申冤在我，我必报应

摘要：《安娜卡列尼娜》塑造了安娜这个俄国文学史上典型的上流社会女性”多余人”，社会环境和自我主观因素造成了安娜的悲剧的必然性。作者精心的构思为安娜这个形象赋予了时代意义，通过安娜的悲剧来传达作者对现实社会的批判和扼腕。

关键词：安娜，多余人，贵族社会

早在1870年2月24日托尔斯泰夫人就记下丈夫的一段谈话：“昨天晚上他对我说，他脑海中出现了一个已经结婚、但失了足的上流社会妇女的典型。他说，他的任务是要把这个女子写得只显得可怜而不显得有罪。“

后来有一件事促使他动笔。1872年1月4日晚，一位年轻贵妇，系托尔斯泰邻近的庄园主比比科夫的情妇，因主人结婚而被抛弃，便以卧轨自杀来抗议。她的姓名是安娜＊斯捷潘诺夫娜＊皮罗戈娃。托尔斯泰便把她的名字和生命结束的方式移植到未来小说女主人公身上，但并不是作为小说人物原型。此外，小说女主人公安娜的外貌则取自俄国诗人普希金的女儿玛丽娅，托尔斯泰曾被她的美貌和仪态所吸引，写作时正式采用了她的外形，使小说中的安娜具有美丽动人、雍容华贵、待人真挚的形象。

《安娜＊卡列尼娜》是一部以现实生活为题材的长篇小说。70年代的俄国社会发生了急剧的变化，资本主义势力迅速发展，封建宗法制日趋瓦解。托尔斯泰对俄国在资本主义冲击下发生的城市的畸形现象和农村的破产，日益感到不安，于是《安娜卡列尼娜》的重心就从一部单纯的家庭悲剧小说转移到描写农奴制改革后俄国资本主义发展所产生的灾难性后果上：贵族阶级家庭关系瓦解，道德败坏，贵族地主日趋没落，资产阶级日渐得势，农村中产阶级矛盾激化。用书中人物列宁的话来说，就是在这里，“一切都翻了一个身，一切都刚刚开始安排“。列宁认为，对于1861年19xx年这个时期，很难想象得出比这个更恰当的说明了。那“翻了一个身“的东西，就是农奴制及其相应的整个“旧秩序“；那“刚刚开始安排 “的东西，就是资本主义制度。

小说的结局，安娜惨死在火车轮下，渥伦斯基的母亲还觉得不解气，在同另一个贵族谈到安娜时，悻悻地说：“她的下场，正是那种女人该有的下场，连她挑选的死法都是卑鄙而下贱的。“对方则叹了口气回答：“我们没有权利指责，伯爵夫人。“

对于安娜的形象，从小说问世以来就一直有争议，托尔斯泰不曾替安娜辩解，却也不许上流社会对她进行谴责。

安娜生活在19世纪六七十年代的俄国，那正是1861年废除农奴制以后资本主义急剧发展、封建制度逐渐解体的时代。小说以大量的篇幅写到贵族庄园的没落和资本主义经济的增长。那些靠暴利发家的商人、银行家、企业主在社会上的地位日益显赫，俨然成了“新生活的主人”，连上层贵族、皇族后裔也开始向过去“用二是个戈比就可以买到的”资产者拜伏了。

安娜作为小说的中心人物，就是在这样的时代背景上凸现出来的。她追求爱情自由恰好和俄国社会的变动相呼应，代表了妇女争取婚姻自主的要求。反映了年轻

妇女追求新生活的渴望。如果抛开时代特点，就很容易忽视安娜这个形象的进步意义。安娜的行为的社会意义可以从两方面看，一是冲决了封建礼教的藩篱，反映了资产阶级解放的要求；一是向贵族社会的虚伪道德挑战。

多余人

作为俄罗斯文学中难得的女性“多余人”的典型，安娜并不甘于“多余”，却最终反抗失败。其原因既有社会因素，也有自身因素。

安娜出生于贵族家庭，是第一代沙皇留立克王朝的后代，是一个受过良好教育、具有超人美貌与才智的女性，在思想、情感、才智等方面都远远高于当时上流社会的一般妇女，是一位出色的妇女典型。

而安娜最终也沦为“多余人”，其中一个很重要的因素，就是她的经济生活环境和日常生活方式。“多余人”的产生根源就是——生活在优裕的经济环境里，过着一种无所事事、无所用心的生活，因而成了社会生活中可有可无的人。卡列宁的地位决定了安娜家庭生活条件的优越：有别墅可以经常外出度假，有保姆和家庭教师照看孩子，有管家操持家务。安娜不愁吃，不愁穿，什么事也不用干，是一个无忧无虑、快活的家庭主妇，同时也是一个可有可无的女人。

在俄罗斯文学中，“多余人”的共性特征之一就是对现实生活不满，精神压抑。安娜在八年中一直扮演一个贤妻良母，一方面是由于她具有良好的教养，天资丽质，具备完成这一角色的条件；另一方面，也是最重要的一个方面，是环境使然。贤妻良母被认为是妇女的典范，安娜不得不遵守这一社会道德准则，然而，凭她的教育和教养，聪明和才智，仅仅充当配角是不够的，因而她感到压抑，“脸上有一股被压抑着的生气”。

安娜和比她大20岁的大官卡列宁毫无爱情可言地一起生活了8年。安娜年轻貌美，而且内心情感丰富；卡列宁却冷漠无情，思想僵化，老态龙钟的他恰恰反衬出洋溢在安娜身上的过剩的青春。正如安娜所言：“八年来他是怎样摧残了我的生命，摧残了我身上一切有生命力的东西，他甚至一次都没有想到我是一个需要爱情的活的女人。”“想得到功名，想升官，这就是他灵魂里所有的东西。”

小说写了围绕着安娜的那个“浑然一体”的彼得堡社会，存在着三个社交集团。一是卡列宁的政府官僚集团。他们是勾心斗角、结党营私之徒。他们把年轻漂亮的带去参加舞会，不过是作为装饰品，心里热衷的则是政治上的升迁。安娜起初对这些政府官员们怀着近乎虔诚的感情，但是自从发现这个圈子只是维护男性利益之后，她就再也不感兴趣了。另一个是莉姬娅·伊凡诺夫娜伯爵夫人的集团，由“年老色衰、慈善虔诚的妇女和聪明博学、自命不凡的男子组成”，都是假仁假义的伪君子。第三个是培脱西·特维尔斯卡雅夫人的集团，是以“跳舞、宴会和艳丽的服装”为特色的一群腐化放荡的女人和撒谎成性的男子组成。三个集团表现形式不同，本质却无差别，都浸透着伪善。

在这些人当中，家庭破裂是一种普遍现象。看似“合法”的家庭外面都有许许多多“非法的”婚姻补充形式，那些贵族仕女王孙几乎人人都有“外遇”，但是只要表面上维持家庭的体面，上流社会就不但允许，甚至加以鼓励，“道德”的面纱下藏着的是糜烂透顶的内幕。

在这三个社交集团里，安娜都没有找到自己的位置，她的社会角色和其他许多妇女一样，其价值是供人欣赏，点缀男人的世界。对这种社会角色安娜显然不满

意，因而她觉得生活无聊，精神压抑。安娜的这种潜在的不满只要遇到适当的条件就会爆发。

于是，安娜选择了和那些人不同的道路，她拒绝卡列宁的“宽容”条件——表面上维持家庭的体面，背地里去干偷情的勾当。安娜要求正式解除原有婚姻关系，公开地、正当地和渥伦斯基结合。这是她向贵族社会虚伪道德挑战的关键所在。

贵族社会道德的虚伪还表现在它对安娜行为的前后矛盾的态度上。当安娜和渥伦斯基将好未好时。很多人加以怂恿，把它当做一件风流韵事来促成；可当安娜不满足于偷情要公开宣布时，贵族社会各种社交场所立即对她关闭了，企图以制裁安娜来维持贵族社会的“秩序”。托尔斯泰在这里深刻揭露了贵族社会的虚伪和它富丽堂皇的外表掩盖着的肮脏、腐朽。

这样看来，托尔斯泰笔下的安娜倒是个正经女人，她对家庭和贵族上流社会的叛逆，追求有爱情基础的家庭生活，不是不道德，而是比那般满口仁义道德、肚子里男盗女娼的贵族男女要道德得多。

由于对现实生活的不满，个人与社会的矛盾无法协调，安娜显现出“多余人”的叛逆性格，做出不同一般的行为。同时，安娜又经常对自己的行为进行深入反省，在自我剖析之后，对自己的所作所为不满，从而导致思想和心灵的分裂，陷入一种难以自拔的矛盾痛苦之中，并最终导致悲剧与不幸。

在安娜的内心深处，作为一个已婚并为人母的妇女，作为上层社会的贵夫人，一些列现实问题和传统道德观念给她造成了无法摆脱的精神枷锁，追求个人幸福和忠于传统道德这两种思想一直在进行着剧烈的斗争，她咒骂卡列宁是“官僚机器”，却又称赞他“真是一个好人”，于是，成就了安娜这样一个“矛盾体”。一方面，她敢于叛逆，义无返顾地和卡列宁决裂，去追求爱情；另一方面，她又常常对自己的行为感到羞愧、悲观，怀有一种罪恶感——感到不但对不起儿子，而且对丈夫也有罪。她悄悄回家爱抚小儿子的场面很动人心魄，说明了她不像不正派的女人那样随便弃置爱子于不顾。这里也表明托尔斯泰刻画人物的现实主义分寸感，不虚美，不隐恶。安娜的性格有反封建、追求个性解放的要求，但在斗争中又暴露了自己的软弱性。

安娜的悲剧当然应当归咎于不合理的社会环境，但她自己的局限性无论如何总是造成悲剧的主观因素。

尽管安娜在上流社会里也不可能遇见更好的人，但沉浸在被追求的乐趣当中，把渥伦斯基作为热恋的对象，终究是她的局限性。据当年为托尔斯泰的作品画插图的画家帕斯捷尔纳克回忆，在上流社会中有一种根深蒂固的观念：一个青年偷一条手帕会被认为是最可耻的罪行，而偷偷占有被他勾引的女人，尤其是一个官员的漂亮而年轻的夫人，则不但不被认作可耻，反而会被当作英雄收到崇拜。渥伦斯基追求安娜多少也是出于这种虚荣心理。后来他发现，如果继续和安娜维持这种关系，就要用一生的前程作代价，最终，在上流社会的功名利禄和为他不顾一切的安娜之间，安娜成了那个被放弃的牺牲品。 普希金有一首小诗：

我爱过您，也许，在我心中，

爱情还没有完全消退；

但让它不再扰乱您吧，

我丝毫不想使您伤悲。

我爱过您，默默而无望，

我的心受尽羞怯、嫉妒的折磨；

我爱得那样真诚，那样温柔，

但愿别人也能像我一样爱您。

真正的爱情应该就是像这样，牺牲自己的情感，成就对方的幸福。而渥伦斯基追求安娜的动机是不纯的，所谓的爱情也是很肤浅的，恰如安娜所评价的：“他在我身上追求的是什么呀？与其说是爱情，不如说是满足他的虚荣心。”

残酷的现实向安娜表明，上流社会的伪善之网不是她一人之力能冲破的。 和“宁为玉碎，不为瓦全”的安娜相比，列文似乎就跳出了“悲剧”的范畴，虽然他是从逃避社会矛盾转到自我修身，以“空想”为“出路”，并没有解决现实中的矛盾，也算不上一个真正的胜利者，但是同为贵族的列文和吉蒂，用劳作和工作充实着自己的生活，便可以避免沦为“多余人”，从而过着幸福的生活。裴多菲的名言“生命诚可贵，爱情价更高，若为自由故，两者皆可抛”，这其中的“自由”即祖国的独立和人民的事业。事业才是人生的最高追求，只有劳动才能给人带来充实和幸福。安娜“过剩的青春”找错了释放的对象，缺少劳动作为生活内容的基础，缺少事业作为生活的目标，因而她的生活是空虚的，追求是失败的，结局是不幸的。

托尔斯泰是深深地同情安娜的，他是怀着激情去塑造这个形象的。在他的笔下，安娜的生命力以及她对爱情、自由和幸福的冲动是如此强烈，以致能紧紧抓住读者的心，令人折服。同时，托尔斯泰的批判锋芒则是对着上流社会的，他笔下的贵族已经不再兴旺了，他把贵族如实地描绘成一个崩溃中的阶级，也就是说，他也如巴尔扎克一样，“看出了他所心爱的贵族们灭亡的必然性，从而把他们描写成不配有更好命运的人”。

 

第二篇：安娜卡列尼娜 学年论文定稿

外国语与传播学院英语专业09级学年论文

（12-06-10）

题目

学 生： 谢 咪

学 号： 200911010218

院 （系）： 外国语与传播学院

专 业： 英 语

指导教师： 王 武 娟

20xx年6月10日

Study on the Source of Anna Karenina's Tragedy

英语092：谢咪 指导教师：王武娟

（陕西科技大学外国语与传播学院 陕西 西安 710021）

ABSTRACT: Anna Karenina is viewed as a heroin in the both emotion life and real life under the pen of Lev Nikolayevich Tolstoy's master piece Anna Karenina by lots of critics and readers till tody, however, her suicide in the end stress tragedy- colored life of Anna Karenina. This thesis is to discuss, from the aspects of the nature of Anna and the outer elements environments, the source of the tragedy to mirror the the real life today .

KEY WORDS: Anna Karenina，nature，environment，tragedy

对安娜卡列尼娜悲剧人生的探究

摘要: 安娜卡列尼娜是列夫托尔斯泰笔下的一位为追求个人自由与幸福的英雄。自其同名小说出版以来，一直受到世人的关注和评论。然而，在故事结尾，安娜选择卧轨自杀的一幕渲染并强调了整个故事的悲剧色彩。本文将结合安娜个人因素及外界因素等方面来讨论其悲剧人生的根源，旨在给现世以启示。

关键词：安娜卡列尼娜，个人因素，环境影响，悲剧

Introduction

'Happy families are all alike; every unhappy family is unhappy in its own way. ', grammatically the first sentence of Anna Karenina implies the following content includes several unhappy stories happening in several families. And the song of tragedy finds its full expression by last saying of Anna, ' God, forgive me' completely. Holding the sorrow for Anna's tragic life like all the others, the thesis is to study the source of Anna's destiny buy discussing Anna 's nature , her information expect her inner word, the characters who directly and indirectly have relationship with Anna, the background where she lives in and the collision between all the above factors

which finally kill the lady named Anna Karenina.

1. The Introduction of Anna Karenina

1.1 The Inner Word of Anna Karenina

One of two main protagonists in the novel (the other being Konstantin Levin), Anna is the beautiful, passionate, and educated wife of Alexei Karenin. Her character is rich in complexity: she is guilty of desecrating her marriage and home, for instance, but she remains noble and admirable nonetheless. Anna is intelligent and literate, a reader of English novels and a writer of children’s books. She is elegant, always understated in her dress.

Among Anna's most prominent qualities are her passionate spirit and determination to live life on her own terms. She is a feminist heroine of sorts. Though disgraced, she dares to face St. Petersburg high society and refuses the exile to which she has been condemned, attending the opera when she knows very well she will meet with nothing but scorn and derision.

The governing principle of Anna’s life is that love is stronger than anything, even duty. She remains powerfully committed to this principle. She rejects Karenin’s request that she stay with him simply to maintain outward appearances of an intact marriage and family. In the later stages of her relationship with Vronsky, Anna worries most that he no longer loves her but remains with her out of duty only. She insists on following her heart alone. As a result, Anna contrasts with with the ideal of living for God and goodness that Levin embraces in the last chapter, and she appears self-centered by comparison. Even so, Anna’s insistence on living according to the dictates of her heart makes her a pioneer, a woman searching for autonomy and passion in a male-dominated society.

1.2 The Outer Word of Anna Karenina

Born in a noble family, but miserably loosing her parents during youth, Anna is arranged to marry Alexei Karenin, a cold and passionless government official. And Anna play her role well for 8 years as a wife and a mother. Living a comfortable and descent life peacefully and patiently until her coming across a special man who stimulated her passion for love. After doing social- unacceptable things like having adultery with Vronsky, even opening it up publicly and leaving her husband and child, under great agony she choose to fall down onto the railway facing the running train.

2. The Related Characters

2.1 Konstantin Levin

Independent-minded and socially awkward, Levin is a truly individual character who fits into none of the obvious classifications of Russian society. Levin is his own person. He follows his own vision of things, even when it is confused and foggy, rather than adopting any group’s prefabricated views. Moreover, Levin prefers isolation over fitting in with a social set with which he is not wholly comfortable.

Levin is special simply in feeling them so deeply and openly. His comfort with his peasants and his loathing of social pretension characterize him as an ordinary man, one of the Russian people despite his aristocratic lineage. When Levin mows for an entire day alongside his peasants, we get no sense that he is deliberately slumming with the commoners—he sincerely enjoys the labor. Levin’s final discovery of faith learned from a peasant, is equally ordinary.

2.2 Alexei Karenin

A government official with little personality of his own, maintaining the fade of a cultivated and rational man. He is civil to everyone and makes no waves remaining a bland bureaucrat whose personality has disappeared under years of devotion to his duties, with little room for personal whim or passion.

His appreciation of Anna is only for her role as wife and mother, similarly, he's fatherly interaction with Seryozha is cold and official. When Anna leaves, she does not simply dump Karenin the man but also the conventionalism that Karenin believes in and represents. Karenin’s slide into occultism and stagnation at the end of the novel suggests indirectly how much he needed Anna, and how much she was the life behind his fade.

2.3 Alexei Vronsky

The novel depicts Vronsky as a handsome, wealthy, and charming man who is as willing as Anna is to abandon social standing and professional status in pursuit of love. But the novel also shows Vronsky's many realistic faults and imperfections. This limitation in Vronsky provides Anna’s greatest disappointment in the novel: she yearns for a total escape into a love affair of unbounded passion, only to discover that Vronsky's passion has its limits. Tolstoy gives Vronsky the same first name as Karenin, suggesting that Anna’s longing for another Alexei leads her to a

disappointing repetition of her first relationship.

2.4 Stiva Oblonsky

His his affair with the family's governess brings Anna to Moscow, and thus to Vronsky—he Stiva embodies the notion that life is meant to be lived and enjoyed, not repressed by duties. His dazed reaction to being chastised for adultery is not so much regret at his wrongdoing but rather regret at being caught. Indeed, even after Dolly forgives Stiva, he does not stop carrying on with other women. He does not feel any duty toward his wife and family that constrains his freedom. He represents an ordinary man in 19th century Russia, and is kind and jovial and genuinely loves his wife and family, yet he feels entitled to have sex with whomever he pleases.

2.5 Countess Lydia Ivanovna

The Countess is a good friend of Karenin's and after Anna leaves him she falls in love with him and tries to take care of him. She convinces Karenin not to let Anna see Serezha (son of Anna and Karenin) and convinces him to become even more serious about his Christianity. In the end she and Karenin take guidance from a French clairvoyant for their decisions.

2.6 Princess Elizabeth Fedorovna Tverskaya (Betsy)

Betsy is the link between Anna and Vronsky, and it is through her and her Society that they are able to meet and begin their affair. She also has affairs, but she shuns Anna after Anna is open about her affair and does not get a divorce.

3. Background of Anna Karenina

19 century had witnessed great changes in Russia. For the invasion of the capitalism, gradually the feudal serfdom social suffered disintegration and capitalism came to emerge. But capitalist powers is still very slim because of the consolidation of Russian feudal power. Therefore, during 19 century Russia was in a transitional period from the feudal society to capitalism society. It is a period in witch the thoughts of Russian experienced great changes and Anna is the one ,as a presentive of new women living in such social environment.

4. Conflicts of Anna Karenina's Life

Firstly, Anna's passion and self- realization reflects her advance in spirit, but her motion is too strong to hurt the family including her son Serezha and the normal family life of his husband so she respectively got self- regret for not taking her responsibility to take care of her child and

lost support for her infidelity to the marriage. For Serezha's pure attachment to her and Karenin's forgiveness for her wrongdoings, though Anna sticked to her belief bravely, she couldn't avoid the condemn from the conscience.

Secondly, if she is an average person, such affairs may not caused that much attention, but her honorable status and life in the past made her situation more awkward. Like Emma in Madame Bovery written by Gustave Flaubert, she has unacceptable things with several men but during the course there not exists much influence from other's eye, but the rejection from the mainstream and the enclosure of her past life to some extent makes her lonely and abnormal dependence on love.

Thirdly, Anna's longing for true love should be praised from the aspect of a sincere person, but people around her give some influence negatively, as a result Anna's disappointment devour her hope for life. Her husband's unwilling to divorce and later agreement on condition that permanently segregation with her son bring her to a deadly dilemma. Then Vronsky's lessening passion to Anna causes her distrust and the sense monopolize to Vronsky, wich in fact is the reflection of her doubt to her faith and the meaning of life. Next is the original matchmaker, Anna's brother Oblonsky's has nearly parallel experience of unfaithful to marriage but receives contrary reaction which shake her self-esteem as a woman. Also, Lydia Ivanovna who represents the moral social group encourages Anna's husband to enforce the moral principle of that society which full of false and stiffness, therefore Anna's situation becomes worse and worse. Betsy, a 'high- class whore ' who represent the Grand Society and the group more concerned with pleasure than morality despises Anna and shuns Anna after Anna is open about her affair and does not get a divorce, which makes Anna feel her lowliness and increase Anna's self- deny. Lastly, it is Konstantin Levin. Though Anna Karenina gives the novel its name, Levin acts as the novel's co-protagonist, as central to the story as Anna herself. Similar to Anna, he feels the drawbacks of the aristocrat life and has a wish to live a free life naturally and sincerely. He is the only one has the nature, chance and power to help Anna, but with insufficant effort to voice his supply to Anna he adds the sorry of Anna's tragedy.

The last but not least, the background in the day when Anna's story happens. With the industrial revolution and the development of capitalism, people's life become richer and colorful which stimulates the desire to reach more happiness and self- satisfaction. But, the feudalism

system of Russia is to strong to collapse soon, so the strict social grade system and the over deified religious belief still dominates the moral principle then. From the sentence 'God, forgive me ' it can directly conclude that the great influence of religion on Anna's regret and sadness. The author giving that is to denounce the prevailing and powerful society force rather than ask for the forgiving.

Conclusion

From the aspects of dialectical materialism and historical materialism, the tragic story of Anna Karenina is a typical production of that special period in Russia history. But it can not be viewed as a kind of real tragedy for she is successful in pursuing her self- accomplishment and freedom in spirit. Although she died from her complex nature, special social status, people's attitudes towards her, all the factors share the common thing branded with the features of the times. So, it is necessary to improve the ethos of society to serve a harmonious, democratic, equal and humanism atmosphere to the people who is the essence in the universe.

In this thesis, by the means of analysis and comparison, the resource of Anna Karenina's tragedy has been discussed. To summary the whole study, it can clearly get the fact that environment makes people and gives the people basic tone in their melodies of life. But, for the limitation of proper methods, personal emotion and time, some mistakes are inevitable in the course of study so it will be great for someone has query in this thesis to rethink about this topic.

Bibliography

[1] 郑克鲁．外国文学史[M]．北京：高等教育版社，1999．

[2] 草曼．安娜·卡列尼娜[M]．上海：上海泽文出版社，1982．

[3] 赵置．安娜·卡列尼娜的形象及悲剧根源的现代解读[J]．辽宁师范大学学报，2006（1)．

[4] 刘拉妮．安娜爱情悲剧的再认识[A]．甘肃：科技文汇，2009．

[6] 列夫·托尔斯泰. 《安娜卡列尼娜》[M]．上海：远东出版社 1997.

[7] 欧美作家论托尔斯泰[M]．北京：中国社会科学出版社，1983.57.

[8] 杨思聪 《安娜卡列尼娜悲剧新论》[J]．《西南师大学报》, 19xx年.