have time to do what he had to do each day, he held to the strictest punctuality. 'Without haste and without rest' was his motto. [p109 (2000)]
Every man, knowing to the smallest detail all the complexity of the conditions surrounding him, involuntarily assumes that the complexity of these conditions and the difficulty of comprehending them are only his personal, accidental peculiarity, and never thinks that others are surrounded by the same complexity as he is. [p302 (2000)]
Vronsky meanwhile, despite the full realization of what he had desired for so long, was not fully happy. He soon felt that the realization of his desire had given him only a grain of the mountain of happiness he had expected. It showed him the the eternal error people make in imagining that happiness is the realization of desires. [...] He soon felt arise in his soul a desire for desires, an anguish. [p465 (2000)]
He [Levin] was happy, but, having entered upon family life, he saw at every step that it was not what he had imagined. [p479 (2000)]
There are no conditions to which a person cannot grow accustomed, especially if he sees that everyone around him lives in the same way. [p706 (2000)]
"If you look for perfection, you will never be satisfied. And it's true, as papa says, ---- that when we were brought up there was one extreme --- we were kept in the basement, while our parents lived in the best rooms; now its just the other way --- the parent are in the wash-house, while the children are in the best rooms. Parents now are not expected to live at all, but to exist altogether for their children." [Natalia; p618)
“Vronsky’s life was particularly happy in that he had a code of principles, which defined with unfailing certitude what he ought and what he ought not to do. This code of principles covered only a very small circle of contingencies, but then the principles were never doubtful and Vronsky, as he never went outside that circle, had never had a moment’s hesitation about doing what he ought to do. These principles laid down as invariable rules: that on must pay a card debt, but one need not pay a tailor; that one must never tell a lie to a man, but one may to a woman; that one must never cheat anyone, but one may cheat a husband; that one must never pardon an insult, but one may give one, and so on. These principles were possibly not reasonable and not good, but they were of unfailing certainty, and so long as he adhered to them, Vronsky felt that his heart was at peace and he could hold his head up.”
But I'm glad you'll see me as I am. Above all, I wouldn't want people to think that I want to prove anything. I don't want to prove anything, I just want to live; to cause no evil to anyone but myself. I have that right, haven't I?
It's a vicious circle. Women are deprived of rights because of their lack of education, and their lack of education comes from having no rights. We mustn't forget that the subjection of women is so great and so old that we often refuse to comprehend the abyss that separates them from us.
Letzte Worte
Aber mein Leben, jeder Augenblick dieses Lebens, was auch immer in Zukunft mit mir geschehen wird, wird nicht mehr sinnlos und vergeblich sein wie bisher; es hat einen unbezweifelbaren Sinn bekommen: er liegt in dem Guten, das ich in jeden Augenblick meines Daseins hineinzulegen vermag. (Übersetzer: Fred Ottow)
Dies ist die Aufnahme für die vollständige Anna Karenina. Please do not combine with any of the works representing the individual volumes (see combination rules regarding part/whole issues for details), or with abridged versions. Thank you.
Please keep the Norton Critical Edition un-combined with the rest of them – it is significantly different with thorough explanatory annotations, essays by other authors, and reviews by other authors. Thank you.
Ein Frauenschicksal aus der Petersburger Gesellschaft des 19. Jhd
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Buchbeschreibung
Anna, die schöne Frau des hohen zaristischen Beamten Karenin, verliebt sich leidenschaftlich in den leichtlebigen Grafen Wronski, der ihr Gefühl aufrichtig erwidert. Anna verlässt ihren Mann, bekennt sich offen zu ihrer Liebe. Geächtet von der Gesellschaft, beginnt Anna einen verzweifelten Kampf um ihren Sohn, den sie dem kaltherzigen Karenin überlassen musste. Tolstoi hat mit diesem Werk einen der berühmtesten und schönsten Liebes- und Gesellschaftsromane der Weltliteratur geschaffen.
Anna Karenina ist die einfache Geschichte einer Dame der hohen russischen Gesellschaft, die an einen ungeliebten Mann verheiratet ist, sich in einen andern verliebt, ihren Gatten verlässt und sich schließlich, den vielerlei Konflikten ihrer Lage nicht mehr gewachsen, unter die Räder eines Zuges wirft. Maupassant hätte daraus eine Studie von zwanzig Seiten gemacht, Altenberg eine Skizze von zwei Seiten. Tolstoi hat dreizehnhundert Seiten darüber geschrieben, und man hat den Eindruck, er hätte auch das Doppelte und Dreifache schreiben können. Es gibt Schilderer, die die Breite absolut nicht vertragen und sofort langweilig werden, wenn sie sich nur ein bisschen expandieren, und es gibt Seelenmaler, die überhaupt erst bei der Breite anfangen. Unter diese gehört Tolstoi. Er ist gar nicht geschwätzig, er sagt niemals etwas Entbehrliches, und er wiederholt sich nur dort, wo es ein Mangel an Realistik wäre, sich nicht zu wiederholen
Anna breaking out of a dull marriage, then clinging in her love to Vronsky - „caring for nothing but his caresses“ (VII-30, 796) reminded me of Don José, not understanding that ‘L’amour est un oiseau rebelle’ ; Vronsky begins to feel that the fulfilment of his desires did not bring him the expected happiness. „It showed him the eternal error men make in imagining that happiness consists in the realisation of their desires.“ (V-8, S. 490)
Levin - largely a self-portrait - agonising: If you don’t have the consolation of a firm believe in a merciful god, how do you live? (VIII-9, 823), asking the unanswerable: „What am I? Where am I? And why am I here?“ (VIII-11, 827) as Gauguin will ask 20 years later in 1898: „Where Do We Come From? What Are We? Where Are We Going?“, questions inherent in most if no all works of serious art.
The book demands to be read again, one reading will hardly do it justice. I will find a different translation next time.
James Meek: ‘Of all the scenes in the book the one most resembling the later life of the Tolstoys is not a Levin-Kitty scene, but the final row between Vronsky and Anna just before she goes out to throw herself under a train.’:
(https://www.lrb.co.uk/the-paper/v32/n14/james-meek/some-wild-creature )
From all the thousand and more cover pictures this image of the sledge in front of the St. Petersburg Palace I prefer most; the title is also well integrated.
The text by Rosemary Edmonds is worth reading, not as an introduction but afterwards. (V-20)