Anna Karenina

This article is about the novel by Tolstoy. For all adaptations in various media, see Adaptations of Anna Karenina. For other uses, see Anna Karenina (disambiguation).
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 Russia
Language Russian
Genre Realist novel
Publisher The Russian Messenger
Publication date
 1877
Media type Print (serial)
Pages 864
ISBN 978-1-84749-059-9
OCLC 220005468

Anna Karenina (Russian: «Анна Каренина»; Russian pronunciation: [ˈanːə kɐˈrʲenʲɪnə])[1] is a novel by the Russian writer Leo Tolstoy, published in serial installments from 1873 to 1877 in the periodical The Russian Messenger. Tolstoy clashed with editor Mikhail Katkov over political issues that arose in the final installment (Tolstoy's negative views of Russian volunteers going to fight in Serbia); therefore, the novel's first complete appearance was in book form in 1878.

Widely regarded as a pinnacle in realist fiction, Anna Karenina recounts St. Petersburg aristocrat Anna Karenina's life story at the backdrop of the late-19th-century feudal Russian society. Having considered War and Peace not a novel, Tolstoy considered Anna Karenina his first true novel. Fyodor Dostoyevsky declared it "flawless as a work of art." His opinion was shared by Vladimir Nabokov, who especially admired "the flawless magic of Tolstoy's style," and by William Faulkner, who described the novel as "the best ever written."[2] The novel remains popular, as demonstrated by a 2007 poll of 125 contemporary authors in Time, which declared that Anna Karenina is the "greatest book ever written."[3]

Main characters

Anna Karenina family tree

Plot introduction

Anna Karenina is the tragic story of a married aristocrat/socialite and her affair with the affluent Count Vronsky. The story opens when she arrives in the midst of a family broken up by her brother's unbridled womanizing—something that prefigures her own later situation, though she would experience less tolerance by others.

A bachelor, Vronsky is eager to marry her if she will agree to leave her husband Karenin, a senior government official, but she is vulnerable to the pressures of Russian social norms, the moral laws of the Russian Orthodox Church, her own insecurities, and Karenin's indecision. Although Vronsky and Anna go to Italy, where they can be together, they have trouble making friends. Back in Russia, she is shunned, becoming further isolated and anxious, while Vronsky pursues his social life. Despite Vronsky's reassurances, she grows increasingly possessive and paranoid about his imagined infidelity, fearing loss of control.

A parallel story within the novel is that of Konstantin Levin, a wealthy country landowner who wants to marry Princess Kitty, sister to Dolly and sister-in-law to Anna's brother Oblonsky. Konstantin has to propose twice before Kitty accepts. The novel details Konstantin's difficulties managing his estate, his eventual marriage, and his personal issues, until the birth of his first child.

The novel explores a diverse range of topics throughout its approximately thousand pages. Some of these topics include an evaluation of the feudal system that existed in Russia at the time—politics, not only in the Russian government but also at the level of the individual characters and families, religion, morality, gender and social class.

Plot summary

The novel is divided into eight parts. Its epigraph is Vengeance is mine, I will repay, from Romans 12:19, which in turn quotes from Deuteronomy 32:35.

The novel begins with one of its most often-quoted lines:

“ Happy families are all alike; every unhappy family is unhappy in its own way. ”

Part 1

Tatiana Samoilova as Anna in the 1967 Soviet screen version of Tolstoy's novel

The novel opens with a scene that introduces Prince Stepan Arkadyevich Oblonsky ("Stiva"), a Moscow aristocrat and civil servant who has been unfaithful to his wife Princess Darya Alexandrovna ("Dolly"). Dolly has discovered his affair with the family's governess, and the household and family are in turmoil. Stiva informs the household that his married sister, Princess Anna Arkadyevna Karenina, is coming to visit from Saint Petersburg.

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 live in the country on his large estate. He discovers that Kitty is also being pursued by Count Alexei Kirillovich Vronsky, an army officer.

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 have traveled and talked together in the same carriage. As the family members are reunited, and Vronsky sees Anna for the first time, a railway worker accidentally falls in front of a train and is killed. Anna interprets this as an "evil omen." Vronsky, however, is infatuated with her. Anna is uneasy about leaving her young son, Sergei ("Seryozha"), alone for the first time.

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

Kitty, who comes to visit Dolly and Anna, is just eighteen. In her first season as a debutante, she is expected to make an excellent match with a man of her 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 as Vronsky is. 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 so by her mother who believes Vronsky would be a better match (in contrast to Kitty's father, who favors Levin).

At the big ball Kitty expects to hear something definitive from Vronsky, but he dances with Anna, 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 merely as a source of amusement and assumes that Kitty has acted for the same reasons. Anna, shaken by 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 meet and Vronsky confesses his love. Anna refuses him, although she is deeply affected by his attentions to her.

Levin, crushed by Kitty's refusal, returns to his estate, abandoning any hope of marriage. Anna returns to her husband, Count Alexei Alexandrovich Karenin, a senior government official, and her son Seryozha in St. Petersburg. On seeing her husband for the first time since her encounter with Vronsky, Anna realizes that she finds him unattractive, though she tells herself he is a good man.

Part 2

The Shcherbatskys consult doctors over Kitty's health, which has been failing since Vronsky's rejection. A specialist advises that Kitty should go abroad 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 by her rejection of Levin, upsets her sister by referring to Stiva's infidelity, saying she could never love a man who betrayed her. Meanwhile, Stiva visits Levin on his country estate while selling a nearby plot of land.

In St. Petersburg, Anna begins to spend more time in the inner circle of Princess Elizaveta ("Betsy"), a fashionable socialite and Vronsky's cousin. Vronsky continues to pursue Anna. Although she initially tries to reject him, she eventually succumbs to his attentions. Karenin reminds his wife of the impropriety of paying too much attention to Vronsky in public, which is becoming the subject of gossip. He is concerned about the couple's public image, although he believes that Anna is above suspicion.

Vronsky, a keen horseman, takes part in a steeplechase event, during which he rides his mare Frou-Frou too hard—his irresponsibility causing her to fall and break her back. Anna is unable to hide her distress during the accident. Before this, Anna had told Vronsky that she is pregnant with his child. Karenin is also present at the races and remarks to Anna that her behaviour is improper. Anna, in a state of extreme distress and emotion, confesses her affair to her husband. Karenin asks her to break it off to avoid further gossip, believing that their marriage will be preserved.

Kitty and her mother travel to a German spa to recover from her ill health. There, they meet the wheelchair-bound Pietist Madame Stahl and the saintly Varenka, her adopted daughter. Influenced by Varenka, Kitty becomes extremely pious, but becomes disillusioned by her father's criticism when she learns Madame Stahl is faking her illness. She then returns to Moscow.

Part 3

Portrait of a young lady (so-called 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 go 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 Russia because of the unique culture and personality of the Russian peasant.

When Levin visits Dolly, she attempts to understand what happened between him and Kitty and to explain Kitty's behaviour. Levin is very agitated by Dolly's talk about Kitty, and he begins to feel distant from Dolly as he perceives her loving behaviour towards her children as false. Levin resolves to forget Kitty and contemplates the possibility of marriage to a peasant woman. However, a chance sighting of Kitty in her carriage makes Levin realise he still loves her. Meanwhile, in St. Petersburg, Karenin refuses to separate from Anna, insisting that their relationship will continue. He threatens to take away Seryozha if she persists in her affair with Vronsky.

Part 4

When Anna and Vronsky continue seeing each other, Karenin consults with a lawyer about obtaining a divorce. During the time period, a divorce in Russia could only be requested by the innocent party in an affair and required either that the guilty party confessed—which would ruin Anna's position in society and bar her from remarrying in the Orthodox Church—or that the guilty party be discovered in the act of adultery. Karenin forces Anna to hand over some of Vronsky's love letters, which the lawyer deems insufficient as proof of the affair. Stiva and Dolly argue against Karenin's drive for a divorce.

Karenin changes his plans after hearing that Anna is dying after the difficult birth of her daughter, Annie. At her bedside, Karenin forgives Vronsky. However, Vronsky, embarrassed by Karenin's magnanimity, unsuccessfully attempts suicide by 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 elope to Europe, leaving Seryozha and Karenin's offer of divorce.

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

Part 5

Levin and Kitty marry and start their new life on his country estate. Although the couple are happy, they undergo a bitter and stressful first three months of marriage. Levin feels dissatisfied at the amount of time Kitty wants to spend with him and dwells on his inability to be as productive as he was as a bachelor. When the marriage starts to improve, 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 great help in nursing Nikolai. Seeing his wife take charge of the situation in an infinitely more capable manner than if he were without her, Levin's love for Kitty grows. Kitty eventually learns that she is pregnant.

In Europe, Vronsky and Anna struggle to find friends who will accept them. Whilst Anna is happy to be finally alone with Vronsky, he feels suffocated. They cannot socialize with Russians of their own class and find it difficult to amuse themselves. Vronsky, who believed that being with Anna was the key to his happiness, finds himself increasingly bored and unsatisfied. He takes up painting and makes an attempt to patronize an émigré Russian artist of genius. However, Vronsky cannot see that his own art lacks talent and passion, and that his conversation about 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 take separate suites. It becomes clear that whilst Vronsky is still able to move freely in Russian society, Anna is barred from it. Even her old friend, Princess Betsy, who has had affairs herself, evades her company. Anna starts to become anxious that Vronsky no longer loves her. Meanwhile, Karenin is comforted by Countess Lidia Ivanovna, an enthusiast of religious and mystic ideas fashionable with the upper classes. She advises him to keep Seryozha away 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 birthday but 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's high society are present. Vronsky begs her not to go, but he is unable to bring himself to explain to her why she cannot attend. At the theatre, Anna is openly snubbed by her former friends, one of whom makes a deliberate scene and leaves the theatre. Anna is devastated. Unable to find a place for themselves in St. Petersburg, Anna and Vronsky leave for Vronsky's own country estate.

Part 6

Dolly, her mother the Princess Scherbatskaya, and Dolly's children spend the summer with Levin and Kitty. The Levins' life is simple and unaffected, although Levin is uneasy at the "invasion" of so many Scherbatskys. He becomes extremely jealous when one of the visitors, Veslovsky, flirts openly with the pregnant Kitty. Levin tries to overcome his feelings, but eventually succumbs to them and makes Veslovsky leave his house in an embarrassing scene. Veslovsky immediately goes to stay with Anna and Vronsky at their nearby estate.

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

Anna has become intensely jealous of Vronsky and cannot bear it when he leaves her even for short excursions. When Vronsky leaves for several days of provincial elections, Anna becomes convinced that she must marry him to prevent him from leaving her. After Anna writes to Karenin, she and Vronsky leave the countryside for Moscow.

Part 7

While visiting Moscow for Kitty's confinement, Levin quickly gets used to the city's fast-paced, expensive and frivolous society life. He accompanies Stiva to a gentleman's club, where the two meet Vronsky. Levin and Stiva pay a visit to Anna, who is occupying her empty days by being 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 later reconciled, realising that Moscow society life has had a negative, corrupting effect on Levin.

Anna cannot understand why she can attract a man like Levin, who has a young and beautiful 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, boredom, and jealousy cause the couple to argue. Anna uses morphine to help 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 (which would require him to confess to a non-existent affair), but Karenin's decisions are now governed by a French "clairvoyant" recommended by Lidia Ivanovna. The clairvoyant apparently 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 decline the request for divorce.

Anna becomes increasingly jealous and irrational towards Vronsky, whom she suspects of having love affairs with other women. She is also convinced that he will give in to his mother's plans to marry him off to a rich society woman. They have a bitter row and Anna believes the relationship is over. She starts to think 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 then pays a visit to Dolly and Kitty. Anna's confusion and anger overcome her and, in a parallel to the railway worker's accidental death in Part 1, she commits suicide by throwing herself under the carriage of a passing train.

Part 8

Levin's brother's latest book is ignored by readers and critics and he joins the new pan-Slavic movement. Stiva gets the post he desired so much, and Karenin takes custody of Vronsky and Anna's baby, Anna. A group of Russian volunteers, including the suicidal Vronsky, depart from Russia to fight in the Orthodox Serbian revolt that has broken out against the Turks. Meanwhile, a lightning storm occurs at Levin's estate while his wife and newborn son are outdoors and, in his fear for their safety, Levin realizes that he does indeed love his son as much as he loves Kitty. Kitty's family is concerned that a man as altruistic as her husband does not consider himself to be a Christian, but after speaking at length to a peasant, Levin has a true change of heart, concluding that he does believe in the Christian principles taught to him in childhood and no longer questions his faith. He realizes that one must decide for oneself what is acceptable concerning one's own faith and beliefs. He chooses not to tell Kitty of the change that he has undergone, and is initially displeased that his return to his faith does not bring with it a complete transformation to righteousness. However, at the end of the story, Levin arrives at the conclusion that despite his newly accepted beliefs, he is human and will go on making mistakes. His life can now be meaningfully and truthfully oriented toward righteousness.

Style

Tolstoy's style in Anna Karenina is considered by many critics to be transitional, forming a bridge between the realist and modernist novel.[4] The novel is narrated from a third-person-omniscient perspective, shifting the narrator's attention to several major characters, though most frequently focusing on the opposing lifestyles and attitudes of its central protagonists of Anna and Levin. As such, each of the novel's eight sections contains internal variations in tone: it assumes a light, satirical tone when following Stepan Oblonsky's thoughts and actions and a much more tense earnest voice when describing Levin's social encounters. Much of the novel's seventh section depicts Anna's thoughts fluidly, following each one of her ruminations and free associations with its immediate successor. This groundbreaking use of stream-of-consciousness would be utilised by such later authors as James Joyce, Virginia Woolf, and William Faulkner.

Also of significance is Tolstoy's use of real events in his narrative, to lend greater verisimilitude to the fictional events of his narrative. Characters debate significant sociopolitical issues affecting Russia in the latter half of the nineteenth century, such as the place and role of the Russian peasant in society, education reform, and women's rights. Tolstoy's depiction of the characters in these debates, and of their arguments, allows him to communicate his own political beliefs. Characters often attend social functions similar to those Tolstoy attended, and he includes in these passages his own observations of the ideologies, behaviors, and ideas of his contemporary Russia through the thoughts of Levin. The broad array of situations and ideas depicted in Anna Karenina allows Tolstoy to present a treatise on his era's Russia, and, by virtue of its very breadth and depth, all of human society. This stylistic technique, as well as the novel's use of perspective, greatly contributes to the thematic structure of Anna Karenina.

Major themes

Anna Karenina is commonly thought to explore the themes of hypocrisy, jealousy, faith, fidelity, family, marriage, society, progress, carnal desire and passion, and the agrarian connection to land in contrast to the lifestyles of the city.[5] 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 one of the novel's key messages is that "no one may build their happiness on another's pain."[6]

Levin is often considered a semi-autobiographical portrayal of Tolstoy's own beliefs, struggles, and life events.[6] Tolstoy's first name is "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's outspoken views on the same issues. Moreover, according to W. Gareth Jones, Levin proposed to Kitty in the same way as Tolstoy to Sophia Behrs. Additionally, Levin's request that his fiancée read his diary as a way of disclosing his faults and previous sexual encounters parallels Tolstoy's own requests to his fiancée Sophia Behrs.[7]

Historical context

The events in the novel take place against the backdrop of rapid transformations as a result of the liberal reforms initiated by Emperor Alexander II of Russia, 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 business elites and the decline of the old landed aristocracy, a freer press, the awakening of public opinion, the Pan-Slavism movement, the woman question, volunteering to the Balkan war etc. These contemporary developments are hotly debated by the characters in the novel.

The suburban railway station of Obiralovka where Anna committed suicide is now known as the town of Zheleznodorozhny, Moscow Oblast.

Translations into English

Comparisons of translations

Writing in the year 2000, academic Zoja Pavlovskis-Petit compares the different translations of Anna Karenina on the market. Commenting on Garnett's revised 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 Tolstoi's world (for instance, the fact that the elaborate coiffure Kitty wears to the ball is not her own hair–a detail that eludes most other translators), and at the same time they use English imaginatively (Kitty's shoes 'delighted her feet' rather than 'seemed to make her feet lighter'–Maude; a paraphrase). ... the purist will be pleased to see Kent & Berberova give all the Russian names in full, as used by the author; any reader will be grateful for the footnotes that elucidate anything not immediately accessible to someone not well acquainted with imperial Russia. This emended Garnett should probably be a reader's first choice."

She further comments on the Maudes' translation: "the revised Garnett and the Magarshack versions do better justice to the original, but still, the World's Classics edition (1995) ... offers a very full List of Characters ... and good 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 language ... [leading] to [her] missing many a subtlety." On Carmichael's version she comments: "this is a–rather breezily–readable translation ... but there are errors and misunderstandings, as well as clumsiness." On Magarshack's translation she comments: "[it] offers natural, simple, and direct English prose that is appropriate to Tolstoi's Russian. There is occasional awkwardness ... and imprecision ... but Magarshack understands the text ... and even when unable to translate an idiom closely he renders its real meaning ... This is a good translation." On Wettlin's Soviet version she writes: "steady but uninspired, and sounds like English prose written by a Russian who knows the language but is not completely at home in it. The advantage is that Wettlin misses hardly any cultural detail."[9]

In In Quest Of Tolstoy (2008), Hughes McLean devotes a full chapter ("Which English Anna?") comparing different translations of Anna Karenina.[10] His conclusion, after comparing seven 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 market."[11] He states his recommendations in the last two pages of the survey: "None of the existing translations is actively bad ... One's choice ... must therefore be based on nuances, subtleties, and refinements."[12] 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 too frequently errs in the direction of making Tolstoy's 'robust awkwardness' conform to the translator's notion of good English style."[13]

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 it is based on an out-of-date Russian text. Kent and Berberova did a much more thorough and careful revision of Garnett's translation than Gibian did of the Maude one, and they have supplied fairly full notes, conveniently printed at the bottom of the page."[14] McLean takes Pevear and Volokhonsky to task for not 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."[14]

Reviewing the translations by Bartlett and Schwartz for The New York Times Book Review, Masha Gessen noted that each new translation of Anna Karenina ended up highlighting an aspect of Tolstoy's "variable voice" 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 take themselves. Pevear and Volokhonsky... created a reasonable, calm storyteller who communicated in conversational American English. Rosamund Bartlett... creates an updated ironic-Brit version of Tolstoy. Marian Schwartz... has produced what is probably the least smooth-talking and most contradictory Tolstoy yet." Gessen found Schwartz's translation to be formally closer to the original Russian, but often weighed down with details as a result; Bartlett's translation, like Pevear and Volokhonsky's, was rendered in more idiomatic English and more readable.[15]

Anna Karenin vs. Anna Karenina

The title has been translated as both Anna Karenin and Anna Karenina. The first instance "naturalizes" the Russian name into English, whereas the second is a direct transliteration of the actual Russian name. Vladimir Nabokov explains: "In Russian, a surname ending 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; but only when the reference is to a female stage performer should English 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'."[1]

Nabokov favours the first convention—removing the Russian 'a' to naturalize the name into English—but subsequent translators mostly allow Anna's actual Russian name to stand. Larissa Volokhonsky, herself a Russian, prefers the second option. Other translators, like Constance Garnett and Rosemary Edmonds, both non-Russians, prefer the first.

Adaptations

The novel has been adapted into various media including opera, film, television, ballet, and radio drama. The first film adaptation was released in 1911 but has not survived.[16]

Film

Theatre

In 1992, Helen Edmundson adapted Anna Karenina for a production by Shared Experience which toured around the UK and internationally; Edmundson won a UK Theatre Award.[24][25] In February - March 2012 Myriad Productions staged their original adaptation (by Connie Stephens) of Anna Karenina at Barons Court Theatre with a cast of six actors (Katie Charles, James Edwards, James Kingdon, Jon Marx, Lynsey Mcquaid and Joanna O'Connor).[26]

In 2016, Gaëtan Vassart adapted Anna Karenina for a production by Night Watch Company which toured around the France and in Paris at the Théâtre de la Tempête with the famous iranian actress Golshifteh Farahani

Opera

Radio

References

  1. 1 2 Nabokov, Vladimir (1980). Lectures on Russian Literature. New York: Harvest. p. 137 (note). ISBN 0-15-649591-0.
  2. ↑ Tolstoy, Leo. Anna Karenina. Penguin Publishing. ISBN 978-0-14-044917-4. Faulkner's opinion is used as an advert on the inside cover.
  3. ↑ Grossman, Lev (January 15, 2007). "The 10 Greatest Books of All Time". Time.
  4. ↑ Mandelker, Amy (1996). Framing Anna Karenina : Tolstoy, the woman question, and the Victorian novel. Columbus: Ohio State University Press. p. 241. ISBN 0-8142-0613-1.
  5. ↑ GradeSaver. "Anna Karenina Themes". gradesaver.com.
  6. 1 2 Tolstoy Anna Karneni, Penguin Books, 1954, ISBN 0-14-044041-0, see introduction by Rosemary Edmonds
  7. ↑ Feuer, Kathryn B. Tolstoy and the Genesis of War and Peace, Cornell University Press, 1996, ISBN 0-8014-1902-6
  8. 1 2 Trachtenberg, Jeffrey (Sep 8, 2013). "How Many Times Can a Tale Be Told?". The Wall Street Journal. Retrieved 2013-09-09.
  9. ↑ Pavlovskis-Petit, Zoja. Entry: Lev Tolstoi, Anna Karenina. Classe, Olive (ed.). Encyclopedia of Literary Translation into English, 2000. London, Chicago: Fitzroy Dearborn Publishers, pp. 1405–1406.
  10. ↑ McLean, Hughes. In Quest Of Tolstoy, Academic Studies Press, 2008, pp. 53–70.
  11. ↑ McLean, Hughes. In Quest Of Tolstoy, Academic Studies Press, 2008, pp. 54–55.
  12. ↑ McLean, Hughes. In Quest Of Tolstoy, Academic Studies Press, 2008, p 69.
  13. ↑ McLean, Hughes. In Quest Of Tolstoy, Academic Studies Press, 2008, p 70.
  14. 1 2 McLean, Hughes. In Quest Of Tolstoy, Academic Studies Press, 2008, p 71.
  15. ↑ Gessen, Masha (24 December 2014). "New Translations of Tolstoy’s ‘Anna Karenina’". New York Times. Retrieved 5 April 2015.
  16. ↑ Makoveeva, Irina (2001). "Cinematic Adaptations of Anna Karenina" (pdf). Studies in Slavic Cultures (2). Retrieved August 16, 2013.
  17. ↑ "Anna Karenina (1911)". IMDB.
  18. ↑ "Poster for Anna Karenine (1911)" (jpg). Retrieved 16 August 2013. used to show spelling of the title
  19. ↑ "Anna Karenina (TV Mini-Series 1977)". IMDb.
  20. ↑ "Masterpiece Theatre - The Archive - Anna Karenina (1978)". pbs.org.
  21. ↑ "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:". Amazon. Retrieved 2012-12-26.
  22. ↑ "Anna Karenina (1976)". IMDb. Retrieved 2012-12-26.
  23. ↑ Anna Karenina at the Internet Movie Database
  24. ↑ "Edmundson, Helen - Drama Online". dramaonlinelibrary.com.
  25. ↑ "Nick Hern Books - Helen Edmundson". nickhernbooks.co.uk.
  26. ↑ Anna Karenina
  27. ↑ Morse, Leon (October 22, 1949). "The MGM Theater of the Air". Billboard. Retrieved 25 December 2014.

Further reading

Biographical and literary criticism

External links

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