shǒuyè>> >> 外国经典>> liè · tuō 'ěr tài Leo Tolstoy   é luó Russia   é luó guó   (1828niánjiǔyuè9rì1910niánshíyīyuè20rì)
ān · liè níng Anna Karenina
  《 ān · liè 》( é : АннаКаренина) shì 'é guó zuò jiā liè · tuō 'ěr tài 1875 nián -1877 nián jiān chuàng zuò de xiǎo shuōbèi guǎng fàn rèn wéi shì xiě shí zhù xiǎo shuō de jīng diǎn dài biǎo。《 ān · liè wán gǎo 1877 nián, 1875 nián 1 yuè kāi shǐ liánzǎi é luó gōng bào shàngxiǎo shuō biǎo jiù yǐn liǎo liè de tǎo lùntuō 'ěr tài de táng shān · ān liè · tuō 'ěr tài céng xiě dàoān · liè de měi piān zhāng hōng dòng liǎo zhěng shè huìyǐn liǎo liè de zhēng lùnhuǐ cān bànbāo biǎn lùn de shì men de qièshēn wèn yàng zuò pǐn gòng fēn zhāngkāi chǎng báixìng de jiā tíng dōushì xiāng de xìng de jiā tíng yòu de xìng”( Happyfamiliesareallalike;everyunhappyfamilyisunhappyinitsownway), shì tuō shì duì hūn yīn jiā tíng de yán
  《 ān · liè 》 - jiǎn jiè
  
   zài tuō 'ěr tài quán zuò pǐn zhōng,《 zhàn zhēng píng》、《 ān · liè 》、《 huóshì sān chéng bēi shì de sān dài biǎo zuò pǐn。《 ān · liè zài zhè sān dài biǎo zuò zhōng yòu shū de zhòng yào xìng shì sān zhù zhī zhōng shù shàng zuì wéi wán zhěng de bìng qiě xiàn liǎo tuō shì xiǎng shù zhǎn dào de guò zhuǎn biàn chēng zhī wéi dài biǎo zuò zhōng de dài biǎo zuò tōng guò zhù rén gōng 'ān zhuī qiú 'ài qíng 'ér shī bài de bēi liè wén zài nóng cūn miàn lín wēi 'ér jìn xíng de gǎi tàn suǒ zhè liǎng tiáo xiàn suǒmiáo huì liǎo 'é guó cóng dào wài shěng xiāng cūn guǎng kuò 'ér fēng duō cǎi de jǐngxiān hòu miáo xiě liǎo 150 duō rén shì shè huì bǎi quán shū shì de zuò pǐn
  《 ān · liè 》 - zuò jiā jiǎn jiè
  
   liè · wéi · tuō 'ěr tài( 1828-1910) shì 'é guó pàn xiàn shí zhù wén xué zuì wěi de dài biǎoshì jiè wén xué shǐ shàng zuì wěi de zuò jiā zhī zài shì jiè wén tán zhōng kān suō shì 'ěr zhā bìng jiān 'ér de zuò jiā dāng shǒu tuī liè tuō 'ěr tài sān hóng piān zhù dài biǎo liǎo 19 shì shì jiè xiàn shí zhù wén xué de zuì gāo shuǐ píngliè · tuō 'ěr tài shì 'é guó wén xué shǐ shàng zuì wěi de wén háo zhī zài wén xué fāng miàn de chéng jiù shòu dào shì zhǔ mùdì rèn tóng
  《 ān · liè 》 - nèi róng gěng gài
  
  《 ān · liè tōng guò zhù rén gōng 'ān zhuī qiú 'ài qíng 'ér shī bài de bēi liè wén zài nóng cūn miàn lín wēi 'ér jìn xíng de gǎi tàn suǒ zhè liǎng tiáo xiàn suǒmiáo huì liǎo 'é guó cóng dào wài shěng xiāng cūn guǎng kuò 'ér fēng duō cǎi de jǐngxiān hòu miáo xiě liǎo 150 duō rén shì shè huì bǎi quán shū shì de zuò pǐn
  
   shì shuāng xiàn jìn xíng wéi 'ān wéi liè wéntuō shì 'èr rén wéi zhóumiáo xiě chū tóng de hūn yīn jiā tíng shēng huógèng jìn xiě chū dāng shí 'é guó zhèng zhìzōng jiàonóng shì jǐng xiàng
  
   zài wén zhōngliè wén wéi tuō shì zhī huà shēndài biǎo zhe 1860,70 nián dài de shè huì zhuǎn xíng cuī shēng zhěliè wén zhòng shì nóng shìduì guì shēng huó shèn tóu zhù zài xiāng cūn zhǐ dǎo nóng mín gōng zuòliè wén 'ài chū qiú hūn bèi dàn jīng zhézhōng bào měi rén guībìng tóng zhù zài xiāng xià
  
   zhù rén wēng 'ān nián qīng shí zhàng shān liè níng( AlexeiAlexandrovichKarenin) jié běn hūn yīn měi mǎn yòu liè níng zài shì shàng chéng gōngān jiāo chǎng shàng guāng máng shè shì shǐ 'ào lǎng gōng jué yīng guó jiā tíng jiào shī liàn 'ài dào nào fānqiú zhù 'ān ān cóng shèng bǎo dào 'èr rén tiáojiězài chē zhàn rèn shí liǎo nián qīng jūn guān lún ( AlexeiKirillovichVronsky)。 bìng zài huì zhōng lún shēng zhì mìng de liàn qíng néng zuì hòu shēn bài míng liè bìng shā shēn wáng lún wéi qiú měi rénzhuī suí 'ān zhì shèng bǎozuì hòu liǎng rén xiàn liàn liǎ pín pín yōu huìzuì hòu 'ān huái yùnbìng xiàng zhàng chéng rèn liǎo qíng liè níng xiǎng fēn dàn wéi cún miàn jué hūn bìng yào qiú zhōng zhǐ liàn qíngrán 'ér 'ān fēn miǎn shí nán chǎn 'ér bīn lín wángzài wáng miàn qián liè níng yuán liàng liǎo ān bìng hòu duì lún de 'àizhōng jiā chū zǒu lún dài zhe 'ān qián wǎng xíngzhè shí 'ān gǎn dào de xìng hòu huí dào 'é luó 'ér shēng shíàn zhù tōu tōu huì jiàn de 'ér què jiàn róng 'é guó shè huìshàng liú shè huì 'ān kàn zuò duò luò de rénduàn jué de wǎng láiān zhǐ xiāng xiàkào xiě zuò shí jiānèr rén gòng chù jiǔ lún 'ān zài shēng huó shàng de xìn rèn zēngān gǎn dào hěn nán guòrèn wéi qíng rén wéi qián míng 'ér sàng shī wàng zhī xiàān wéi chǔfá lún zài huǒ chē shǐ jìn shí tiào xià huǒ chē yuè tái shāzàng zhī hòu shān · liè níng dài zǒu de 'ér lún shòu dào liáng xīn de qiǎn bìng yīchánghòu lái zhì yuàn cóng jūnqián wǎng 'ěr gān cān zhàndàn qiú
  《 ān · liè 》 - chuàng zuò bèi jǐng liào
  
   zài shì jiè wén xué de wēi wēi qún shān zhōngkān suō shì 'ěr zhā zhè zuò gāo fēng jiān 'ér de 'é guó zuò jiā dāng shǒu tuī liè · tuō 'ěr tàituō 'ěr tài shì wèi yòu xiǎng de shù jiā shì wèi xué de shù shī de zuò pǐn zhǎn xiàn de shè huì huà miàn zhī guǎng kuòyùn hán de xiǎng zhī fēng ráoróng huì de shù yánzhé xué shǐmín nǎi zhì rán xué děng zhǒng zhī shí zhī guǎng cháng cháng lìng rén wàng yáng xīng tàn。《 ān · liè shì de měi shèng shōu 'ér yòu jīng shēn de zhì
  
   de xiǎng shù jià zhíshǐ zhè zhù biǎo biàn yǐn shè huì fǎn xiǎngtuō 'ěr tài bìng méi yòu jiǎn dān xiě nán tōng de shìér shì tōng guò zhè shì jiē shì liǎo 'é guó shè huì zhōng de wèibìng yóu lái biān de xìngzuò pǐn miáo xiě liǎo rén gǎn qíng yào shè huì dào zhī jiān de chōng 。 1877 niánxiǎo shuō shǒu bǎn xíng tóng dài rén chēng chì shì yǐn liǎoyīcháng zhēn zhèng de shè huì bào zhà”, de zhāng jié yǐn liǎo zhěng shè huì deqiāo zhù shì xiū zhǐ de lùntuī chóngfēinàn zhēng chǎofǎng shì qíng guān shè dào měi rén zuì qièshēn de wèn ”。
  
   dàn jiǔshè huì jiù gōng rèn shì liǎo de zhù suǒ dào de gāo shì 'é guó wén xué cóng wèi dào guò dewěi zuò jiā tuó tuǒ xīng fèn píng lùn dào:“ zhè shì jìn shàn jìn měi de shù jié zuòxiàn dài 'ōu zhōu wén xué zhōng méi yòu tóng lèi de dōng xiāng !” shèn zhì chēng tuō 'ěr tài wéi shù zhī shén”。 ér shū zhōng de zhù rén gōng 'ān · liè chéng wéi shì jiè wén xué shǐ shàng zuì yōu měi fēng mǎn de xìng xíng xiàng zhī zhè chǎn jiē jiě fàng de xiān fēng de fāng shì zhuī qiú xìng de jiě fàng zhēn chéng de 'ài qíngsuī rán yóu zhì de zhì de bēi zhǐ néng shī bài 'ér gào zhōngdàn nèi xīn yàn de shēn gǎn qíng de qiáng liè zhēn zhì péng de shēng mìng bēi xìng mìng yùn 'ér kòu rén xīn xián
  
  《 ān · liè de gòu shǐ 1870 niánér dào 1873 nián tuō 'ěr tài cái kāi shǐ dòng zhè shì shēng zhōng jīng shén kùn dùn de shí zuì chūtuō 'ěr tài shì xiǎng xiě shàng liú shè huì hūn shī de shìdàn suí zhe xiě zuò de shēn yuán lái de gòu duàn bèi xiū gǎixiǎo shuō de chū chuàng zuò guò jǐn yòng liǎo duǎn duǎn de 50 tiān shí jiān biàn wán chéngrán 'ér tuō 'ěr tài hěn mǎn yòu huā fèi liǎo shù shí bèi de shí jiān lái duàn xiū zhèngqián hòu jīng guò 12 de gǎi dòngchí zhì 4 nián zhī hòu cái zhèng shì chū bǎnzhè shíxiǎo shuō fèi de shǒu gǎo gāo 1 duō!“ quán yīngdāng gǎi xiězài gǎi xiě”, zhè shì tuō 'ěr tài jīng cháng guà zài zuǐ biān de huàxiǎn rán ān · liè shuō shì xiě chū lái de shuō shì gǎi chū lái de
  
   zhèng shì zài zuò zhě jìn de zhuī qiú zhōngxiǎo shuō de zhòng xīn yòu liǎo de zhuǎn ān yóu zuì chū gòu zhōng deshī liǎo de rén”( wèi 'è lièmài nòng fēng qíngpǐn xíng duān), biàn chéng liǎo pǐn gāo gǎn zhuī qiú zhēn zhèng de 'ài qíng xìng depàn xíng xiàngcóng 'ér chéng wéi shì jiè wén xué zhōng zuì fǎn kàng jīng shén de xìng zhī
  
  《 ān · liè tōng guò 'ān zhuī qiú 'ài qíng 'ér shī bài de bēi liè wén zài nóng cūn miàn lín wēi 'ér jìn xíng de gǎi tàn suǒ zhè liǎng tiáo xiàn suǒmiáo huì liǎo 'é guó cóng dào wài shěng xiāng cūn guǎng kuò 'ér fēng duō cǎi de jǐngxiān hòu miáo xiě liǎo 150 duō rén shì shè huì bǎi quán shū shì de zuò pǐnxiǎo shuō shù shàng zuì chū de diǎn shì shǒu chéng gōng cǎi yòng liǎo liǎng tiáo píng xíng xiàn suǒ xiāng duì zhàoxiāng xiāng chéng degǒng mén shìjié gòubìng zài xīn miáo xiě shàng zhì wēijīng miào jué lúnxiǎo shuō zhōng duàn de rén nèi xīn bái dōushì xiàn shí zhù miáo xiě de diǎn fàn
  《 ān · liè 》 - rén xíng xiàng
  
   ān
  
  《 ān · liè shì yóu liǎng tiáo zhù yào de píng xíng xiàn suǒ tiáo lián jié xìng yào xiàn suǒ jié gòu 'ér chéng dezhěng shàng fǎn yìng liǎo nóng zhì gǎi hòu qiēdōu fān liǎo shēn qiēdōu gāng gāng 'ān pái xià láide shí dài zài zhèng zhìjīng dào xīn děng fāng miàn de máo dùnxiǎo shuō tōng guò 'ān héng héng liè níng héng héng lún xiàn suǒ zhǎn shì liǎo fēng jiàn zhù jiā tíng guān de jiě dào de lún sàngtōng guò liè wén héng héng xiàn suǒ miáo huì chū běn zhù shì qīn nóng cūn hòu zhù jīng miàn lín wēi de qíng jǐngjiē shì chū zuò zhě zhí zhe tàn qiú chū de tòng xīn qíngér dào héng héng 'ào lǎng zhè yào xiàn suǒ qiǎo miào lián jié liǎng tiáo zhù xiànzài jiā tíng xiǎng shàng sān tiáo xiàn suǒ xiāng duì yìngcān zhàogòu chū sān zhǒng tóng lèi xíng de jiā tíng shì shēng huó fāng shìzuò zhě zhè zhǒng jiàn zhù xué 'ér háoyuán gǒng jiāng liǎng zuò shà lián jié tiān wúfèng,“ shǐ rén jué chá chū shénme fāng shì gǒng dǐng”。
   zhù rén gōng 'ān · liè shì shì jiè wén xué shǐ shàng zuì yōu měi fēng mǎn de xìng xíng xiàng zhī nèi xīn yàn de shēn gǎn qíng de qiáng liè zhēn zhì péng de shēng mìng bēi xìng mìng yùn 'ér kòu rén xīn xián
  
   ān chū xiàn shí de yīn róng xiào mào lìng rén nán wàng huái tài duān wēn shuāng nóng de jié máo yǎn yìng xià de yǎn jīng zhōngyòu bèi de shēng zài de liǎn shàng liú fǎng yòu zhǒng guò shèng de shēng mìng yáng zài de quán shēn xīnwéi fǎn de zhì”, zài yǎn shén wēi xiào zhōng xiǎn xiàn chū láizài zhè chū de xiào xiàng zhōng zhǎn xiàn liǎo 'ān de jīng shén měi shì men tàn jiū de shēng huó zhī ān zǎo shìzài bāo bàn xià jià gěi liǎo 'èr shí suì de guān liáo liè nínghūn hòu zài zōng xiǎng zhī pèi xià céng 'ān tiān mìngzhǐ shì quán gǎn qíng tuō zài 'ér shēn shàng lún huàn xǐng liǎo wǎn shú de 'ài qíng wàng yóu 'ér dǎn 'ài yuàn xiàng bié gōng jué rén yàng zài jiā yàn shàng gōng kāi jiē dài qíng rén yuàn jiē shòu zhàng de jiàn réng rán bǎo chí biǎo miàn de guān tōu tōu qíng rén wǎng láizhōng chōng chū jiā tíng lún jié gōng rán zhěng shàng liú shè huì duì kàngcóng 'ān shī liǎo guì zài shè jiāo jiè de qiē wèi quán chú liǎo lún de 'ài suǒ yòuyīn liè 'ér zhí zhe xiàn shēn zhè zhǒng 'àiquè shízài guó wàizài lún de zhuāng yuán ān céng yàn guò duǎn zàn de yuán liàng de xìng ”。 diū qīn de tiān zhídàn nèi xīn píng yīn shī 'ài 'ér chǎn shēng de bēi shāng xiǎng 'áng jiāo 'ào de tóuxuān chēng shì xìng de réndàn què bǎi tuō diào yòu zuì de de shí de líng hún zhí shòu dào zhé ér zhù zhì deyòu de duì lún de 'ài yòu néng dào xiāng yìng de gǎn qíng fǎn xiǎngān jué wàng liǎo zài lín zhōng qián mǎn hán yuàn fèn hǎn chū:“ qiē quán shì wěiquán shì huǎng yánquán shì piànquán shì zuì 'è。”
  
   ān de xíng xiàng zài zuò jiā chuàng zuò guò chéng zhōng yòu guò biàn huàcóng wèi de shī rén gǎi xiě chéng zhēn chéngyán nìngwéi suìbùwèi quán de xìngtuō 'ěr tài tōng guò 'ān de 'ài qíngjiā tíng bēi liǎo duì dāng shí dòng dàng de 'é guó shè huì zhōng rén de mìng yùn lún dào zhǔn de kǎozuò jiā sòng rén de shēng mìng zàn yáng rén xìng de yào qiútóng shí yòu jiān jué fǒu dìng qiē zhèng zhìshè huì huó dòngbāo kuò jiě fàng yùn dòngduì gǎi shàn rén men mìng yùn de zuò yòngqiáng diào qīn héng héng tiān zhí de zhòng yào xìngzuò jiā shì jiè guān de máo dùn gòu chéng 'ān xíng xiàng de xìng bǎi duō nián lái guó zuò jiā 'àn de jiě 'ān bān shàng táiyín yíng guāng píngān xíng xiàng zhí dòng zhe tóng shí dài tóng mín de zhězhè zhèng shuō míng 'ān xíng xiàng de shù shēng mìng shì xiǔ de
  
   liè wén
  
   liè wén shì tuō 'ěr tài shì zhù rén gōng zhōng chuán xìng bié qiáng de rén zài tuō 'ěr tài de chuàng zuò zhōng zhe chéng qián hòu de zuò yòngzài shēn shàng shù zài xiàn liǎo zuò jiā shì jiè guān biàn qián de xiǎng gǎn qíng shēng huó gǎn shòucóng jié gòu 'ān pái lái kànliè wén de xìng jiā tíng 'ān de xìng jiā tíng wéi duì zhàodàn cóng xiǎng tàn suǒ lái kànliè wén hūn hòu què chǎn shēng liǎo jīng shén wēi wéi guì jiē gān bài luò 'ér yōu xīn chōng chōng yán jiū láo dòng zài nóng shēng chǎn zhōng de zuò yòngzhì dìng liúxiě de mìngfāng 'àntàn tǎo rén shēng de mùdìdàn què háo chū luó màn · luó lán zhǐ chūliè wén jǐn xiàn liǎo tuō 'ěr tài kàn dài shì de bǎo shǒu yòu mín zhù de guān diǎnér qiěliè wén de liàn 'ài liǎ hūn hòu de tóu nián shēng huójiù shì zuò jiā jiā tíng shēng huó huí de bān yǎntóng yàngliè wén zhī shì tuō 'ěr tài de zhī de tòng zhuī ”。 ér zuò pǐn de wěi shēng shì zuò zhě běn rén xiàng jīng shén mìng de guò ”。
  《 ān · liè 》 - zhù xiǎng
  
   guān liè · tuō 'ěr tài yuán yòu shuō rèn wéi tuō 'ěr tài shì xiǎo shuō shǐ shàng zhēng zuì shǎo de zuò jiāzhè suǒ shuō de zhēng zuì shǎozhǐ de shì zài wén xué shǐ shàng de wèi jiù shì shuō huān huò huān tuō 'ěr tài de zuò pǐndàn rén néng gòu fǒu rèn zuò wéi wèi jié chū xiǎng jiā liú xiǎo shuō jiā de wèi
  
  《 ān · liè zài liè · tuō 'ěr tài de suǒ yòu zuò pǐn zhōngshì xiěde zuì hǎo de。《 zhàn zhēng píng gèng lán zhuàng kuògèng xióng wěigèng yòu shìdàn ān · liè me chún cuì me wán měishùn biàn shuō liè · tuō 'ěr tài bìng shì chū de wén jiādàn de wén de jīng měi xié lún zhè bìng fēi lái zuò zhě duì xiǎo shuō xiū qiǎo shù fāng shì de zhuī qiúér jǐn jǐn yuán shù shàng de zhí jué
  
   zàiān · liè zhè xiǎo shuō zhōngliè · tuō 'ěr tài zào liǎo duō zài wén xué shǐ shàng guāng máng shè de rén ān lún liè wén liè níngào làng gōng jué…… zài zhè xiē rén zhōngwéi zài shēng huó zhōng zuǒ yòu féng yuándài yòu diǎn cǎi de jiù shì 'ào làng gōng jué de rén wáng zhù yòu guān guǒ men jiǎn dān guī xiàzhè zuò pǐn zhù yào xiě liǎo liǎng shì shì 'ān lún cóng xiāng shí liàn dào huǐ miè de guò chéng wéi rào zhè jìn chéng de suǒ yòu shè huì guān de jiū 'èr shì liè wén de shì zài zōng jiào shàng de zhǎn kāi rén kǎo
  
   zhèng zhù míng de kāi chǎng bái suǒ xiǎn shì de yàngzuò zhě duì xiàn shí de kǎo shì jiā tíng hūn yīn wéi běn dān wèi 'ér zhǎn kāi dezhì shǎo shè dào liǎo zhǒng hūn yīn huò 'ài qíng 'àn liè níng ān lún ào làng liè wén měi 'àn wèi zhe zuì 'è zāinànān shì wéi jīng liǎo liǎng zhǒng tóng hūn yīn ( ài qíng ) xíng shì de rén zài zuò zhě suǒ de 'ān de xìng zhōng wéi qíng huó shì běn de nèi hánzhèng shì zhè zhǒng zhù de huó shǐ měi mào chún jié de xiāng xíng jiàn chùzhèng shì zhè zhǒng bèi huàn xǐng de qíng shǐ liè níng de hūn yīnshèn zhì bǎo wéi cháng de shè jiāo shēng huóshèn zhì bāo kuò hái xiè liáo shā 'àn rán shī
  
   zhè zhǒng qíng huó xiāng bàn 'ér lái de shì qiē de yǒng dāng xiǎo shuō zhōng xiě dào lún zài sài huì shàng shuāi xià láiān yīn shī shēng jiào 'ér bào liǎo " jiān qíng " zhī shíduì zhàng shuō chū xià miàn zhè duàn huà shì yào diǎn yǒng de,“ 'ài shì de qíng …… suí gāo xīng zěn me yàng chǔzhì 。” tuō 'ěr tài duì zhè zhǒng qíng zhēn shì tài shú liǎo men fáng xiǎng xiǎngzhàn zhēng píngzhōng de suō,《 huózhōng de qiū suōhái yòu zhé zuò zhě xīn zhōng de tóu qiáng zhuàng de xióng -- de páo xiào shēng zhí kùn rǎo zhe liè · tuō 'ěr tài
  
   dīng · 'ěr céng rèn wéituō 'ěr tài shì zuì dòng chá de zuò jiā de guāng shí fēn ruì néng gòu chuān tòu shēng huó de lěi 'ér xiàn yǐn hán zhōng de " zhēn shí "。 dàn què qīng xiàng rèn wéicóng gēn běn shàng lái shuōtuō 'ěr tài shì jiě guān niàn de zuò jiā guǎn shì zǎo hái shì wǎn zuò pǐnzhù shàng de lián shí fēn qīng yóu shìzhàn zhēng píng》、《 ān · liè liǎng zhù zhōng de rén qíng jiézhù duō yòu léi tóng zhī chù de guān niàn de jiāng bìng kuān guǎng de cái fēng dàn zhè bìng fáng 'ài tuō 'ěr tài de wěi zhèng sài wàn de xiá 'ài zhù bìng fáng 'àitáng de wěi yàngxiǎo shuō de zhēn shí lái de zhì huìmǐn gǎn 'ér hào hàn de xīn língér gèng wéi zhòng yào de shì de chéng shíwéi gēn tǎn zài wán · hòu céng gǎn kǎi shuō:“ ( tuō 'ěr tài ) shì zhēn zhèng de rén yòu quán xiě zuò。”
  
   tuō 'ěr tài ān · liè
  
     guān liè · tuō 'ěr tài yuán yòu shuō rèn wéi tuō 'ěr tài shì xiǎo shuō shǐ shàng zhēng zuì shǎo de zuò jiā jiě de zhè suǒ shuō de zhēng zuì shǎozhǐ de shì zài wén xué shǐ shàng de wèi jiù shì shuō huān huò huān tuō 'ěr tài de zuò pǐndàn rén néng gòu fǒu rèn zuò wéi wèi jié chū xiǎng jiā liú xiǎo shuō jiā de wèi
     zài de xué shēng zhōng jiānduì tuō 'ěr tài xiè de yòu rén zàiyòu pèng dào wèi xué shēng kàn de dǎo shī shì míng yòu xué wèn de 'é guó wén xué zhuān jiā zhī gāi shēng què duì 'ēn shī wéi mǎn chū shì fǒu zhuǎn dào de míng xiàràng gěi zhǐ dǎo wèn wèihé yào gēnghuàn dǎo shī biàn liè liǎo yuán dǎo shī de zuì zhuàng zhōng tiáo shì jìng rán ràng shénmeān · liè 》。 jiànzài zhè xiē yán chēng měi guó de xué shēng men de tóu nǎo zhōnglǎo tuō 'ěr tài xiǎn rán jīng shì zhōng yòng de dǒng liǎo duì shuōdǎo shī jiù huàn liǎoyīn wéi guǒ dāng de dǎo shī běn tuī jiàn de shū kǒng hái shìān · liè 》。
    《 ān · liè jǐn shì zuì huān de cháng piān xiǎo shuōér qiě rèn wéizài liè · tuō 'ěr tài de suǒ yòu zuò pǐn zhōng shì xiěde zuì hǎo de。《 zhàn zhēng píng gèng lán zhuàng kuògèng xióng wěigèng yòu shìdàn ān · liè me chún cuì me wán měishùn biàn shuō liè · tuō 'ěr tài bìng shì chū de wén jiādàn de wén de jīng měi xié lún zhè bìng fēi lái zuò zhě duì xiǎo shuō xiū qiǎo shù fāng shì de zhuī qiúér jǐn jǐn yuán shù shàng de zhí jué
     zàiān · liè zhè xiǎo shuō zhōngliè · tuō 'ěr tài zào liǎo duō zài wén xué shǐ shàng guāng máng shè de rén ān lún liè wén liè níngào làng gōng jué…… zài zhè xiē rén zhōngwéi zài shēng huó zhōng zuǒ yòu féng yuándài yòu diǎn cǎi de jiù shì 'ào làng gōng jué de rén wáng zhù yòu guān guǒ men jiǎn dān guī xiàzhè zuò pǐn zhù yào xiě liǎo liǎng shì shì 'ān lún cóng xiāng shí liàn dào huǐ miè de guò chéng wéi rào zhè jìn chéng de suǒ yòu shè huì guān de jiū 'èr shì liè wén de shì zài zōng jiào shàng de zhǎn kāi rén kǎo
     zhèng zhù míng de kāi chǎng bái suǒ xiǎn shì de yàngzuò zhě duì xiàn shí de kǎo shì jiā tíng hūn yīn wéi běn dān wèi 'ér zhǎn kāi dezhì shǎo shè dào liǎo zhǒng hūn yīn huò 'ài qíng 'àn liè níng ān lún ào làng liè wén měi 'àn wèi zhe zuì 'è zāinànān shì wéi jīng liǎo liǎng zhǒng tóng hūn yīn ( ài qíng ) xíng shì de rén zài zuò zhě suǒ de 'ān de xìng zhōng wéi qíng huó shì běn de nèi hánzhèng shì zhè zhǒng zhù de huó shǐ měi mào chún jié de xiāng xíng jiàn chùzhèng shì zhè zhǒng bèi huàn xǐng de qíng shǐ liè níng de hūn yīnshèn zhì bǎo wéi cháng de shè jiāo shēng huóshèn zhì bāo kuò hái xiè liáo shā 'àn rán shī
     zhè zhǒng qíng huó xiāng bàn 'ér lái de shì qiē de yǒng dāng xiǎo shuō zhōng xiě dào lún zài sài huì shàng shuāi xià láiān yīn shī shēng jiào 'ér bào liǎojiān qíngzhī shíduì zhàng shuō chū xià miàn zhè duàn huà shì yào diǎn yǒng de,“ 'ài shì de qíng …… suí gāo xīng zěn me yàng chǔzhì 。” tuō 'ěr tài duì zhè zhǒng qíng zhēn shì tài shú liǎo men fáng xiǎng xiǎngzhàn zhēng píngzhōng de suō,《 huózhōng de qiū suōhái yòu zhé zuò zhě xīn zhōng de tóu qiáng zhuàng de xióng héng héng de páo xiào shēng zhí kùn rǎo zhe liè · tuō 'ěr tài
     dīng · 'ěr céng rèn wéituō 'ěr tài shì zuì dòng chá de zuò jiā de guāng shí fēn ruì néng gòu chuān tòu shēng huó de lěi 'ér xiàn yǐn hán zhōng de " zhēn shí "。 dàn què qīng xiàng rèn wéicóng gēn běn shàng lái shuōtuō 'ěr tài shì jiě guān niàn de zuò jiā guǎn shì zǎo hái shì wǎn zuò pǐnzhù shàng de lián shí fēn qīng yóu shìzhàn zhēng píng》、《 ān · liè liǎng zhù zhōng de rén qíng jiézhù duō yòu léi tóng zhī chù de guān niàn de jiāng bìng kuān guǎng de cái fēng dàn zhè bìng fáng 'ài tuō 'ěr tài de wěi zhèng sài wàn de xiá 'ài zhù bìng fáng 'àitáng de wěi yàngxiǎo shuō de zhēn shí lái de zhì huìmǐn gǎn 'ér hào hàn de xīn língér gèng wéi zhòng yào de shì de chéng shíwéi gēn tǎn zài wán · hòu céng gǎn kǎi shuō:“ ( tuō 'ěr tài ) shì zhēn zhèng de rén yòu quán xiě zuò。”


  Anna Karenina (Russian: Анна Каренина; Russian pronunciation: [ˈanə kɐˈrʲenʲɪnə]) (sometimes Anglicised as Anna Karenin) 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 its editor Mikhail Katkov over issues that arose in the final installment; therefore, the novel's first complete appearance was in book form.
  
  Widely regarded as a pinnacle in realist fiction, Tolstoy considered Anna Karenina his first true novel, when he came to consider War and Peace to be more than a novel. The character of Anna was likely inspired, in part, by Maria Hartung (Russian spelling Maria Gartung, 1832–1919), the elder daughter of the Russian poet Alexander Pushkin.[citation needed] Soon after meeting her at dinner, Tolstoy began reading Pushkin's prose and once had a fleeting daydream of "a bare exquisite aristocratic elbow", which proved to be the first intimation of Anna's character.
  
  Although Russian critics dismissed the novel on its publication as a "trifling romance of high life", Fyodor Dostoevsky declared it to be "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".[citation needed] The novel is currently enjoying popularity as demonstrated by a recent poll of 125 contemporary authors by J. Peder Zane, published in 2007 in The Top Ten, which declared that Anna Karenina is the "greatest novel ever written".
  
  The title: 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. As 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) when designating a woman".
  
  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, while other translators like Constance Garnett and Rosemary Edmonds prefer the first solution.
  Main characters
  
   * Anna Arkadyevna Karenina – Stepan Oblonsky's sister, Karenin's wife and Vronsky's lover. She is also a minor character in War and Peace. [citation needed]
   * Count Alexei Kirillovich Vronsky – Lover of Anna
   * Prince Stepan Arkadyevitch Oblonsky ("Stiva") – a civil servant and Anna's brother.
   * Princess Darya Alexandrovna Oblonskaya ("Dolly") – Stepan's wife
   * Alexei Alexandrovich Karenin – a senior statesman and Anna's husband, twenty years her senior.
   * Konstantin Dmitrievitch Levin ("Kostya") – Kitty's suitor and then husband.
   * Nikolai Levin – Konstantin's brother
   * Sergius Ivanich Koznyshev – Konstantin's half-brother
   * Princess Ekaterina Alexandrovna Shcherbatskaya ("Kitty") – Dolly's younger sister and later Levin's wife
   * Princess Elizaveta ("Betsy") – Anna's wealthy, morally loose society friend and Vronsky's cousin
   * Countess Lidia Ivanovna – Leader of a high society circle that includes Karenin, and shuns Princess Betsy and her circle. She maintains an interest in the mystical and spiritual
   * Countess Vronskaya – Vronsky's mother
   * Sergei Alexeyitch Karenin ("Seryozha") – Anna and Karenin's son
   * Anna ("Annie") – Anna and Vronsky's daughter
   * Varenka – a young orphaned girl, semi-adopted by an ailing Russian noblewoman, whom Kitty befriends while abroad
  
  Plot summary
  
  The novel is divided into eight parts. The novel begins with one of its most quoted lines:
  “ Happy families are all alike; each unhappy family is unhappy in its own way. ”
  Part 1
  
  The novel opens with a scene introducing Prince Stepan Arkadyevitch Oblonsky, "Stiva", a Moscow aristocrat and civil servant who has been unfaithful to his wife Darya Alexandrovna, nicknamed "Dolly". Dolly has discovered his affair - with the family's governess - and the house and family are in turmoil. Stiva's affair and his reaction to his wife's distress shows an amorous personality that he cannot seem to suppress.
  
  In the midst of the turmoil, Stiva reminds the household that his married sister, 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.
  
  At the railway station to meet Anna, Stiva bumps into Vronsky. Vronsky is there to meet his mother. Anna and the Countess Vronskaya have travelled together in the same carriage and talked together. 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 is infatuated with Anna. Anna, who is uneasy about leaving her young son, Seryozha, alone for the first time, talks openly and emotionally to Dolly about Stiva's affair and convinces Dolly that her husband still loves her, despite his infidelity. Dolly is moved by Anna's speeches and decides to forgive Stiva.
  
  Dolly's youngest sister, Kitty, comes to visit her sister and Anna. Kitty, just 18, is in her first season as a debutante and 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 is infatuated with her. When Levin proposes to Kitty at her home, she clumsily turns him down, because she believes she is in love with Vronsky and that he will propose to her.
  
  At the ball, Vronsky pays Anna considerable attention, and dances with her, choosing her as a partner instead of Kitty, who is shocked and heartbroken. Kitty realises that Vronsky has fallen in love with Anna, and that despite his overt flirtations with her he has no intention of marrying her and in fact views his attentions to her as mere amusement, believing that she does the same.
  
  Anna, shaken by her emotional and physical response to Vronsky, returns at once to Saint 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 farm, abandoning any hope of marriage, and Anna returns to her husband Alexei Alexandrovich Karenin, a senior government official, and their son Sergei ("Seryozha") in Petersburg.
  Tatiana Samoilova as Anna in the 1967 Soviet screen version of Tolstoy's novel.
  
  On seeing her husband for the first time since her encounter with Vronsky, Anna realises that she finds him repulsive, noting the odd way that his ears press against his hat.
  Part 2
  
  The Shcherbatskys consult doctors over Kitty's health which has been failing since she realizes that Vronsky did not love her and that he did not intend to propose marriage to her, and that she refused and hurt Levin, whom she cares for, in vain. A specialist doctor advises that Kitty should go abroad to a health spa to recover. Dolly speaks to Kitty and understands that she is suffering because of Vronsky and Levin. Kitty, humiliated by Vronsky and tormented by her rejection of Levin, upsets her sister by referring to Stiva's infidelity and says she could never love a man who betrayed her.
  
  Stiva stays with Levin on his country estate when he makes a sale of a plot of land, to provide funds for his expensive city lifestyle. Levin is upset at the poor deal he makes with the buyer and his lack of understanding of the rural lifestyle.
  
  In St. Petersburg, Anna begins to spend more time with the fashionable socialite and gossip Princess Betsy and her circle, in order to meet Vronsky, Betsy's cousin. Vronsky continues to pursue Anna. Although Anna initially tries to reject him, she eventually succumbs to his attentions.
  
  Karenin warns Anna of the impropriety of paying too much attention to Vronsky in public, which is becoming a subject of society gossip. He is concerned about his and his wife'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 and she falls and breaks her back. Vronsky escapes with minimal injuries but is devastated that his mare must be shot. Anna tells him that she is pregnant with his child, and is unable to hide her distress when Vronsky falls from the racehorse. Karenin is also present at the races and remarks to her 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 off the affair to avoid society gossip and believes that their relationship can then continue as previously.
  
  Kitty goes with her mother to a resort at a German spa to recover from her ill health. There they meet the Pietist Madame Stahl and the saintly Varenka, her adopted daughter. Influenced by Varenka, Kitty becomes extremely pious, but is disillusioned by her father`s criticism. She then returns to Moscow.
  Part 3
  
  Levin continues his work on his large country estate, a setting closely tied to his spiritual thoughts and struggles. Levin 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 believes that the agricultural reforms of Europe will not work in Russia because of the unique culture and personality of the Russian peasant.
  
  Levin pays Dolly a visit, and she attempts to understand what happened between him and Kitty and to explain Kitty's behaviour to him. Levin is very agitated by Dolly's talk about Kitty, and he begins to feel distant from her as he perceives her 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 as she travels to Dolly's house makes Levin realise he still loves her.
  
  In St. Petersburg, Karenin crushes Anna by refusing to separate from her. He insists that their relationship remain as it was and threatens to take away their son Seryozha if she continues to pursue her affair with Vronsky.
  Part 4
  
  Anna continues to pursue her affair with Vronsky. Karenin begins to find the situation intolerable. He talks with a lawyer about obtaining a divorce. In Russia at that time, divorce 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) or that the guilty party was discovered in the act. Karenin forces Anna to give him some letters written to her by Vronsky as proof of the affair. However, Anna's brother Stiva argues against it and persuades Karenin to speak with Dolly first.
  
  Dolly broaches the subject with Karenin and asks him to reconsider his plans to divorce Anna. She seems to be unsuccessful, but Karenin changes his plans after hearing that Anna is dying after a difficult childbirth. At her bedside, Karenin forgives Vronsky. Vronsky, embarrassed by Karenin's magnanimity, attempts suicide by shooting himself. He fails in his attempt but wounds himself badly.
  
  Anna recovers, having given birth to a daughter, Anna ("Annie"). Although her husband has forgiven her, and has become attached to the new baby, Anna cannot bear living with him. She hears that Vronsky is about to leave for a military posting in Tashkent and becomes desperate. Stiva finds himself pleading to Karenin on her behalf to free her by giving her a divorce. Vronsky is intent on leaving for Tashkent, but changes his mind after seeing Anna.
  
  The couple leave for Europe - leaving behind Anna's son Seryozha - without obtaining a divorce.
  
  Much more straightforward is Stiva's matchmaking with Levin: he arranges a meeting between Levin and Kitty which results in their reconciliation and betrothal.
  Part 5
  
  Levin and Kitty marry and immediately go to start their new life together on Levin's country estate. The couple are happy but do not have a very smooth start to their married life and take some time to get used to each other. Levin feels some dissatisfaction at the amount of time Kitty wants to spend with him and is slightly scornful of her preoccupation with domestic matters, which he feels are too prosaic and not compatible with his romantic ideas of love.
  
  A few months later, Levin learns that his brother Nikolai is dying of consumption. Levin wants to go to him, and is initially angry and put out that Kitty wishes to accompany him. Levin feels that Kitty, whom he has placed on a pedestal, should not come down to earth and should not mix with people from a lower class. Levin assumes her insistence on coming must relate to a fear of boredom from being left alone, despite her true desire to support her husband in a difficult time. Kitty persuades him to take her with him after much discussion, where she proves a great help nursing Nikolai for weeks over his slow death. She also discovers she is pregnant.
  
  In Europe, Vronsky and Anna struggle to find friends who will accept their situation. Whilst Anna is happy to be finally alone with Vronsky, he feels suffocated. They cannot socialize with Russians of their own social set and find it difficult to amuse themselves. Vronsky, who believed that being with Anna in freedom 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. Vronsky cannot see that his own art lacks talent and passion, and that his clever conversation about art is an empty shell. Bored and restless, Anna and Vronsky decide to return to Russia.
  
  In Petersburg, Anna and Vronsky stay in one of the best hotels but take separate suites. It becomes clear that whilst Vronsky is able to move in Society, Anna is barred from it. Even her old friend, Princess Betsy - who has had affairs herself - evades her company. Anna starts to become very jealous and anxious that Vronsky no longer loves her.
  
  Karenin is comforted – and influenced – by the strong-willed Countess Lidia Ivanovna, an enthusiast of religious and mystic ideas fashionable with the upper classes. She counsels him to keep Seryozha away from Anna and to make him believe that his mother is dead. However, Seryozha refuses to believe that this is true. Anna manages to visit Seryozha unannounced and uninvited on his ninth birthday, but is discovered by Karenin.
  
  Anna, desperate to resume at least in part her former position in Society, attends a show at the theatre at which all of Petersburg's high society are present. Vronsky begs her not to go, but is unable to bring himself to explain to her why she cannot go. 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 Petersburg, Anna and Vronsky leave for Vronsky's country estate.
  Part 6
  
  Dolly, her mother the Princess Scherbatskaya, and Dolly's children spend the summer with Levin and Kitty on the Levins' country estate. The Levins' life is simple and unaffected, although Levin is uneasy at the "invasion" of so many Scherbatskys. He is able to cope until he is consumed with an intense jealousy when one of the visitors, Veslovsky, flirts openly with the pregnant Kitty. Levin tries to overcome his jealousy but eventually succumbs to it and in an embarrassing scene evicts Veslovsky from his house. Veslovsky immediately goes to stay with Anna and Vronsky, whose estate is close by.
  
  Dolly also pays a short visit to Anna at Vronsky's estate. The difference between the Levins' aristocratic but simple home life and Vronsky's overtly luxurious and lavish country home strikes Dolly, who is unable to keep pace with Anna's fashionable dresses or Vronsky's extravagant spending on the hospital he is building. However, all is not quite well with Anna and Vronsky. Dolly is also struck by Anna's anxious behaviour and new habit of half closing her eyes when she alludes to her difficult position. When Veslovsky flirts openly with Anna, she plays along with him even though she clearly feels uncomfortable. Vronsky makes an emotional request to Dolly, asking her to convince Anna to divorce her husband so that the two might marry and live normally. Dolly broaches the subject with Anna, who appears not to be convinced. However, Anna is becoming intensely jealous of Vronsky, and cannot bear it when he leaves her for short excursions. The two have started to quarrel about this and when Vronsky leaves for several days of provincial elections, a combination of boredom and suspicion convinces Anna she must marry him in order to prevent him from leaving her. She writes to Karenin, and she and Vronsky leave the countryside for Moscow.
  Part 7
  
  The Levins are in Moscow for Kitty's confinement. Despite initial reservations, Levin quickly gets used to the fast-paced, expensive and frivolous Moscow society life. He starts to accompany Stiva to his Moscow gentleman's club, where drinking and gambling are popular pastimes. At the club, Levin meets Vronsky and Stiva introduces them. 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 uneasy about the visit and not sure it is the proper thing to do, and Anna easily puts Levin under her spell. When he confesses to Kitty where he has been, she accuses him falsely of falling in love with Anna. The couple are reconciled, realising that Moscow life has had a negative, corrupting effect on Levin.
  
  Anna, who has made a habit of inducing the young men who visit her to fall in love with her, cannot understand why she can attract a man like Levin, who has a young and beautiful new wife, but cannot attract Vronsky in the way she wants to. Anna's relationship with Vronsky is under increasing strain, as whilst he can move freely in Society - and continues to spend considerable time doing so to stress to Anna his independence as a man - she is excluded from all her previous social connections. She is estranged from baby Annie, her child with Vronsky and her increasing bitterness, boredom, jealousy and emotional strain cause the couple to argue. Anna uses morphine to help her sleep, a habit we learned she had begun during her time living with Vronsky at his country estate. Now she has become dependent on it.
  
  After a long and difficult labour, Kitty gives birth to a son, Dmitri, nicknamed Mitya. Levin is both extremely moved and horrified by the sight of the tiny, helpless baby.
  
  Stiva visits Karenin to encourage his commendation for a new post he is seeking. During the visit he asks him to grant Anna a divorce, but Karenin's decisions are now governed by a French "clairvoyant" – recommended by Lidia Ivanovna – who apparently has a vision in his sleep during Stiva's visit, and gives Karenin a cryptic message that is interpreted as meaning 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, and of giving in to his mother's plans to marry him off to a rich Society woman. There is a bitter row, and Anna believes that 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 pays a visit to Dolly and Kitty. Anna's confusion overcomes her, and in a parallel to the railway worker's accidental death in part 1, she commits suicide by throwing herself in the path of a train.
  Part 8
  
  Stiva gets the job he desired so much, and Karenin takes custody of baby Annie. A group of Russian volunteers, including Vronsky, who does not plan to return alive, 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 outside, causing him to fear for the safety of both of them, and to realize that he does indeed love his son similarly to how he loves Kitty. Also, Kitty's family concerns, namely, that a man as altruistic as her husband does not consider himself to be a Christian, are also addressed when Levin decides after talking to a peasant that devotion to living righteously as decreed by the Christian God is the only justifiable reason for living. After coming to this decision, but without telling anyone about it, he is initially displeased that this change of thought does not bring with it a complete transformation of his behavior to be more righteous. However, at the end of the book he comes to the conclusion that this fact, and the fact that there are other religions with similar views on goodness that are not Christian, are acceptable and that neither of these things diminish the fact that now his life can be meaningfully oriented toward goodness.
  Style
  
  Tolstoy's style in Anna Karenina is considered by many critics to be transitional, forming a bridge between the realist and modernist novel. The novel is narrated from a third-person-omniscient perspective, shifting between the perspectives of 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 relaxed voice when following Stepan Oblonsky's thoughts and actions and a much more tense 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 similar social functions to those which Tolstoy attended, and he includes in these passages his own observations of the ideologies, behaviors, and ideas running through 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.[citation needed]
  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. Translator Rosemary Edmonds wrote that Tolstoy doesn't explicitly moralise in the book, he allows his themes to emerge naturally from the "vast panorama of Russian life." She also writes that a key message is that "no one may build their happiness on another's pain," which is why things don't work out for Anna.
  
  Levin is often considered as a semi-autobiographical portrayal of Tolstoy's own beliefs, struggles and life events. 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 Sophie 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 Sophie Behrs.
  Anna Karenina and Tolstoy's A Confession
  Alla Tarasova as Anna Karenina in 1937
  
  Many of the novel's themes can also be found in Tolstoy's A Confession, his first-person rumination about the nature of life and faith, written just two years after the publication of Anna Karenina.
  
  In this book, Tolstoy describes his dissatisfaction with the hypocrisy of his social class:
  “ Every time I tried to display my innermost desires – a wish to be morally good – I met with contempt and scorn, and as soon as I gave in to base desires I was praised and encouraged. ”
  
  Tolstoy also details the acceptability of adulterous "liaisons" in aristocratic Russian society:
  “ A dear old aunt of mine, the purest of creatures, with whom I lived, was always saying that she wished for nothing as much as that I would have a relationship with a married woman. "Rien ne forme un jeune homme comme une liaison avec une femme comme il faut." ("Nothing educates a young man better than an affair with a woman established in society.") ”
  
  Another theme in Anna Karenina is that of the aristocratic habit of speaking French instead of Russian, which Tolstoy suggests is another form of society's falseness. When Dolly insists on speaking French to her young daughter, Tanya, she begins to seem false and tedious to Levin, who finds himself unable to feel at ease in her house.
  
  In a passage that could be interpreted as a sign of Anna's eventual redemption in Tolstoy's eyes, the narrator explains:
  “ For in the end what are we, who are convinced that suicide is obligatory and yet cannot resolve to commit it, other than the weakest, the most inconsistent and, speaking frankly, the most stupid of people, making such a song and dance with our banalities? ”
  
  A Confession contains many other autobiographical insights into the themes of Anna Karenina. A public domain version of it is here.
  Film, television, and theatrical adaptations
  For more details on this topic, see Adaptations of Anna Karenina.
  
   * Operas based on Anna Karenina have been written by Sassano (Naples, 1905), Leoš Janáček (unfinished, 1907), Granelli (1912), E. Malherbe (unperformed, 1914), Jeno Hubay (Budapest, 1915), Robbiani (Rome, 1924), Goldbach (1930), Iain Hamilton (London, 1981) and David Carlson (Miami, 2007).
   * Love, a 1927 silent film based loosely on the novel. The film starred Greta Garbo and John Gilbert.
   * Anna Karenina, a critically acclaimed 1935 film, directed by Clarence Brown. The film stars Greta Garbo, Fredric March, and Maureen O'Sullivan.
   * Anna Karenina, a 1948 film directed by Julien Duvivier with Vivien Leigh, Ralph Richardson and Kieron Moore.
   * "MGM Theater Of The Air - Anna Karenina (Radio Broadcast)" (Broadcast 12/09/1949; on American radio, starring Marlene Dietrich
   * "Nahr al-Hob" (or River of Love; 1960; an Egyptian movie starring Omar Sharif and Faten Hamama
   * Anna Karenina, a 1967 Russian film directed by Aleksandr Zarkhi and starring Tatyana Samojlova, Nikolai Gritsenko and Vasili Lanovoy.
   * Anna Karenina (1968) a ballet composed by Rodion Shchedrin
   * Anna Karenina, a 1977 TV version in ten episodes. Made by the BBC it was directed by Basil Coleman and starred Nicola Pagett, Eric Porter and Stuart Wilson.
   * Anna Karenina, a 1985 TV film directed by Simon Langton and starring Jacqueline Bisset, Paul Scofield and Christopher Reeve.
   * Anna Karenina, a 1992 Broadway musical starring Ann Crumb and John Cunningham
   * Anna Karenina, a 1997 British-American production filmed in St. Peterburg, Russia, by director Bernard Rose with Sophie Marceau as Anna Karenina.
   * Anna Karenina, a 2000 TV version in four episodes. It was directed by David Blair and starred Helen McCrory, Stephen Dillane and Kevin McKidd.
   * Anna Karenina a 2005 ballet with choreography by Boris Eifman and music drawn from the works of Pyotr Ilyich Tchaikovsky.
  
  Anna Karenina in literature
  
   * Quirk Classics transformed Anna Karenina into the book 'Android Karenina' (other past transformations have included 'Pride and Prejudice and Zombies' and 'Sense and Sensibility and Sea Monsters')
   * The novel is referenced in Vladimir Nabokov's Ada or Ardor: A Family Chronicle.
   * Repeated reference is made explicitly to Leo Tolstoy and Anna Karenin in Muriel Barbery's Elegance of the Hedgehog
   * Anna Karenina is also mentioned in R. L. Stine's Goosebumps series Don't Go To Sleep.
   * Mikhail Bulgakov makes reference to the Oblonsky household and Tolstoy in The Master and Margarita.
   * In Jasper Fforde's novel Lost in a Good Book, a recurring joke is two unnamed "crowd-scene" characters from Anna Karenina discussing its plot.
   * In the short-story "Sleep" by Haruki Murakami, the main character, an insomniac housewife, spends much time reading through and considering "Anna Karenina". Furthermore, in the short story "Super-Frog Saves Tokyo", by the same author, the character of Frog references "Anna Karenina" when discussing how to beat Worm.
   * Martin Amis's character Lev, in the novel House of Meetings, compares the protagonist with Anna Karenina's Vronsky.
   * In the novel The Unbearable Lightness of Being Anna Karenina is compared with the novel like beauty of life, and Tereza arrives at Tomas's apartment with a copy of the book under her arm. In addition, Tereza and Tomas have a pet dog named Karenin, after Anna's husband.
   * In the novel What Happened to Anna K. Irina Reyn loosely transfers the Anna Karenina story to a setting in modern-day New York City.
   * Anna Karenina plays a central role in Nilo Cruz's Pulitzer Prize-winning play Anna in the Tropics (2002), set in 1929, as a new lector, Juan Julian, reads the text as background for cigar rollers in the Ybor City section of Tampa, FL. As he reads the story of adultery, the workers' passions are inflamed, and end in tragedy like Anna's.
   * In "The Slippery Slope", the 10th book in A Series of Unfortunate Events by Lemony Snicket, the Baudelaire orphans Violet, Klaus and the third Quagmire triplet Quigley need to use the central theme of "Anna Karenina" as the final password to open the Vernacularly Fastened Door leading to the V.F.D. Headquarters. Klaus remembered how his mother had read it to him one summer when he was young as a summer reading book. Klaus summarized the theme with these words: "The central theme of Anna Karenina is that a rural life of moral simplicity, despite its monotony, is the preferable personal narrative to a daring life of impulsive passion, which only leads to tragedy." Esme Squalor later said she once was supposed to read the book over the summer, but she decided it would never help her in her life and threw it in the fireplace.
   * Guns, Germs, and Steel (by Jared Diamond) has a chapter (#9) on the domestication of large mammals, titled "Zebras, Unhappy Marriages, and the Anna Karenina Principle." This chapter begins with a variation on the quote, above.
   * in Nicholas Sparks's book The Last Song, the main character, Ronnie, reads Anna Karenina and other Tolstoy books throughout the story.
  
  Further reading
  Translations
  
   * Anna Karenina, Translated by Constance Garnett. Still widely reprinted.
   * Anna Karenina, Translated by Richard Pevear and Larissa Volokhonsky (Allen Lane/Penguin, London, 2000)
   * Anna Karénina, Translated by Margaret Wettlin (Progress Publishers, 1978)
   * Anna Karenina, Translated by Joel Carmichael (Bantam Books, New York, 1960)
   * Anna Karenina, Translated by David Magarshack (A Signet Classic, New American Library, New York and Scarborough, Ontario, 1961)
   * Anna Karenina, Translated by Louise and Aylmer Maude (Oxford University Press, Oxford, 1918)
   * Anna Karenin, Translated by Rosemary Edmonds (Penguin Classics, Harmondsworth, Middlesex, 1954)
   * Anna Karénina, Translated by Nathan Haskell Dole (Thomas Y. Crowell & Co., New York, 1886)
   * Anna Karenina, Translated by Kyril Zinovieff (Oneworld Classics 2008) ISBN 978-1-84749-059-9
  
  Biographical and literary criticism
  
   * Bakhtin, Mikhail, The Dialogic Imagination, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (University of Texas Press, Austin, 1981)
   * Bayley, John, Tolstoy and the Novel (Chatto and Windus, London, 1966)
   * Berlin, Isaiah, The Hedgehog and the Fox: An Essay on Tolstoy's View of History (Simon and Schuster, New York, 1966; Weidenfeld and Nicolson, London, 1967)
   * Eikhenbaum, Boris, Tolstoi in the Seventies, trans. Albert Kaspin (Ardis, Ann Arbor, 1982)
   * Evans, Mary, Anna Karenina (Routledge, London and New York, 1989)
   * Gifford, Henry, Tolstoy (Oxford University Press, Oxford, 1982)
   * Gifford, Henry (ed) Leo Tolstoy (Penguin Critical Anthologies, Harmondsworth, 1971)
   * Leavis, F. R., Anna Karenina and Other Essays (Chatto and Windus, London, 1967)
   * Mandelker, Amy, Framing 'Anna Karenina': Tolstoy, the Woman Question, and the Victorian Novel (Ohio State University Press, Columbus, 1993)
   * Morson,Gary Saul, Anna Karenina in our time: seeing more wisely (Yale University Press 2007) read parts at Google-Books
  
   * Nabokov, Vladimir, Lectures on Russian Literature (Weidenfeld and Nicolson, London and Harcourt Brace Jovanovich, New York, 1981)
   * Orwin, Donna Tussing, Tolstoy's Art and Thought, 1847-1880 (Princeton University Press, Princeton, 1993)
   * Speirs, Logan, Tolstoy and Chekhov (Cambridge University Press, Cambridge, 1971)
   * Strakhov, Nikolai, N., "Levin and Social Chaos", in Gibian, ed., (W.W. Norton & Company New York, 2005).
   * Steiner, George, Tolstoy or Dostoevsky: An Essay in Contrast (Faber and Faber, London, 1959)
   * Thorlby, Anthony, Anna Karenina (Cambridge University Press, Cambridge and New York, 1987)
   * Tolstoy, Leo, Correspondence, 2. vols., selected, ed. and trans. by R. F. Christian (Athlone Press, London and Scribner, New York, 1978)
   * Tolstoy, Leo, Diaries, ed. and trans. by R. F. Christian (Athlone Press, London and Scribner, New York, 1985)
   * Tolstoy, Sophia A., The Diaries of Sophia Tolstoy, ed. O. A. Golinenko, trans. Cathy Porter (Random House, New York, 1985)
   * Turner, C. J. G., A Karenina Companion (Wilfrid Laurier University Press, Waterloo, 1993)
   * Wasiolek, Edward, Critical Essays on Tolstoy (G. K. Hall, Boston, 1986)
   * Wasiolek, Edward, Tolstoy's Major Fiction (University of Chicago Press, Chicago, 1978)
qián yán
  《 ān · liè níng shì wén xué zhōng shì de guī bǎo shì shì jiè shù bǎo zhōng cuǐ càn duó mùdì míng zhū
   xiǎo shuō zhōng yòu liǎng tiáo píng xíng de xiàn suǒdāng shí yòu rén shuō méi yòujiàn zhù shù”, yòu rén shuō shìliǎng xiǎo shuō”。 zuò zhě wěi wǎn jué liǎo zhè xiē píng shuōgāi shū jié gòu zhī miào zhèng zài yuán gǒng xián jiē tiān wúfèng héng héng liǎng tiáo xiàn suǒ yòunèi zài de lián ”。 duì zhòng shuō fēn yún kànzhǐ de shì yòu tǒng de zhù dāng shí běn zhù xùn měng zhǎn dài lái dezuò zhě suǒ rèn wéi de zāinàn xìng de hòu guǒ fāng miàn shì guì shòu chǎn jiē xiǎng qīn shízài jiā tínghūn yīn děng dào lún guān niàn fāng miàn shēng liè biàn huàjuàn shǒuào lóng jiā qiēdōu hùn luàn liǎo yòu xiàng zhēng lìng fāng miàn shì nóng shòu běn zhù huàiguó jiā miàn lín jīng zhǎn de dào wèn jiù shì liè wén shuō de:“ qiēdōu fān liǎo shēn qiēdōu gāng gāng kāi shǐ 'ān pái。” 'ān wéi zhōng xīn de xiàn suǒbāo kuò 'ào lóng liè níng lóng zhì xiè 'ěr děng jiā liè wén de xiàn suǒfēn bié biǎo xiàn liǎo zhè liǎng fāng miàn de wèn
   xiàn piān xià miàn zhǐ jiǎn dān tán tán nán liǎng wèi zhù rén gōng yòu guān chuàng zuò shù de diǎn kàn
   xiǎo shuō 'ān · liè níng mìng míng de xíng xiàng zài xiǎo shuō zhōng què shí zhōng xīn de wèi zhìān jǐn tiān shēng zhìguāng yàn duó rénér qiě chún zhēnchéng shíduān zhuāngcōng huìhái yòu 'ér yòu shī de nèi xīn shì jiè”。 shì rén shūnián qīng shí yóu zuò zhùjià gěi tóu nǎo jiāng huà xiǎng bǎo shǒu wěi chéng xìng bìng qiě méi yòu huó rén gǎn qíng de guān liáo liè níngzài hūn hòu nián jiān céng 'ài zhàng 'ér ér xiàn zài yóu shì fēng biàn”, hūn yīn yóu de xiǎng liǎo zhè jǐng zhī shuǐ de lán lóng de xiè hòuchóngxīn huàn xǐng liǎo duì shēng huó de zhuī qiú yàoshēng huó”, jiù shì yào 'ài qíng zhōng kuà yuè liǎo jiào de fán zuò wéi hūn de duān zhuāng de yào kuà chū zhè yào yòu hěn de jué xīn yǒng suī zài dāng shí shàng liú shè huì tōng kōng jiàn guàn liǎodàn de yǒng zhù yào zài yuàn chǐ de guì tóng liú yuàn xiàng men yàng cháng piàn zhàng rán 'ài mèi de guān gōng kāizhè chì xiàng shàng liú shè huì tiǎo zhàncóng 'ér jiàn róng shàng liú shè huìtóng shí shòu dào liè níng de cán bào dāyìng hūnyòu ràng qīn jìn 'ài rán zhēngzhácéng wéi 'ài qíng 'ér shēng 'ài zhè 'ài qíng yòu chéng liǎo jìng huā shuǐ yuè zhōng yuè lái yuè shēn xiàn bēi de mìng yùn
   guòsuī shuō zào chéng de bēi de shì bāo kuò liè níng lóng zài nèi de shàng liú shè huìān zuò wéi bēi rén běn shēn shì méi yòuguò cuò”; zài shuō de xìng hòu lái hái shēng liǎo lìng rén wǎn de biàn huàzhè wèi liú wáng shì de hòu shòu shí dài de 'ér gǎn wéishēng huóér tóng shè huì kàng zhēngdàn què wèi néng wán quán zhèng tuō jiù xiǎng shí de zhì jǐn zài duì liè níng huái yòu zuì gǎnér qiě néng duàn tóng shàng liú shè huì de xuè yuán guān yīn jiàn zhú 'ér gǎn dào róngshí shàng méi yòu zhēn zhèng xué huì 'àitóng lóng de jiàn zhōng qíng yīn kāng kǎi hǎo shīzhù yào què shì qīng xīn de biǎofēng chū wàng shèng de shēng mìng de yào qiúbìng gòng tóng de xiǎng gǎn qíngzhè zhǒng 'ài qíng shì máng mùdìshí shàng jīhū quán shì qíng ér qíng shì nán chí jiǔ de lóng chū shí wèile róng xīn 'ér liè zhú yīn 'ān de zhēn zhì de 'ài 'ér biàn yán zhuān dàn jiǔ jiù yīn gōng míng zhī xīn de dòng 'ér yàn ér 'ān 'ài qíng dāng zuò zhěng shēng huóchén zhōngyào lóng zhāoxī shǒu shèn zhì gān wéi de tiáo jiàn de ”。 shì de jīng shén pǐn zhì jiàn jiàn shī liǎo guāng cǎiwèile chóngxīn huàn lóng de 'àijìng de mèi biān zhìài qíng de wǎng”, bìng qiě zhú jiàn guàn wěi piàn de jīng shén”。 zuì hòu de 'ài yuè lái yuè zhì zài mǎn shí biàn chéng liǎo hèn guò men néng yīn 'ér bèi 'ān zhī shēng huó zài shǐ de zhuǎn zhé shí guǒ shuō tóng shè huì de wài zài máo dùnshì yóu xīn shì shòu jiù shì zhì me shēn de máo dùn shì xīn méng de shí wèi néng zhàn shèng gēn shēn de jiù shí kuàng dāng shí néng dài jiù de dào guān niàn de xīn guān niàn shàng wèi xíng chéngyīn shuō shēn shàng zhōng liǎo shí dài de zhǒng máo dùn de shācóng zhù guān shàng shuō shì xún qiú jiě tuō shì duì lóng de bào duì shàng liú shè huì de guān shàng shì yóu zhōng liǎo zhǒng shí dài de máo dùn 'ér cóng 'ér miǎn chéng wéi zhè zhuǎn zhé shí tán de shēngzhè zhǒng rán xìng biǎo míng liǎo 'ān bēi de shēn
   liè wén shì shēn máo dùn de rén shì bǎo de gōng tíng guì què chū shēn shì guì 'ér háo mǎn shàng liú shè huì de huāng yín wěiquè rèn wéi shē chǐ shì guì de běn fēn fǎn duì nóng zhì degùn zhì nóng mínquè yòu xiàng wǎng guì de fēng jiù yàn 'è běn zhù bìng fǒu dìng běn zhù zài zhǎn de rán xìngdàn de nóng jīng yíng xiǎn rán shì běn zhù fāng shì duàn yán chǎn jiē suǒ de shì zhī cái”, ér què láo dòng zhě jìn xíngcán dedǒu zhēngzhè xiē zhèng shì zhè wèiyòu xīn líng”、 yòu dào gǎn qíng de guì zài shǐ zhuǎn zhé shí 'ér bèi duì shǐ zhǎn suǒ rán chǎn shēng de xiǎng máo dùn
   'ān tóngliè wén shuō shì huò liǎo zhēn zhèng de 'ài qíng jiā tíng de xìng rán 'érliáng xīn de tòng zài zhé zhe zài tóng rén mín pín kùn duì xià shēn shēn bào yòu zuì gǎnzhǐ shì tóng bān de chàn huǐ guì tàn suǒ tóng rén mín jiē jìn de dào bìng tàn suǒ tōng guò liúxiě de dào nóng mín zuògòng tóng de dào zhè zhǒng shǐ wéi xīn zhù de huàn xiǎng zài cán de xiàn shí miàn qián miè liǎo zhuǎn 'ér huái shēng cún de cóng shè huì jīng de tàn suǒ zhuànxiàng xiǎng dào de tàn suǒyào zài zhǒng zhé xué zōng jiào zhōng xún qiú 'ànquè háo suǒ huòshī wàng zhī shèn zhì yào shā lái jiě tuōzuì hòu cóng zōng zhì nóng mín dào shìyàowéi líng hún 'ér huó zhe”。 de 'ān de xīn líng dào liǎo guī dàn zhè guī chún rán shì kōng xiǎng zhù shí máo dùn de jiě juézhǐ guò shì xīn líng bēi de zuì liǎoqīng xǐng de xiàn shí zhù shǐ zuò zhě zài zhè xiǎo shuō shā zhù guǒ qíng jié zài cháo qián jìn zhǎnrén huì cóng zuì zhōng xǐng guò láixīn líng de bēi dìng zhào jiù zài miàn qián zhǎn kāi
   zhè liǎng wèi zhù rén gōng xiāng lián de zài men zhè liǎng tiáo xiàn suǒ shàng de xiē yào de rén shì bàn suí zhe men chū chǎng bìng wéi rào men 'ér huó dòng de 'ān héng liè níng 'ān héng lóng xiāng lián dezhù yào shì bǎo shàng liú shè huì de sān juàn jūn jiè de mǒu xiē guì liè wén xiāng lián dezhù yào shì wài shěng guì zhùnóng mín bié shāng rén bān shuō láiān zhè tiáo xiàn suǒ shàng de rén duō shè dào lún wèn liè wén zhè tiáo xiàn suǒ shàng de rén duō shè shè huì jīng wèn dāng ránliǎng zhě jiān yòu shí xiāng jiāo chāzhè xiē rén jué jǐn shì liǎng wèi zhù rén gōng de péi chèn huò duì zhào ér qiě cháng cháng qián jǐngzài qíng jié zhōng zhàn yòu xiāng dāng zhòng yào de wèi zhìzhèng shì lài yòu menzuò pǐn cái chāo chū jiā tíng guān de fàn wéi jiā tíng xiǎo shuō de kuàng jiàchéng wéi zuò zhě suǒ shuō denèi róng guǎng fàn de yóu de xiǎo shuō”, cóng 'ér chéng wéi guǎng fàn fǎn yìng shí jiǔ shì liù shí nián dài shè huì shēng huó de shǐ shī xìng jié zuò
   jiù shù lái shuō,《 ān · liè níng què shí lìng rén tàn wéi guān zhǐ de róng jiān xiāng yìng de liǎng tiáo xiàn suǒ de jié gòuzhàn zhēng píngzhī hòuyòu chéng wéibèi 'ōu zhōu xíng shì”、 zhǎo dàoxīn de kuàng jiàde shì zhī zuòzài zhè xiǎo shuō de měi chǎng miànměi chāqǔměi huà miàn bān zhǐ shìbèi jǐnghuò 'ǒu rán de jǐng”, ér shì zhěng de yòu fēnzhè xiǎn shì chū jié gòu de yán xìng wán zhěng xìng
   shū zhōng de rén xìng diǎn xíng xìng zhōng jiàn xìngdàn zhè me shuō wèi miǎn jiǎn dān liǎo xiē jǐn 'ào lóng lóng liè níng děng xíng xiàng fēng mǎnxiān míngshēng dòng zhī chūjiù lián liáo liáo huà chéng de chā shì rén liè guì zhù bǎo shè jiāo jiè de zài gèng yòng shuō máo dùn 'ér yòu wán zhěng de 'ān liǎoān zhè xíng xiàng zài shì jiè wén xué zhōng shǐ shuō lún kǒng hǎn yòu chóu zhè xiē rén suī shì jīng diāo zhuódàn xiàng gōng huà yàng dài yòu jiàng zuò zhě shǐ yòng lěi de fāng ”, bìng fēi xiè píng jiè yòu de shùér shì tōng guò zhí jiē guān chá zhě de yǎn guāng huò gǎn shòu lái miáo xiě 'ān xiān hòu zài lóng liè níngliè wén luó děng rén xīn zhōngfēn bié chéng xiàn de miànzhèng shì zhè xiē tóng de miàn lěichéng de zhì duō jiǎo de xíng xiàngtóng shízhè xiē zhí jiē guān chá zhě yóu zhù guān de tóng de jiǎo kàn dào de tóng miàn zhě zhēn shíyóu zuò zhě zhì gěi zhě liú xià guǎng kuò xiǎng xiàng de yòu gěi zhè xíng xiàng méng shàng liǎo céng guān shàng zēng tiān liǎo de xìngtuō 'ěr tài hái cóng jìn zhǎn zhōng huà xìng guòào lóng liè wén děng shì yòu pǐn zhì de zhú jiàn zhǎn shìān lóng de xìng shì zhǎn biàn huà de
  《 ān · liè níng shì wán quán shàng de xīn xiǎo shuō jǐn rén de nèi xīn shēng huó miáo xiě chōng fēnjiù shì rén jiān de chōng dōushì xīn shàng dehuò shì tōng guò xīn lái biǎo xiàn deyīn quán shū xīn miáo xiě de hěn suī bān shǐ yòng chuán tǒng shǒu zuò zhě jiànjiē shù huò yóu rén de yándòng zuò huò biǎo qíng děng zhí jiē biǎo xiàndàn shí fēn zǒng shì zài dòng tài zhōng xiě xīn guò chéng bān shì zhǎn shì guò chéng zhōng de měi huán jié huò měi héng duàn miàn rén nèi xīn de měi chàn dòng xiǎn xiàn chū láizhè xiē guò chéng bān shì zhí xiàn shì deér zhé fǎn shì xún huánér shì luó xuán xíng de jìn zhǎnyīn lìng rén gǎn dào de shì fán léizhuìér shì shēn ér zài shǎo chǎng rén xīn hái shì qián hòu jié rán xiāng fǎn dejiè yòng píng jiā jīn de shù lái shuōshìduì huàshì dezhè zhǒngduì huàyòu shí biǎo xiàn jiào cháng de xīn guò chéng de shǐ zhōngshì zhú jiàn biàn huà de jiēguǒyòu shí shì rán zhuǎn zhéqián zhě tàn wàng 'ān de chāqǔhòu zhě nèi xuě xiàng lián de qiú 'àidàn lùn shì jiàn jìn huò shì biàn rén de xìng huò xīn de guī yòu shí jìn bàn xià shí de lǐng 'ān cóng huí bǎo de chē shàng de zhǒng huǎng de xīn tàiér zài xiē shǔ chuán tǒng shǒu de nèi xīn bái zhōng yòu suǒ chuàng xīnào lóng zài · wàn nuò jué rén wǎn huì shàng duàn duàn duàn de nèi xīn báibiǎo xiàn liǎo rén tóu nǎo chǔyú bàn shuì mián de xiāo zhuàng tài de líng luàn de shí zhī liú bié shì 'ān zài shā qián chē jīng guò jiē shàng shí de xīn huó dòngjiē shàng shùn biàn huàn de zhǒng wài zài yìn xiàng duàn yǐn de yóu lián xiǎng duàn yóu zhǒng gǎn chù huò huí tiào dào lìng zhǒng gǎn chù huí qiáng liè dòngxīn fán luànbǎi gǎn jiāo de xīn jìng yuè rán zhǐ shàngzuò zhě shì qiǎo miào yùn yòng liǎo shí liú shǒu de tiào yuè xìngshěng lüè liǎo duō yào de huán jié hàn jiē diǎnshǐ rén de xùn zhuǎn huàn 'ér yòu shí fēn rán zhǒng duàn duàn lián guàn 'ér yòu líng luàn zhè shuō shì wén xué zhōng de shí liú de shén lái zhī
   xiǎo shuō zhōng hái yòu duō kuài zhì rén kǒu de chǎng miàn duō miáo xiě shēng dòng de chāqǔ wén de ránzhì zhēn shí…… zǒng zhī tán zhě shàng duō
  《 ān · liè níng wèn shì bǎi duō nián liǎozhè chū jiàng zhī shǒu de shù jié zuò dàn méi yòu jiǎn fǎn 'ér xiǎn gèng wéi guī
   chén  shēn
  1994. 4


  Happy families are all alike; every unhappy family is unhappy in its own way.
   Everything was in confusion in the Oblonskys' house. The wife had discovered that the husband was carrying on an intrigue with a French girl, who had been a governess in their family, and she had announced to her husband that she could not go on living in the same house with him. This position of affairs had now lasted three days, and not only the husband and wife themselves, but all the members of their family and household, were painfully conscious of it. Every person in the house felt that there was so sense in their living together, and that the stray people brought together by chance in any inn had more in common with one another than they, the members of the family and household of the Oblonskys. The wife did not leave her own room, the husband had not been at home for three days. The children ran wild all over the house; the English governess quarreled with the housekeeper, and wrote to a friend asking her to look out for a new situation for her; the man-cook had walked off the day before just at dinner time; the kitchen-maid, and the coachman had given warning.
   Three days after the quarrel, Prince Stepan Arkadyevitch Oblonsky--Stiva, as he was called in the fashionable world-- woke up at his usual hour, that is, at eight o'clock in the morning, not in his wife's bedroom, but on the leather-covered sofa in his study. He turned over his stout, well-cared-for person on the springy sofa, as though he would sink into a long sleep again; he vigorously embraced the pillow on the other side and buried his face in it; but all at once he jumped up, sat up on the sofa, and opened his eyes.
   "Yes, yes, how was it now?" he thought, going over his dream. "Now, how was it? To be sure! Alabin was giving a dinner at Darmstadt; no, not Darmstadt, but something American. Yes, but then, Darmstadt was in America. Yes, Alabin was giving a dinner on glass tables, and the tables sang, Il mio tesoro--not Il mio tesoro though, but something better, and there were some sort of little decanters on the table, and they were women, too," he remembered.
   Stepan Arkadyevitch's eyes twinkled gaily, and he pondered with a smile. "Yes, it was nice, very nice. There was a great deal more that was delightful, only there's no putting it into words, or even expressing it in one's thoughts awake." And noticing a gleam of light peeping in beside one of the serge curtains, he cheerfully dropped his feet over the edge of the sofa, and felt about with them for his slippers, a present on his last birthday, worked for him by his wife on gold-colored morocco. And, as he had done every day for the last nine years, he stretched out his hand, without getting up, towards the place where his dressing-gown always hung in his bedroom. And thereupon he suddenly remembered that he was not sleeping in his wife's room, but in his study, and why: the smile vanished from his face, he knitted his brows.
   "Ah, ah, ah! Oo!..." he muttered, recalling everything that had happened. And again every detail of his quarrel with his wife was present to his imagination, all the hopelessness of his position, and worst of all, his own fault.
   "Yes, she won't forgive me, and she can't forgive me. And the most awful thing about it is that it's all my fault--all my fault, though I'm not to blame. That's the point of the whole situation," he reflected. "Oh, oh, oh!" he kept repeating in despair, as he remembered the acutely painful sensations caused him by this quarrel.
   Most unpleasant of all was the first minute when, on coming, happy and good-humored, from the theater, with a huge pear in his hand for his wife, he had not found his wife in the drawing-room, to his surprise had not found her in the study either, and saw her at last in her bedroom with the unlucky letter that revealed everything in her hand.
   She, his Dolly, forever fussing and worrying over household details, and limited in her ideas, as he considered, was sitting perfectly still with the letter in her hand, looking at him with an expression of horror, despair, and indignation.
   "What's this? this?" she asked, pointing to the letter.
   And at this recollection, Stepan Arkadyevitch, as is so often the case, was not so much annoyed at the fact itself as at the way in which he had met his wife's words.
   There happened to him at that instant what does happen to people when they are unexpectedly caught in something very disgraceful. He did not succeed in adapting his face to the position in which he was placed towards his wife by the discovery of his fault. Instead of being hurt, denying, defending himself, begging forgiveness, instead of remaining indifferent even--anything would have been better than what he did do--his face utterly involuntarily (reflex spinal action, reflected Stepan Arkadyevitch, who was fond of physiology)--utterly involuntarily assumed its habitual, good-humored, and therefore idiotic smile.
   This idiotic smile he could not forgive himself. Catching sight of that smile, Dolly shuddered as though at physical pain, broke out with her characteristic heat into a flood of cruel words, and rushed out of the room. Since then she had refused to see her husband.
   "It's that idiotic smile that's to blame for it all," thought Stepan Arkadyevitch.
   "But what's to be done? What's to be done?" he said to himself in despair, and found no answer.
-1
  xìng de jiā tíng dōushì xiāng de xìng de jiā tíng yòu de xìng
   ào lóng jiā qiēdōu hùn luàn liǎo jué zhàng men jiā cóng qián de guó jiā tíng jiào shī yòu 'ài mèi guān xiàng zhàng shēng míng néng zài zài zhù xià liǎozhè yàng de zhuàng tài jīng liǎo sān tiān zhǐ shì liǎng jiù shì men quán jiā réndōu wèicǐ gǎn dào tòng jiā de měi réndōu jué men zhù zài méi yòu ér qiě jué jiù shì zài rèn diàn píng shuǐ xiāng féng de rén yědōu menào lóng quán jiā rén gèng qíng tóu méi yòu kāi de fáng jiān zhàng sān tiān zài jiā liǎoxiǎo hái men xiàng shī liǎo guǎn jiào yàng zài jiā dào chù luàn páoyīng guó jiā tíng jiào shī guǎn jiā chǎo jiàgěi péng yǒu xiě liǎo xìnqǐng zhǎo xīn de wèi zhì
   chú shī zuó tiān qià hǎo zài wǎn cān shí zǒu diào liǎochú niàn chē liǎo gōng
   zài chǎo jià hòu de sān tiān jié pān · ā 'ěr · ào lóng gōng jué héng héng zài jiāo chǎng shì jiào de héng héng zài zhào de shí jiānzǎo chén diǎn zhōng xǐng lái zài de qǐn shìquè zài shū fáng de róu shā shàng zài tánxìng de shā shàng de féi pàng debǎo yǎng hěn hǎo de shēn fānzhuànhǎo xiàng yào zài shuì jué shìde shǐ jìn bào zhù zhěn tóu de liǎn jǐn jǐn wēi zhe dàn shì rán tiào láizuò zài shā shàngzhāng kāi yǎn jīng
  “ òòzěn me huí shì?” xiǎngchóngwēn zhe de mèng jìng。“ zěn me huí shìduì ā bīn zài shī qǐng shì shī ér shì zài měi guó shénme fāng cuò shī shì zài měi guó cuòā bīn zài zhuō shàng qǐng zài zuò de réndōu chàng Ilmiotesoro dàn shì Ilmiotesoro, ér shì gèng hǎo dezhuō shàng hái yòu xiē xiǎo jiǔ píng dōushì rén,” huí xiǎng zhe
  --------
  ① shī xiàn jīn de chéng shì
  ② de bǎo bèi
   jié pān · ā 'ěr de yǎn jīng kuài shǎn yào zhe hán zhe wēi xiào chén 。“ òzhēn shì yòu liǎoyòu wèi de shì qíng hái duō hěn xǐng liǎo shuō chū láilián biǎo chū lái。” ér hòu kàn dào cóng luó shā chuāng wéi biān shàng shè de xiàn guāng kuài jiǎo yán zhe shā biān shēn xià yòng jiǎo sōu suǒ de tuō xié shuāng tuō xié shì jīn róu deshàng miàn yòu xiù de huāshì nián shēng shí sòng gěi de zhào jiǔ nián lái de guànměi tiān méi yòu láijiù xiàng qǐn shì cháng guà chén de fāng shēn chū shǒu zhè cái rán liǎo méi yòu wèishénme méi yòu shuì zài de fáng jiān 'ér shuì zài de shū fáng wēi xiào cóng de liǎn shàng xiāo shī zhòu méi lái
  “ āiāiāi!” tàn huí xiǎng zhe shēng de qiē shì qíng chǎo jià de měi jié bǎi tuō de chǔjìng zuì zāo gāo de de guò cuòyòu yǒng shàng de xīn tóu
  “ shì de huì ráo shù néng ráo shù ér zuì zāo de shì zhè shì de guò cuò héng héng dōushì de guò cuòdàn néng guài bēi jiù zài zhè !” chén zhe。“ āiāiāi!” zhè chǎng chǎo nào suǒ gěi de duān tòng de gǎn juéjìn zài jué wàng bēi tàn
   zuì kuài de shì zuì chū de shùn jiāndāng xīng gāo cǎi liè deshǒu zhe zhǐ bèi gěi de cóng chǎng huí lái de shí hòu zài tīng méi yòu zhǎo dào shǐ wéi chī jīng de shìzài shū fáng méi yòu zhǎo dàoér zhōng xiàn zài qǐn shì shǒu zhe fēng xiè lòu liǎo qiē de dǎo méi de xìn
   héng héng lǎo shì máng máng yōu 'ānér qiě kàn láitóu nǎo jiǎn dān de duō ①, dòng dòng zuò zài shǒu zhe fēng xìndài zhe kǒng jué wàng fèn de biǎo qíng wàng zhe
  “ zhè shì shénmezhè?” wènzhǐ zhe fēng xìn
   huí xiǎng lái de shí hòu jié pān · ā 'ěr xiàng cháng yòu de qíng xíng yàngjué shì qíng běn shēn hái méi yòu huí de huà de tài me shǐ nǎo
   shùn jiānzài shēn shàng shēng liǎo bān rén zài men de míng de xíng wéi lái bèi jiē liǎo de shí hòu suǒ cháng shēng de xiàn xiàng méi yòu néng gòu shǐ de liǎn shì yìng de guò shī bèi jiē chuān hòu zài miàn qián suǒ chù de wèiméi yòu gǎn dào shòu liǎo wěi shǐ kǒu fǒu rèn biàn qǐng qiú ráo shùshèn zhì méi yòu suǒ xìng zài héng héng suí biàn shénme suǒ zuò de hǎo héng héng de miàn kǒng què wán quán yóu zhù jié pān · ā 'ěr shì huān shēng xué de rèn wéi zhè shì nǎo shén jīng de fǎn shè zuò yòng②) héng héng wán quán yóu zhù rán xiàn chū cháng deshàn liáng deyīn 'ér chī de wēi xiào
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  ① duō shì de de yīng wén míng
  ② zàiān · liè níng xiě chéng zhī qián jiǔzài de fèn zhì shàng,《 nǎo shén jīng de fǎn shè zuò yòngde zuò zhě xiè qiē nuò jiào shòu zhèng de xué jiā jìn xíng zhe liè de lùn zhànduì zhè zhǒng shì qíng zhī bàn jiě de 'ào lóng qīng 'ér xiǎng zhè shù jiàn zhè chǎng lùn zhàn céng yǐn liǎo dāng shí gōng zhòng de chōng fēn zhù
   wèile zhè zhǒng chī de wēi xiào néng ráo shù kàn jiàn wēi xiàoduō hǎo xiàng gǎn dào ròu de tòng bān zhànlì lái yòu de huǒ tuō kǒu shuō chū liǎo lián chuàn cán de huàjiù chōng chū liǎo fáng jiāncóng hòu jiù yuàn jiàn zhàng liǎo
  “ zhè yào guài chī de wēi xiào,” jié pān · ā 'ěr xiǎng
  “ dàn shì zěn me bàn zěn me bàn ?” jué wàng yán shuōzhǎo chū 'àn láièr
   jié pān · ā 'ěr shì zhōng shí de rén néng rén néng shǐ xiāng xìn hòu huǐ de xíng wéi shì sān shí suìpiào liàng duō qíng de nán de jǐn jǐn xiǎo suìér qiě zuò liǎo huó zheliǎng liǎo de hái de qīn 'ài zhè xiàn zài bìng jué hòu huǐ hòu huǐ de zhǐ shì méi yòu néng gòu hěn hǎo mán guò de dàn shì gǎn dào liǎo de chǔjìng de qiē kùn nánhěn de xiǎo hái nán guò néng xiǎng bàn de zuì guò yǐn mán zhù de yào shì zǎo liào dàozhè xiāo huì zhè yàng yǐng xiǎng cóng lái méi yòu qīng kǎo guò zhè wèn dàn gǎn dào de zǎo huái duì zhōng shí zhǐ shì zhuāng zuò méi yòu kàn jiàn liǎo shèn zhì wéi zhǐ shì xián liáng bèi dejiàn jiàn shuāi lǎo de zài nián qīng zài měi háo rén zhù mùdì rényīngdāng chū gōng píng xīn duì kuān xiējiēguǒ què wán quán xiāng fǎn
  “ āi !” jié pān · ā 'ěr jìn zài yán xiǎng chū bàn lái。“ qián qiē shì duō me shùn suì men guò duō kuài huó yīn wéi hái men 'ér gǎn dào mǎn xìng cóng lái shénme shì qíng gān shè suí zhe de zhào guǎn xiǎo hái jiā shì ránzāo gāo de shì shì men jiā de jiā tíng jiào shīzhēn zāo jiā de jiā tíng jiào shī láiwèi miǎn yòu diǎn yōng xià liúdàn shì duō piào liàng de jiā tíng jiào shī !( zài huí xiǎng zhe luó lán niàn de 'è zuò de hēi yǎn jīng de wēi xiào。) dàn shì jìng zài men jiā de shí hòu cóng lái wèi gǎn fàng guòzuì zāo de jiù shì jīng…… hǎo xiàng mìng gāi āiāidàn shì zěn mezěn me bàn ?”
   chú liǎo shēng huó suǒ gěi qiē zuì zuì nán jiě jué de wèn de bān de jiě zhī wàizài dào jiě liǎo jiě jiù shìrén zài cháng de yào zhōng shēng huó héng héng jiù shìwàng huái qiēyào zài shuì mián zhōng wàng diào yōu chóu xiàn zài néngzhì shǎo dào jiān cái xíng xiàn zài yòu néng gòu huí dào jiǔ píng rén suǒ chàng de yīnyuè zhōng yīn zhǐ hǎo zài bái zhòu mèng zhōng xiāo chóu jiě mèn
  “ men děng zhe qiáo ,” jié pān · ā 'ěr yán zhàn láichuān shàng jiàn chèn zhe lán chóu de huī chén yāo dài liǎo jié shìshēn shēn wǎng de kuān kuò xiōng táng liǎo kǒu bǎi kāi shuāng me qīng kuài zài zhe de féi pàng shēn de jiǎomài zhe cháng de wěn zhòng zǒu dào chuāng qián kāi bǎi chuāngyòng 'àn líng de qīn xìn rén wéi yìng shēng chū xiàn de cháng xuē diàn bào lái liǎolǐfà jiàng xié zhe lǐfà yòng gēn zài wéi hòu miàn zǒu jìn lái
  “ mén yòu shénme gōng wén sòng lái méi yòu?” jié pān · ā 'ěr wènjiē guò diàn bàozài jìng miàn qián zuò xià
  “ zài zhuō shàng,” wéi huí huái zhe tóng qíng xún wèn piē liǎo de zhù rén yǎntíng liǎo huì liǎn shàng zhe jiǎo kuài de wēi xiào chōng shuō:“ chē lǎo bǎn 'ér yòu rén lái guò。”
   jié pān · ā 'ěr méi yòu huí zhǐ zài jìng piē liǎo wéi yǎncóng men zài jìng jiāo huàn de yǎn zhōng kàn chū lái men hěn liǎo jiě jié pān · ā 'ěr de yǎn zài wèn:“ wèishénme duì shuō zhè nán dào zhī dào?”
   wéi shǒu fàng jìn wài tào kǒu dài shēn chū zhǐ jiǎo shàn liáng dài zhe wēi xiào níng shì zhe de zhù rén
  “ jiào men bài zài lái dào shí hòu yào bái fèi lái fán nín huò men ,” shuō xiǎn rán shì shì xiān zhǔn bèi hǎo zhè huà de
   jié pān · ā 'ěr kàn chū lái wéi xiǎng yào kāi kāi wán xiàoyǐn rén jiā zhù chāi kāi diàn bào kàn liǎo biànchuài zhe diàn bào shí cháng pīn cuò de yǎn de liǎn kāi lǎng liǎo
  “ wéi mèi mèi 'ān · ā 'ěr míng tiān yào lái liǎo,” shuōzuò shǒu shì yào lǐfà jiàng de guāng huá fēng mǎn de shǒu tíng huì zhèng zài cóng de cháng cháng dequán de luò sāi zhōng jiān chū tiáo dàn hóng de wén lái
  “ xiè xiè shàng !” wéi shuōyóu zhè huí jiù xiǎn shì chū xiàng de zhù rén yàng liǎo jiě zhè lái fǎng de zhòng jiù shìān · ā 'ěr suǒ huān de mèi mèi huì shǐ hǎo lái
  “ rénhái shì zhàng dào?” wéi wèn
   jié pān · ā 'ěr néng gòu huí yīn wéi lǐfà jiàng zhèng zài de shàng chún shì shǒu zhǐ lái wéi cháo jìng diǎn diǎn tóu
  “ rényào zài lóu shàng shōu shí hǎo jiān fáng jiān ?”
  “ gào · shān luó huì fēn de。”
  “ · shān luó ?” wéi hǎo xiàng huái zhòng zhe
  “ shì de gào diàn bào jiāo gěi zhào fēn de bàn。”
  “ nín yào shì shì ,” wéi xīn zhōng míng báidàn què zhǐ shuō
  “ shì delǎo 。”
   dāng wéi zhe shuāng zuò xiǎng de cháng xuēshǒu zhe diàn bàomàn tūn tūn zǒu huí fáng jiān lái de shí hòu jié pān · ā 'ěr jīng hǎo liǎo liǎnshū guò liǎo tóu zhèng zài bèi chuān lǐfà jiàng jīng zǒu liǎo
  “ · shān luó jiào duì nín shuō yào zǒu liǎoràng héng héng jiù shì shuō nín héng héng gāo xīng zěn yàng bàn jiù zěn yàng bàn ,” shuōzhǐ yòu de yǎn jīng hán zhe xiào rán hòu shǒu fàng jìn kǒu dài wāi zhe nǎo dài xié shì zhe zhù rén
   jié pān · ā 'ěr chén liǎo huìsuí zhǒng wēn de 'ér yòu yòu fēn de wēi xiào liú zài de hǎo kàn de miàn kǒng shàng
  “ e wéi?” shuōyáo yáo tóu
  “ yào jǐnlǎo shì qíng huì hǎo lái de。” wéi shuō
  “ huì hǎo lái de?”
  “ shì delǎo 。”
  “ zhè yàng xiǎng shuí lái liǎo?” jié pān · ā 'ěr wèntīng jiàn mén wài yòu rén de de jiū n shēng
  “ ,” jiān dìng 'ér kuài de rén shēng yīn shuō liào · fěi méng nuò de yán jùn de liǎn cóng mén hòu shēn jìn lái
  “ òshénme shì liào ?” jié pān · ā 'ěr wènzǒu dào miàn qián
   suī rán jié pān · ā 'ěr zài miàn qián shì chùér qiě gǎn jué dào zhè diǎndàn shì jiā jīhū měi rénjiù lián · shān luó de xīn zài nèi,) zhàn zài zhè biān
  “ òshénme shì?” yōu chóu wèn
  “ dào lǎo zài rèn cuò shàng huì bāng zhù nín de shì zhè yàng tòng kàn jiàn jiào rén shāng xīnér qiě jiā qiēdōu nòng luàn zāo liǎolǎo nín gāi lián mǐn lián mǐn hái menrèn cuò lǎo zhè shì méi yòu bàn deyào kuài huójiù zhǐ hǎo……”
  “ dàn shì yuàn jiàn 。”
  “ jìn nín de běn fēnshàng shì bēi dexiàng shàng dǎo gàolǎo xiàng shàng dǎo gào 。”
  “ hǎo de zǒu ,” jié pān · ā 'ěr shuō rán zhànghóng liǎo liǎn。“ wèigěi chuān shàng 。” zhuànxiàng wéi shuō rán jué rán tuō xià chén
   wéi jīng chèn xiàng jǐng 'è yàngchuī liǎo shàng miàn de diǎn shénme kàn jiàn de hēi diǎn dài zhe xiǎn rán de kuài shén qíng tào zài zhù rén de bǎo yǎng hěn hǎo de shēn shàngsān
   jié pān · ā 'ěr chuān hǎo liǎo zài shēn shàng liǎo xiē xiāng shuǐ zhí chèn xiù kǒuzhào cháng xiāng yānxiù zhēn huǒ chái yòu zhe shuāngchóng liàn biǎo zhuì de biǎo fēn zhì zài kǒu dài rán hòu dǒu kāi shǒu suī rán hěn xìngdàn shì gǎn dào qīng shuǎngfēn fāngjiàn kāng ròu shàng de shū shì liǎng tuǐ wēi wēi yáo bǎi zhe zǒu jìn liǎo cān shì de fēi bǎi zài děng fēi bàng biān fàng zhe xìn jiàn mén sòng lái de gōng wén
   yuè xìn jiànyòu fēng lìng rén kuàishì xiǎng yào mǎi chǎn shàng de zuò shù lín de shāng rén xiě lái dechū mài zhè zuò shù lín shì jué duì yào dedàn shì xiàn zàizài méi yòu jiě qiánzhè wèn shì tán dezuì kuài de shì de jīn qián shàng de hài guān yào qiān shè dào dài gēn jiě de wèn shàng xiǎng dào huì bèi zhè zhǒng hài guān suǒ zuǒ yòu huì wèile mài shù lín de yuán gēn jiǎng héng héng xiǎng dào zhè jiù shǐ kuài liǎo
   kàn wán liǎo xìn jié pān · ā 'ěr mén sòng lái de gōng wén dào miàn qiánxùn yuè guò liǎo liǎng jiàn gōng shìyòng qiān zuò liǎo xiē hàojiù gōng wén tuī zài bàngduān fēi miàn fēi miàn kāi yóu wèi gān de chén bàokāi shǐ lái
   jié pān · ā 'ěr dìng yuè fèn yóu zhù pài de bào zhǐ shì duān yóu zhù pài de 'ér shì dài biǎo duō shù rén jiàn de bào zhǐsuī rán duì xué shù bìng méi yòu bié xīng dàn duì zhè qièwèn què jiān chí bào zhe duō shù rén de bào zhǐ zhì de jiànzhǐ yòu zài duō shù rén gǎi biàn liǎo jiàn de shí hòu zhè cái suí zhe gǎi biànhuò zhěgèng yán shuō bìng méi yòu gǎi biànér shì jiàn běn shēn zhī jué zài xīn zhōng gǎi biàn liǎo
   jié pān · ā 'ěr bìng méi yòu xuǎn de zhù zhāng jiàn jiězhè xiē zhù zhāng jiàn jiě shì dòng dào zhè lái dezhèng bìng méi yòu xuǎn mào shàng de yàng shìér zhǐ shì chuān dài zhe jiādōu zài chuān dài deshēng huó shàng liú shè huì de héng héng yóu tōng zài chéng nián chéng shú deduì mǒu zhǒng jīng shén huó dòng de yào qiú héng héng yòu jiàn jiě zhèng yòu mào yàng guǒ shuō 'ài yóu zhù de jiàn jiě shèng guò 'ài zhōu wéi duō rén bào zhe de bǎo shǒu jiàn jiě shì yòu dào de dǎo shì yóu rèn wéi yóu zhù gèng ér shì yóu gèng shì de shēng huó fāng shì yóu dǎng shuō qiēdōu shì huài dedíquè jié pān · ā 'ěr zhài lěi lěizhèng quē qián yòng yóu dǎng shuō jié hūn shì wán quán guò shí de zhì gǎi cái xíngér jiā tíng shēng huó díquè méi yòu gěi jié pān · ā 'ěr duō shǎo ér qiě shuō huǎng zuò jiǎ shì wán quán wéi fǎn de běn xìng de yóu dǎng shuōhuò zhě níng shuō shì 'àn shìzōng jiào de zuò yòng zhǐ zài qián zhì rén mín zhōng xiē mán jiē céngér jié pān · ā 'ěr lián zuò duǎn duǎn de bài zhàn yāo suān tuǐ tòngér qiě xiǎng tòu rán xiàn shì shēng huó guò zhè me kuài me yòng suǒ yòu zhè xiē 'ér kuā zhāng de yán lái tán lùn lái shì hái yòu shénme ér qiěài shuō xiào huà de jié pān · ā 'ěr cháng huān shuō guǒ rén yào kuā yào de xiān jiù yīngdāng dào liú wéi zhǐér chéng rèn de shǐ héng héng hóu huān yòng zhè lèi de huà nán dǎo lǎo shí de rénjiù zhè yàng yóu zhù de qīng xiàng chéng liǎo jié pān · ā 'ěr de zhǒng huān de bào zhǐzhèng huān fàn hòu chōu zhī xuějiā yàngyīn wéi zài de nǎo sàn liǎo céng qīng shè lùnshè lùn rèn wéizài xiàn zài zhè shí dàijiào 'áo jìn zhù yòu tūn méi qiē bǎo shǒu fènzǐ de wēi xiǎnjiào 'áo zhèng yīngdāng cǎi shìdàng cuò shī miè de huò hàizhè lèi jiào 'áo shì háo dezhèng xiāng fǎn,“ zhào men de jiànwēi xiǎn bìng zài jiǎ xiǎng dídí huò hàiér zài 'ài jìn de shǒu chéng guī,” yún yún yòu liǎo lìng wài piān guān cái zhèng de lùn wén zhōng dào liǎo biān qìn ②, bìng duì zhèng mǒu yòu suǒ fěng píng zhe yòu de mǐn lǐng huì liǎo měi 'àn fěng de cāi tòu liǎo cóng 'ér láizhēn duì shénme rénchū shénme dòng 'ér zhèxiàng píng cháng yàngjǐyǔ dìng de mǎn
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  ① liú 879), de jiàn guó zhěliú wáng cháo( 869 héng 1598) de shǐ
  ② biān qìn( 1748 héng 1832), yīng guó chǎn jiē xué jiā lún xué jiāgōng zhù de dài biǎo rén ( 1806 héng 1372), yīng guó zhé xué jiāhuó dòng jiājīng xué jiāzài lún xué shàng jiē jìn biān qìn de gōng zhù
   dàn shì jīn tiān zhè zhǒng mǎn bèi liào · fěi méng nuò de quàn gào jiā zhōng de zhuàng tài huài liǎohái zài bào shàng kàn dào bèi jué wēi dēngde chuán shuōkàn dào zhì báifàchū shòu qīng biàn chē mǒu qīng nián zhēng qiú zhí de guǎng gàodàn shì zhè xiē xīn wén bào dǎo bìng méi yòu xiàng píng cháng yàng jǐyǔ zhǒng níng jìng de fěng de mǎn
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  ① bèi jué( 1809 héng 1886), ào xiōng guó shǒuxiàng mài de zhèng
  ② wēi dēng guó de chéng shìzài lāi yīn pànshì kuàng quán liáo yǎng
   kàn guò liǎo bào wán liǎo 'èr bēi fēichī wán liǎo shàng huáng yóu de miàn bāo shēn lái luò zài bèi xīn shàng de miàn bāo xièrán hòutǐng kuān kuò de xiōng táng kuài wēi xiào zhebìng shì yīn wéi xīn yòu shénme bié kuài de shì héng héng kuài de wēi xiào shì yóu liáng hǎo de xiāo huà yǐn de
   dàn shì zhè kuài de wēi xiào shǐ xiǎng liǎo qiē yòu biàn chén liǎo
   tīng dào mén wài yòu liǎng xiǎo hái de shēng yīn jié pān · ā 'ěr tīng chū lái shì de xiǎo nán hái shā de 'ér de shēng yīn), men zhèng zài bān nòng shénme dōng fān liǎo
  “ duì shuō liǎo yào jiào chéng zuò zài chē dǐng shàng。” xiǎo hái yòng yīng rǎng zhe,“ shí lái!”
  “ qiēdōu shì luàn zāo zāo de,” jié pān · ā 'ěr xiǎng,“ hái men méi yòu rén guǎndào chù luàn páo。” zǒu dào mén biān jiào men men pāo xià dāng huǒ chē yòng de xiá xiàng qīn zǒu lái
   xiǎo hái qīn de bǎo bèimǎng zhuàng páo jìn láibào zhù xiào diào zài de bógěng shàng lǎo huān wén de luò sāi sàn chū de wén guàn de xiāng zuì hòu xiǎo hái wěn liǎo wěn yīn wéi wān de shì 'ér zhànghóng deshǎn shuò zhe 'ài guāng huī de miàn kǒngsōng kāi liǎo de liǎng shǒudài yào páo kāi dàn shì qīn zhù liǎo
  “ zěn yàng liǎo?” wèn zhe 'ér de huá rùn róu ruǎn de xiǎo bógěng。“ hǎo,” shuōxiàng zǒu shàng lái wèn hòu de nán hái wēi xiào zhe shuō
   shí dào bìng zěn me 'ài nán háidàn zǒng shì jìn liàng tóng yàng duì dài shì nán hái gǎn jué dào zhè diǎnduì qīn de lěng dàn de wēi xiào bìng méi yòu bào wēi xiào
  “ lái liǎo,” hái huí
   jié pān · ā 'ěr tàn liǎo kǒu 。“ zhè me shuō yòu zhěng zhěng méi yòu shuì,” xiǎng
  “ ò kuài huó ?”
   xiǎo hái zhī dào qīn qīn chǎo liǎo jià qīn huì kuài huó qīn dìng míng bái de zhè me suí suí biàn biàn wèn zhǐ shì zài zuò jiǎyīn wéi qīn zhànghóng liǎo liǎn jué chá chū lái liǎn hóng liǎo
  “ zhī dào,” shuō。“ méi yòu shuō yào men shàng zhǐ shì shuō yào men gēn xiǎo jiě dào wài jiā zǒu zǒu。”
  “ ò de bǎo bǎoòděng děng!” shuōhái láo zhe de róu ruǎn de xiǎo shǒu
   cóng shàng xià zuó tiān fàng zài de xiǎo táng guǒjiǎn zuì 'ài chī degěi liǎo liǎng kuài kuài qiǎo kuài ruǎn táng
  “ gěi shā?” xiǎo hái zhǐ zhe qiǎo shuō
  “ shìshì。” yòu liǎo xià de xiǎo jiān bǎng wěn liǎo wěn de gēn bógěngjiù fàng zǒu liǎo
  “ chē tào hǎo liǎo,” wéi shuō,“ dàn shì yòu rén wèile qǐng yuàn de shì yào jiàn nín。”
  “ lái liǎo hěn jiǔ ?” jié pān · ā 'ěr wèn
  “ bàn zhōng tóu de guāng jǐng。”
  “ duì shuō liǎo duō shǎo yòu rén lái shàng gào !”
  “ zhì shǎo zǒng ràng nín wán fēi,” wéi shuō de shēng diào 'ér yòu chéng kěnshǐ rén néng gòu shēng
  “ me shàng qǐng rén jìn lái ,” ào lóng shuōfán nǎo zhòu zhe méi
   qǐng yuàn zhěcān móu wèi jiā níng de guǎ lái qǐng qiú jiàn bàn dào de 'ér qiě de shì qíngdàn shì jié pān · ā 'ěr zhào qǐng zuò xiàliú xīn tīng shuō wánméi yòu duàn bìng qiě gěi liǎo xiáng de zhǐ shìgào zěn yàng xiàng shuí qǐng qiúshèn zhì hái yòng de sǎnmànyōu měi 'ér qīng chǔ de mǐn jié 'ér liú xiě liǎo fēng xìn gěi wèi bāng máng de rén zǒu liǎo cān móu wèi de guǎ hòu jié pān · ā 'ěr mào zhàn zhù xiǎng liǎo xiǎng wàng shénme méi yòukàn lái chú liǎo yào wàng de héng héng de wài shénme méi yòu wàng
  “ ōshì de!” chuí xià tóu de piào liàng miàn kǒng dài zhe nǎo de biǎo qíng
  “ hái shì ?” yán ér nèi xīn de shēng yīn gào yīngdāng chú liǎo nòng zuò jiǎ huì yòu bàng de jiēguǒyào gǎi shàn men de guān shì néng deyīn wéi yào shǐ zài yòu mèi 'ér qiě néng gòu yǐn rén 'ài liánhuò zhě shǐ biàn chéng néng liàn 'ài de lǎo réndōubù néngxiàn zài chú liǎo piàn shuō huǎng zhī wài huì yòu bàng de jiēguǒér piàn shuō huǎng yòu shì wéi fǎn de tiān xìng de
  “ shì chí zǎo zǒng zuò dezhè yàng xià xíng,” shuō yǒng tǐng zhe xiōng chū zhī zhǐ yān liǎo liǎng kǒujiù tóu jìn zhū bèi yān huī dié rán hòu mài zhe xùn de zǒu guò tīng kāi liǎo tōng dào qǐn shì de lìng shàn fáng mén
   · shān luó chuānzhuó shū zhuāng duǎn zhàn zài céng jīng shì fēng mǎn měi xiàn zài què biàn shū liǎo de tóu yòng zhēn pán zài de nǎo hòu de miàn róng xiāo shòu qiáo cuì shuāng chī jīng de yǎn jīngyīn wéi miàn róng de xiāo shòu 'ér xiǎn gèng jiā chù shì yàng de jiàn sǎnluàn bǎi mǎn fáng jiān zhàn zài zhè xiē jiàn dāng zhōng kāi zhe de guì qián miàn zhèng cóng miàn tiǎo jiǎn shénme dōng tīng dào zhàng de jiǎo shēng tíng zhù liǎocháo mén kǒu wàng zhe rán xiǎng yào zhuāng chū zhǒng yán 'ér qīng miè de biǎo qíng gǎn jué hài hài kuài yào dào lái de huì jiàn zhèng zài zuò sān tiān lái jīng zuò liǎo shí lái huí de shì qíng héng héng hái men de qīng chū láidài dào qīn héng héng dàn hái shì méi yòu zhè yàng zuò de jué xīndàn shì xiàn zài yòu xiàng qián yàng jìn zài yán shuōshì qíng néng xiàng zhè yàng xià dìng yào xiǎng bàn chéng xiū bào xiàshǐ cháng cháng gěi de tòng de xiǎo fēn hǎo hái shì duì shuō yào kāi dàn shí dào zhè shì néng dezhè shì néng deyīn wéi néng bǎi tuō zhǒng dāng zhàng kàn dàiér qiě 'ài de guànkuàng qiě gǎn dào jiǎ zài zhè zài jiā shàng qiě néng hěn hǎo zhào kàn de xiǎo hái mezài yào men tōng tōng dài de fāng men jiù huì gèng zāoshì shí shàngzài zhè sān tiān nèidǐng xiǎo de hái yīn wéi chī liǎo biàn liǎo zhì de tānɡ hài bìng liǎo de zuó tiān chàbù duō méi yòu chī shàng fàn shí dào yào zǒu kāi shì néng dedàn shìhái zài rén qīng dōng zhuāng chū yào zǒu de yàng


  Stepan Arkadyevitch was a truthful man in his relations with himself. He was incapable of deceiving himself and persuading himself that he repented of his conduct. He could not at this date repent of the fact that he, a handsome, susceptible man of thirty-four, was not in love with his wife, the mother of five living and two dead children, and only a year younger than himself. All he repented of was that he had not succeeded better in hiding it from his wife. But he felt all the difficulty of his position and was sorry for his wife, his children, and himself. Possibly he might have managed to conceal his sins better from his wife if he had anticipated that the knowledge of them would have had such an effect on her. He had never clearly thought out the subject, but he had vaguely conceived that his wife must long ago have suspected him of being unfaithful to her, and shut her eyes to the fact. He had even supposed that she, a worn-out woman no longer young or good-looking, and in no way remarkable or interesting, merely a good mother, ought from a sense of fairness to take an indulgent view. It had turned out quite the other way.
   "Oh, it's awful! oh dear, oh dear! awful!" Stepan Arkadyevitch kept repeating to himself, and he could think of nothing to be done. "And how well things were going up till now! how well we got on! She was contented and happy in her children; I never interfered with her in anything; I let her manage the children and the house just as she liked. It's true it's bad HER having been a governess in our house. That's bad! There's something common, vulgar, in flirting with one's governess. But what a governess!" (He vividly recalled the roguish black eyes of Mlle. Roland and her smile.) "But after all, while she was in the house, I kept myself in hand. And the worst of it all is that she's already...it seems as if ill-luck would have it so! Oh, oh! But what, what is to be done?"
   There was no solution, but that universal solution which life gives to all questions, even the most complex and insoluble. That answer is: one must live in the needs of the day--that is, forget oneself. To forget himself in sleep was impossible now, at least till nighttime; he could not go back now to the music sung by the decanter-women; so he must forget himself in the dream of daily life.
   "Then we shall see," Stepan Arkadyevitch said to himself, and getting up he put on a gray dressing-gown lined with blue silk, tied the tassels in a knot, and, drawing a deep breath of air into his broad, bare chest, he walked to the window with his usual confident step, turning out his feet that carried his full frame so easily. He pulled up the blind and rang the bell loudly. It was at once answered by the appearance of an old friend, his valet, Matvey, carrying his clothes, his boots, and a telegram. Matvey was followed by the barber with all the necessaries for shaving.
   "Are there any papers form the office?" asked Stepan Arkadyevitch, taking the telegram and seating himself at the looking-glass.
   "On the table," replied Matvey, glancing with inquiring sympathy at his master; and, after a short pause, he added with a sly smile, "They've sent from the carriage-jobbers."
   Stepan Arkadyevitch made no reply, he merely glanced at Matvey in the looking-glass. In the glance, in which their eyes met in the looking-glass, it was clear that they understood one another. Stepan Arkadyevitch's eyes asked: "Why do you tell me that? don't you know?"
   Matvey put his hands in his jacket pockets, thrust out one leg, and gazed silently, good-humoredly, with a faint smile, at his master.
   "I told them to come on Sunday, and till then not to trouble you or themselves for nothing," he said. He had obviously prepared the sentence beforehand.
   Stepan Arkadyevitch saw Matvey wanted to make a joke and attract attention to himself. Tearing open the telegram, he read it through, guessing at the words, misspelt as they always are in telegrams, and his face brightened.
   "Matvey, my sister Anna Arkadyevna will be here tomorrow," he said, checking for a minute the sleek, plump hand of the barber, cutting a pink path through his long, curly whiskers.
   "Thank God!" said Matvey, showing by this response that he, like his master, realized the significance of this arrival--that is, that Anna Arkadyevna, the sister he was so fond of, might bring about a reconciliation between husband and wife.
   "Alone, or with her husband?" inquired Matvey.
   Stepan Arkadyevitch could not answer, as the barber was at work on his upper lip, and he raised one finger. Matvey nodded at the looking-glass.
   "Alone. Is the room to be got ready upstairs?"
   "Inform Darya Alexandrovna: where she orders."
   "Darya Alexandrovna?" Matvey repeated, as though in doubt.
   "Yes, inform her. Here, take the telegram; give it to her, and then do what she tells you."
   "You want to try it on," Matvey understood, but he only said, "Yes sir."
   Stepan Arkadyevitch was already washed and combed and ready to be dressed, when Matvey, stepping deliberately in his creaky boots, came back into the room with the telegram in his hand. The barber had gone.
   "Darya Alexandrovna told me to inform you that she is going away. Let him do--that is you--as he likes," he said, laughing only with his eyes, and putting his hands in his pockets, he watched his master with his head on one side. Stepan Arkadyevitch was silent a minute. Then a good-humored and rather pitiful smile showed itself on his handsome face.
   "Eh, Matvey?" he said, shaking his head.
   "It's all right, sir; she will come round," said Matvey.
   "Come round?"
   "Yes, sir."
   "Do you think so? Who's there?" asked Stepan Arkadyevitch, hearing the rustle of a woman's dress at the door.
   "It's I," said a firm, pleasant, woman's voice, and the stern, pockmarked face of Matrona Philimonovna, the nurse, was thrust in at the doorway.
   "Well, what is it, Matrona?" queried Stepan Arkadyevitch, going up to her at the door.
   Although Stepan Arkadyevitch was completely in the wrong as regards his wife, and was conscious of this himself, almost every one in the house (even the nurse, Darya Alexandrovna's chief ally) was on his side.
   "Well, what now?" he asked disconsolately.
   "Go to her, sir; own your fault again. Maybe God will aid you. She is suffering so, it's sad to hee her; and besides, everything in the house is topsy-turvy. You must have pity, sir, on the children. Beg her forgiveness, sir. There's no help for it! One must take the consequences..."
   "But she won't see me."
   "You do your part. God is merciful; pray to God, sir, pray to God."
   "Come, that'll do, you can go," said Stepan Arkadyevitch, blushing suddenly. "Well now, do dress me." He turned to Matvey and threw off his dressing-gown decisively.
   Matvey was already holding up the shirt like a horse's collar, and, blowing off some invisible speck, he slipped it with obvious pleasure over the well-groomed body of his master.
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