niè hè liú dào fū gōng jué shì mò sī kē dì fāng fǎ yuàn de péi shěn yuán。 yī cì tā cān jiā shěn lǐ yī gè dú sǐ rén de mìng 'àn。 bù liào， cóng jì nǚ mǎ sī luò wá jù yòu tè sè de yǎn shén zhōng rèn chū yuán lái tā shì tā qīng nián shí dài rè liàn guò de kǎ qiū suō。 yú shì shí nián qián de wǎng xiàng yī mù mù zhǎn xiàn zài niè hè liú dào fū yǎn qián： dāng shí tā hái shì yī gè dà xué shēng， shǔ qī zhù zài gū mā de zhuāng yuán lǐ xiě lùn wén。 tā shàn liáng， rè qíng， chōng mǎn lǐ xiǎng， rè zhōng yú xī fāng jìn bù sī xiǎng， bìng 'ài shàng liǎo gū mā jiā de yǎng nǚ jiān bì nǚ kǎ qiū suō。 tā men yī qǐ wán shuǎ tán tiān， gǎn qíng chún jié wú xiá。 sān nián hòu， niè hè liú dào fū dà xué bì yè， jìn liǎo jìn wèi jūn tuán， lù guò gū mā zhuāng yuán， zài cì jiàn dào liǎo kǎ qiū suō。 zài fù huó jié de zhuāng yán qì fēn zhōng， tā kàn zhe shēn chuān xuě bái lián yī qún díkǎ qiū suō de miáo tiáo shēn cái， tā nà fàn qǐ hóng yùn de liǎn dàn hé nà shuāng lüè dài xié yǎn de wū hēi fā liàng de yǎn jīng， zài cì tǐ yàn liǎo chún jié de 'ài qíng zhī lè。 dàn shì， zhè yǐ hòu， shì sú guān niàn hé qíng yù zhàn liǎo shàng fēng， zài lín xíng qián tā zhàn yòu liǎo kǎ qiū suō， bìng pāo qì liǎo tā。 hòu lái tīng shuō tā duò luò liǎo， yě jiù chè dǐ bǎ tā wàng què。 xiàn zài， tā yì shí dào zì jǐ de zuì guò， liáng xīn shòu dào qiǎn zé， dàn yòu pà bèi mǎ sī luò wá rèn chū dāng chǎng chū chǒu， nèi xīn fēi cháng jǐn zhāng， sī xù fēn luàn。 qí tā fǎ guān、 péi shěn yuán yě dū xīn bù zài yān， kōng fā yì lùn， jiēguǒ cuò pàn mǎ sī luò wá liú fàng xī bó lì yà fú kǔ yì sì nián。 děng niè hè liú dào fū gǎo qīng chǔ tā men shī zhí zào chéng de hòu guǒ， kàn dào mǎ sī luò wá bèi xuān pàn hòu shī shēng tòng kū、 dà hū yuān wǎng de cǎn zhuàng， tā jué xīn zhǎo tíng cháng、 lǜ shī shè fǎ bǔ jiù。 lǜ shī gào sù tā yīnggāi shàng sù。
　　　　 niè hè liú dào fū huái zhe fù zá jī dòng de xīn qíng 'àn yuē qù mǐ xī（ bèi rèn wéi shì tā de wèi hūn qī） jiā fù yàn。 běn lái zhè lǐ de háo huá qì pài hé gāo yǎ fēn wéi cháng cháng shǐ tā gǎn dào 'ān yì shū shì。 dàn jīn tiān tā fǎng fó kàn tòu liǎo měi gè rén de běn zhì， jué dé yàng yàng kě yàn： kē 'ěr chá gēng jiāng jūn cū lǔ dé yì； mǐ xī jí yú jià rén； gōng jué fū rén zhuāng qiāng zuò shì。 tā jiè gù tí qián cí bié。
　　　　 huí dào jiā zhōng tā kāi shǐ fǎnxǐng， jìn xíng “ líng hún jìng huà ”， fā xiàn tā zì jǐ hé zhōu wéi de réndōu shì“ yòu kě chǐ， yòu kě zēng”。 mǔ qīn shēng qián de xíng wéi； tā hé guì zú cháng qī zǐ de nuǎn mèi guān xì； tā fǎn duì tǔ dì sī yòu， què yòu jì chéng mǔ qīn de tián zhuāng yǐ gōng huī huò； zhè yī qiēdōu shì zài duì kǎ qiū suō fàn xià zuì xíng yǐ hòu fā shēng de。 tā jué dìng gǎi biàn quán bù shēng huó， dì 'èr tiān jiù xiàng guǎn jiā xuān bù： shōu shí hǎo dōng xī， cí tuì pú yì， bān chū zhè zuò dà fáng zǐ。
　　　　 niè hè liú dào fū dào jiān yù tàn wàng mǎ sī luò wá， xiàng tā wèn qǐ tā men de hái zǐ， tā kāi shǐ hěn jīng qí， dàn yòu bù yuàn chù dòng chuāngshāng， zhǐ jiǎn dān duì dá jǐ jù， bǎ tā dāng zuò kě lì yòng de nán rén， xiàng tā yào shí lú bù yān jiǔ qián yǐ má zuì zì jǐ， dì 'èr cì niè hè liú dào fū yòu qù tàn jiān bìng biǎo shì yào shú zuì， shèn zhì yào hé tā jié hūn。 zhè shí kǎ qiū suō fā chū liǎo bēi fèn de zhǐ zé：“ nǐ jīn shì lì yòng wǒ zuò lè， lái shì hái xiǎng lì yòng wǒ lái zhěng jiù nǐ zì jǐ！” hòu lái niè hè liú dào fū bāng zhù tā de nán yǒu， gǎi shàn tā de chǔjìng， tā yě jiè yān jiè jiǔ， nǔ lì xué hǎo。
　　　　 niè hè liú dào fū fēn sàn tǔ dì， bēn zǒu yú bǐ dé bǎo shàng céng， jiēguǒ shàng sù réng bèi bó huí， tā zhǐ hǎo xiàng huáng dì qǐng yuàn， lì jí huí mò sī kē zhǔn bèi suí kǎ qiū suō qù xī bó lì yà。 tú zhōng kǎ qiū suō shēn shòu zhèng zhì fàn gāo shàng qíng cāo de gǎn rǎn， yuán liàng liǎo niè hè liú dào fū， wèile tā de xìng fú， tóng yì yǔ zūn zhòng tā tǐ tiē tā de xī méng sōng jié hé。 niè hè liú dào fū yě cóng《 shèng jīng》 zhōng dé dào“ rén lèi yīnggāi xiāng qīn xiāng 'ài， bù kě chóu shì” de qǐ shì。
　　　　 zhè liǎng gè zhù rén gōng de jīng lì， biǎo xiàn liǎo tā men zài jīng shén shàng hé dào dé shàng de fù huó。 xiǎo shuō jiē lù liǎo nà xiē tān zāng wǎng fǎ de guān lì， chù jí liǎo jiù shè huì zhì dù de běn zhì。
　　　　
　　 〖 xiǎo shuō bèi jǐng 〗
　　
　　　　《 fù huó》 shì tuō 'ěr sī tài de wǎn qī dài biǎo zuò。 zhè shí zuò jiā shì jiè guān yǐ jīng fā shēng jī biàn， pāo qì liǎo shàng céng dì zhù guì zú jiē céng de chuán tǒng guān diǎn， yòng zōng fǎ nóng mín de yǎn guāng chóngxīn shěn chá liǎo gè zhǒng shè huì xiàn xiàng， tōng guò nán nǚ zhù rén gōng de zāo yù lín lí jìn zhì dì miáo huì chū yī fú fú shā 'é shè huì de zhēn shí tú jǐng： cǎo jiān rén mìng de fǎ tíng hé jiān jìn wú gū bǎi xìng de láo yù； jīn bì huī huáng de jiào táng hé lán lǚ qiáo cuì de fàn rén； huāng yán pò chǎn de nóng cūn hé háo huá shē chǐ de jīng dū； máng máng de xī bó lì yà hé shǒu kào jiǎo liào de zhèng zhì fàn。 tuō 'ěr sī tài yǐ zuì qīng xǐng de xiàn shí zhù yì tài dù duì dāng shí de quán tào guó jiā jī qì jìn xíng liǎo jī liè de pēng jī。 rán 'ér zài《 fù huó》 zhōng， tuō 'ěr sī tài suī rán duì xiàn shí shè huì zuò liǎo jī liè de pēng jī， jiē lù liǎo shè huì zhì dù de běn zhì， dàn shì xiǎo shuō jié wěi， réng rán bǎ gǎi gé shè huì de jì xī wàng yú jī dū jiào， yòu bǎ zì jǐ de zōng jiào guān qiáng xíng zhí rù xiǎo shuō dāng zhōng， bìng qiě jīhū fǒu dìng liǎo zī běn zhù yì yī qiē guó jiā jī qì de yī qiē zuò yòng， bù dé bù shuō shì xiǎo shuō sī xiǎng jìng jiè shàng de yī gè yí hàn。
　　　　 xiǎo shuō yuán jìhuà chuàng zuò sì bù， dàn zhǐ chuàng zuò liǎo sān bù。

　　Resurrection (Russian: Воскресение, Voskreseniye), first published in 1899, was the last novel written by Leo Tolstoy.
　　
　　The book is the last of his major long fiction works published in his lifetime (it was first serialized in the popular weekly Niva). Tolstoy intended the novel as an exposition of injustice of man-made laws and the hypocrisy of institutionalized church. It was first published serially in the magazine Niva as an effort to raise funds for the resettlement of the Dukhobors.
　　
　　Plot outline
　　
　　The story is about a nobleman named Dmitri Ivanovich Nekhlyudov, who seeks redemption for a sin committed years earlier. His brief affair with a maid resulted in her being fired and ending up in prostitution. The book treats his attempts to help her out of her current misery, but also focuses on his personal mental and moral struggle.
　　
　　Framed for murder, the maid, Maslova, is convicted by mistake, sent to Siberia. Nekhlyudov goes to visit her in prison, meets other prisoners, hears their stories, and slowly comes to realize that all around his charmed and golden aristocratic world, yet invisible to it, is a much larger world of oppression, misery and barbarism. Story after story he hears and even sees of people chained without cause, beaten without cause, immured in dungeons for life without cause—and all punctuated like lightning flashes by startling vignettes—a twelve year old boy sleeping in a lake of human dung from an overflowing latrine because there is no other place on the prison floor, but clinging in a vain search for love to the leg of the man next to him—until the book achieves the bizarre intensity of a horrific fever dream.
　　Popular and critical reception
　　
　　The book was eagerly awaited. "How all of us rejoiced," one critic wrote on learning that Tolstoy had decided to make his first fiction in 25 years, not a short novella but a full-length novel. "May God grant that there will be more and more!" It outsold Anna Karenina and War and Peace. Despite its early success, today Resurrection is not as famous as the works that preceded it.
　　
　　Some writers have said that Resurrection has characters that are one-dimensional and that as a whole the book lacks Tolstoy's earlier attention to detail. By this point, Tolstoy was writing in a style that favored meaning over aesthetic quality.
　　
　　The book faced much censorship upon publication. The complete and accurate text was not published until 1936. Many publishers printed their own editions because they assumed that Tolstoy had given up all copyrights as he had done with previous books. Instead, Tolstoy kept the copyright and donated all royalties to Doukhobor,who were Russian pacifists hoping to emigrate to Canada.
　　Adaptations
　　
　　Operatic adaptations of the novel include the Risurrezione by Italian composer Franco Alfano, Vzkriesenie by Slovak composer Ján Cikker, and Resurrection by American composer Tod Machover. Additionally, various film adaptations have been produced. The well known version is a Russian film Resurrection directed by Mikhail Shveitser with Evgeniy Matveyev, Tamara Semina and Pavel Massalsky.

　　《 ān nà · kǎ liè ní nà》（ é yǔ： АннаКаренина） shì 'é guó zuò jiā liè fū · tuō 'ěr sī tài yú 1875 nián -1877 nián jiān chuàng zuò de xiǎo shuō， bèi guǎng fàn rèn wéi shì xiě shí zhù yì xiǎo shuō de jīng diǎn dài biǎo。《 ān nà · kǎ liè ní nà》 wán gǎo yú 1877 nián， 1875 nián 1 yuè kāi shǐ liánzǎi yú 〈 é luó sī gōng bào 〉 shàng。 xiǎo shuō fǔ fā biǎo jiù yǐn fā liǎo rè liè de tǎo lùn。 tuō 'ěr sī tài de táng gū mǔ yà lì shān dé lā · ān dé liè yè fū nà · tuō 'ěr sī tài yà céng xiě dào：“《 ān nà · kǎ liè ní nà》 de měi gè piān zhāng dū hōng dòng liǎo zhěng gè shè huì， yǐn qǐ liǎo rè liè de zhēng lùn， huǐ yù cān bàn， bāo biǎn bù yī。 sì hū yì lùn de shì tā men de qièshēn wèn tí yī yàng。” zuò pǐn gòng fēn bā zhāng， kāi chǎng bái“ xìng fú de jiā tíng dōushì xiāng sì de， bù xìng de jiā tíng gè yòu gè de bù xìng”（ Happyfamiliesareallalike;everyunhappyfamilyisunhappyinitsownway）， shì tuō shì duì hūn yīn hé jiā tíng de wù yán。
　　《 ān nà · kǎ liè ní nà》 - jiǎn jiè
　　
　　 zài tuō 'ěr sī tài quán bù zuò pǐn zhōng，《 zhàn zhēng yǔ hé píng》、《 ān nà · kǎ liè ní nà》、《 fù huó》 shì sān gè lǐ chéng bēi， yě shì tā de sān bù dài biǎo zuò pǐn。《 ān nà · kǎ liè ní nà》 zài zhè sān bù dài biǎo zuò zhōng yòu qí tè shū de zhòng yào xìng， tā shì sān bù jù zhù zhī zhōng yì shù shàng zuì wéi wán zhěng de yī bù， bìng qiě tǐ xiàn liǎo tuō shì sī xiǎng hé yì shù fā zhǎn dào lù de guò dù yǔ zhuǎn biàn， kě yǐ chēng zhī wéi dài biǎo zuò zhōng de dài biǎo zuò。 tā tōng guò nǚ zhù rén gōng 'ān nà zhuī qiú 'ài qíng 'ér shī bài de bēi jù， hé liè wén zài nóng cūn miàn lín wēi jī 'ér jìn xíng de gǎi gé yǔ tàn suǒ zhè liǎng tiáo xiàn suǒ， miáo huì liǎo 'é guó cóng mò sī kē dào wài shěng xiāng cūn guǎng kuò 'ér fēng fù duō cǎi de tú jǐng， xiān hòu miáo xiě liǎo 150 duō gè rén wù， shì yī bù shè huì bǎi kē quán shū shì de zuò pǐn。
　　《 ān nà · kǎ liè ní nà》 - zuò jiā jiǎn jiè
　　
　　 liè fū · ní gǔ lā yé wéi qí · tuō 'ěr sī tài（ 1828-1910） shì 'é guó pī pàn xiàn shí zhù yì wén xué zuì wěi dà de dài biǎo， shì jiè wén xué shǐ shàng zuì wěi dà de zuò jiā zhī yī。 zài shì jiè wén tán zhōng kān yǔ suō shì bǐ yà、 gē dé、 bā 'ěr zhā kè bìng jiān 'ér lì de zuò jiā dāng shǒu tuī liè fū tuō 'ěr sī tài。 tā nà sān bù hóng piān jù zhù wú yí dài biǎo liǎo 19 shì jì shì jiè xiàn shí zhù yì wén xué de zuì gāo shuǐ píng。 liè fū · tuō 'ěr sī tài shì 'é guó wén xué shǐ shàng zuì wěi dà de wén háo zhī yī， tā zài wén xué fāng miàn de chéng jiù shòu dào jǔ shì zhǔ mùdì rèn tóng。
　　《 ān nà · kǎ liè ní nà》 - nèi róng gěng gài
　　
　　《 ān nà · kǎ liè ní nà》 tōng guò nǚ zhù rén gōng 'ān nà zhuī qiú 'ài qíng 'ér shī bài de bēi jù， hé liè wén zài nóng cūn miàn lín wēi jī 'ér jìn xíng de gǎi gé yǔ tàn suǒ zhè liǎng tiáo xiàn suǒ， miáo huì liǎo 'é guó cóng mò sī kē dào wài shěng xiāng cūn guǎng kuò 'ér fēng fù duō cǎi de tú jǐng， xiān hòu miáo xiě liǎo 150 duō gè rén wù， shì yī bù shè huì bǎi kē quán shū shì de zuò pǐn。
　　
　　 gù shì yǐ shuāng xiàn jìn xíng， yī wéi 'ān nà， yī wéi liè wén。 tuō shì yǐ 'èr rén wéi zhóu， miáo xiě chū bù tóng de hūn yīn hé jiā tíng shēng huó， gèng jìn yī bù zé xiě chū dāng shí 'é guó zhèng zhì， zōng jiào， nóng shì jǐng xiàng。
　　
　　 zài wén zhōng， liè wén wéi tuō shì zhī huà shēn， dài biǎo zhe 1860,70 nián dài de shè huì zhuǎn xíng cuī shēng zhě。 liè wén zhòng shì nóng shì， duì guì zú shēng huó bù shèn tóu rù， zhù zài xiāng cūn hé zhǐ dǎo nóng mín gōng zuò。 liè wén rè 'ài jí dì， qǐ chū qiú hūn bèi jù， dàn jǐ jīng bō zhé， zhōng bào dé měi rén guī， bìng yī tóng zhù zài xiāng xià。
　　
　　 nǚ zhù rén wēng 'ān nà， nián qīng shí hé zhàng fū yà lì shān dà ． kǎ liè níng（ AlexeiAlexandrovichKarenin） jié hé， běn hūn yīn měi mǎn， yù yòu yī zǐ。 kǎ liè níng zài shì tú shàng chéng gōng， ān nà yì yú jiāo jì chǎng shàng guāng máng sì shè。 gù shì shǐ yú 'ào bù lǎng sī jī gōng jué hé yīng guó jiā tíng nǚ jiào shī liàn 'ài， yǔ qī zǐ dào lì nào fān， qiú zhù yú qí mò 'ān nà。 ān nà cóng shèng． bǐ dé bǎo dào mò sī kē tì 'èr rén tiáojiě， zài chē zhàn rèn shí liǎo nián qīng jūn guān fó lún sī jī（ AlexeiKirillovichVronsky）。 bìng zài mò sī kē yī cì wǔ huì zhōng hé fó lún sī jī fā shēng zhì mìng de liàn qíng， zì cǐ bù néng zì bá， zuì hòu shēn bài míng liè bìng zì shā shēn wáng。 fó lún sī jī wéi qiú dé měi rén， zhuī suí 'ān nà zhì shèng bǐ dé bǎo， zuì hòu liǎng rén xiàn rù rè liàn。 tā liǎ pín pín yōu huì， zuì hòu 'ān nà huái yùn， bìng xiàng zhàng fū chéng rèn liǎo sī qíng。 kǎ liè níng yī dù xiǎng yǔ qī zǐ fēn jū， dàn wéi cún miàn zǐ， jù jué lí hūn bìng yào qiú qī zǐ zhōng zhǐ liàn qíng。 rán 'ér 'ān nà fēn miǎn shí jǐ hū nán chǎn 'ér bīn lín sǐ wáng， zài sǐ wáng miàn qián， kǎ liè níng yuán liàng liǎo tā。 ān nà bìng hòu wú fǎ yā yì zì jǐ duì fó lún sī jī de 'ài， zhōng yú lí jiā chū zǒu。 fó lún sī jī dài zhe 'ān nà qián wǎng yì dà lì lǚ xíng， zhè shí 'ān nà gǎn dào wú bǐ de xìng fú。 qí hòu huí dào 'é luó sī， yú 'ér zǐ shēng rì shí， àn nà bù zhù tōu tōu huì jiàn zì jǐ de ér zǐ。 què wú fǎ jiàn róng yú 'é guó shè huì， shàng liú shè huì bǎ 'ān nà kàn zuò duò luò de nǚ rén， duàn jué hé tā de wǎng lái。 ān nà zhǐ dé yí jū xiāng xià， kào xiě zuò dǎ fā shí jiān。 èr rén gòng chù rì jiǔ， fó lún sī jī hé 'ān nà zài shēng huó shàng de bù xìn rèn rì zēng。 ān nà gǎn dào hěn nán guò， rèn wéi qíng rén wéi qián tú míng yù lí tā 'ér qù， jù sàng shī wàng zhī xià， ān nà wéi chǔfá fó lún sī jī， zài huǒ chē shǐ jìn shí tiào xià huǒ chē yuè tái zì shā。 zàng lǐ zhī hòu， yà lì shān dà · kǎ liè níng dài zǒu tā de nǚ 'ér， fó lún sī jī shòu dào liáng xīn de qiǎn zé， dà bìng yīcháng， hòu lái zhì yuàn cóng jūn， qián wǎng bā 'ěr gān cān zhàn， dàn qiú yī sǐ。
　　《 ān nà · kǎ liè ní nà》 - chuàng zuò bèi jǐng zī liào
　　
　　 zài shì jiè wén xué de wēi wēi qún shān zhōng， kān yǔ suō shì bǐ yà、 gē dé、 bā 'ěr zhā kè zhè jǐ zuò gāo fēng bǐ jiān 'ér lì de 'é guó zuò jiā dāng shǒu tuī liè fū · tuō 'ěr sī tài。 tuō 'ěr sī tài shì yī wèi yòu sī xiǎng de yì shù jiā， yě shì yī wèi bó xué de yì shù dà shī。 tā de zuò pǐn zhǎn xiàn de shè huì huà miàn zhī guǎng kuò， yùn hán de sī xiǎng zhī fēng ráo， róng huì de yì shù、 yǔ yán、 zhé xué、 lì shǐ、 mín sú nǎi zhì zì rán kē xué děng gè zhǒng zhī shí zhī guǎng bó， cháng cháng lìng rén wàng yáng xīng tàn。《 ān nà · kǎ liè ní nà》 shì tā de yī bù jì měi bù shèng shōu 'ér yòu bó dà jīng shēn de jù zhì。
　　
　　 jù dà de sī xiǎng hé yì shù jià zhí， shǐ dé zhè bù jù zhù yī fā biǎo biàn yǐn qǐ jù dà shè huì fǎn xiǎng。 tuō 'ěr sī tài bìng méi yòu jiǎn dān dì xiě yī gè nán nǚ sī tōng de gù shì， ér shì tōng guò zhè gè gù shì jiē shì liǎo 'é guó shè huì zhōng fù nǚ de dì wèi， bìng yóu cǐ lái biān tà tā de bù hé lǐ xìng。 zuò pǐn miáo xiě liǎo gè rén gǎn qíng xū yào yǔ shè huì dào dé zhī jiān de chōng tū。 1877 nián， xiǎo shuō shǒu bǎn fā xíng。 jù tóng dài rén chēng， tā bù chì shì yǐn qǐ liǎo“ yīcháng zhēn zhèng de shè huì dà bào zhà”， tā de gè gè zhāng jié dū yǐn qǐ liǎo zhěng gè shè huì de“ qiāo zú” zhù shì， jí wú xiū wú zhǐ de“ yì lùn、 tuī chóng、 fēinàn hé zhēng chǎo， fǎng fó shì qíng guān shè dào měi gè rén zuì qièshēn de wèn tí”。
　　
　　 dàn bù jiǔ， shè huì jiù gōng rèn tā shì yī bù liǎo bù qǐ de jù zhù， tā suǒ dá dào de gāo dù shì 'é guó wén xué cóng wèi dá dào guò de。 wěi dà zuò jiā tuó sī tuǒ yé fū sī jī xīng fèn dì píng lùn dào：“ zhè shì yī bù jìn shàn jìn měi de yì shù jié zuò， xiàn dài 'ōu zhōu wén xué zhōng méi yòu yī bù tóng lèi de dōng xī kě yǐ hé tā xiāng bǐ！” tā shèn zhì chēng tuō 'ěr sī tài wéi“ yì shù zhī shén”。 ér shū zhōng de nǚ zhù rén gōng 'ān nà · kǎ liè ní nà zé chéng wéi shì jiè wén xué shǐ shàng zuì yōu měi fēng mǎn de nǚ xìng xíng xiàng zhī yī。 zhè gè zī chǎn jiē jí fù nǚ jiě fàng de xiān fēng， yǐ zì jǐ de fāng shì zhuī qiú gè xìng de jiě fàng hé zhēn chéng de 'ài qíng， suī rán yóu yú zhì dù de zhì gù， tā de bēi jù zhǐ néng yǐ shī bài 'ér gào zhōng。 dàn tā yǐ nèi xīn tǐ yàn de shēn kè yǔ gǎn qíng de qiáng liè zhēn zhì， yǐ péng bó de shēng mìng lì hé bēi jù xìng mìng yùn 'ér kòu rén xīn xián。
　　
　　《 ān nà · kǎ liè ní nà》 de gòu sī shǐ yú 1870 nián， ér dào 1873 nián tuō 'ěr sī tài cái kāi shǐ dòng bǐ。 zhè shì tā yī shēng zhōng jīng shén kùn dùn de shí qī。 zuì chū， tuō 'ěr sī tài shì xiǎng xiě yī gè shàng liú shè huì yǐ hūn fù nǚ shī zú de gù shì， dàn suí zhe xiě zuò de shēn rù， yuán lái de gòu sī bù duàn bèi xiū gǎi。 xiǎo shuō de chū bù chuàng zuò bù guò jǐn yòng liǎo duǎn duǎn de 50 tiān shí jiān biàn dé yǐ wán chéng， rán 'ér tuō 'ěr sī tài hěn bù mǎn yì， tā yòu huā fèi liǎo shù shí bèi de shí jiān lái bù duàn xiū zhèng， qián hòu jīng guò 12 cì dà de gǎi dòng， chí zhì 4 nián zhī hòu cái zhèng shì chū bǎn。 zhè shí， xiǎo shuō fèi qì de shǒu gǎo gāo dá 1 mǐ duō！“ quán bù dū yīngdāng gǎi xiě， zài gǎi xiě”， zhè shì tuō 'ěr sī tài jīng cháng guà zài zuǐ biān de yī jù huà。 xiǎn rán， yī bù《 ān nà · kǎ liè ní nà》 yǔ qí shuō shì xiě chū lái de， bù rú shuō shì gǎi chū lái de。
　　
　　 zhèng shì zài zuò zhě jìn hū kē kè de zhuī qiú zhōng， xiǎo shuō de zhòng xīn yòu liǎo jù dà de zhuǎn yí， ān nà yóu zuì chū gòu sī zhōng de“ shī liǎo zú de nǚ rén”（ tā qù wèi 'è liè、 mài nòng fēng qíng， pǐn xíng bù duān）， biàn chéng liǎo yī gè pǐn gé gāo yǎ、 gǎn yú zhuī qiú zhēn zhèng de 'ài qíng yǔ xìng fú de“ pàn nǚ” xíng xiàng， cóng 'ér chéng wéi shì jiè wén xué zhōng zuì jù fǎn kàng jīng shén de nǚ xìng zhī yī。
　　
　　《 ān nà · kǎ liè ní nà》 tōng guò 'ān nà zhuī qiú 'ài qíng 'ér shī bài de bēi jù， liè wén zài nóng cūn miàn lín wēi jī 'ér jìn xíng de gǎi gé yǔ tàn suǒ zhè liǎng tiáo xiàn suǒ， miáo huì liǎo 'é guó cóng mò sī kē dào wài shěng xiāng cūn guǎng kuò 'ér fēng fù duō cǎi de tú jǐng， xiān hòu miáo xiě liǎo 150 duō gè rén wù， shì yī bù shè huì bǎi kē quán shū shì de zuò pǐn。 xiǎo shuō yì shù shàng zuì tū chū de tè diǎn shì shǒu cì chéng gōng dì cǎi yòng liǎo liǎng tiáo píng xíng xiàn suǒ hù xiāng duì zhào、 xiāng fǔ xiāng chéng de“ gǒng mén shì” jié gòu， bìng zài xīn lǐ miáo xiě shàng xì zhì rù wēi、 jīng miào jué lún。 xiǎo shuō zhōng nà dà duàn de rén wù nèi xīn dú bái， wú yí dōushì xiàn shí zhù yì miáo xiě de diǎn fàn。
　　《 ān nà · kǎ liè ní nà》 - rén wù xíng xiàng
　　
　　 ān nà
　　
　　《 ān nà · kǎ liè ní nà》 shì yóu liǎng tiáo zhù yào de píng xíng xiàn suǒ hé yī tiáo lián jié xìng cì yào xiàn suǒ jié gòu 'ér chéng de， zhěng tǐ shàng fǎn yìng liǎo nóng nú zhì gǎi gé hòu“ yī qiēdōu fān liǎo yī gè shēn， yī qiēdōu gāng gāng 'ān pái xià lái” de nà gè shí dài zài zhèng zhì、 jīng jì、 dào dé、 xīn lǐ děng fāng miàn de máo dùn。 xiǎo shuō tōng guò 'ān nà héng héng kǎ liè níng héng héng wò lún sī jī xiàn suǒ zhǎn shì liǎo fēng jiàn zhù yì jiā tíng guān xì de wǎ jiě hé dào dé de lún sàng； tōng guò liè wén héng héng jí tí xiàn suǒ miáo huì chū zī běn zhù yì shì lì qīn rù nóng cūn hòu， dì zhù jīng jì miàn lín wēi jī de qíng jǐng， jiē shì chū zuò zhě zhí zhe dì tàn qiú chū lù de tòng kǔ xīn qíng。 ér dào lì héng héng 'ào bó lǎng sī jī zhè yī cì yào xiàn suǒ qiǎo miào dì lián jié liǎng tiáo zhù xiàn， zài jiā tíng sī xiǎng shàng sān tiáo xiàn suǒ xiāng hù duì yìng、 cān zhào， gòu lè chū sān zhǒng bù tóng lèi xíng de jiā tíng mó shì hé shēng huó fāng shì。 zuò zhě yǐ zhè zhǒng jiàn zhù xué 'ér zì háo， yuán gǒng jiāng liǎng zuò dà shà lián jié dé tiān yī wúfèng，“ shǐ rén jué chá bù chū shénme dì fāng shì gǒng dǐng”。
　　 zhù rén gōng 'ān nà · kǎ liè ní nà shì shì jiè wén xué shǐ shàng zuì yōu měi fēng mǎn de nǚ xìng xíng xiàng zhī yī。 tā yǐ nèi xīn tǐ yàn de shēn kè yǔ gǎn qíng de qiáng liè zhēn zhì， yǐ péng bó de shēng mìng lì hé bēi jù xìng mìng yùn 'ér kòu rén xīn xián。
　　
　　 ān nà dì yī cì chū xiàn shí de yīn róng xiào mào lìng rén nán yǐ wàng huái： tā zī tài duān lì、 wēn yǎ， yī shuāng nóng mì de jié máo yǎn yìng xià de yǎn jīng zhōng“ yòu yī gǔ bèi yā yì de shēng qì zài tā de liǎn shàng liú lù …… fǎng fó yòu yī zhǒng guò shèng de shēng mìng lì yáng yì zài tā de quán shēn xīn， wéi fǎn tā de yì zhì”， zài yǎn shén hé wēi xiào zhōng xiǎn xiàn chū lái。 zài zhè fú chū sè de xiào xiàng zhōng zhǎn xiàn liǎo 'ān nà de jīng shén měi， yě tí shì wǒ men qù tàn jiū tā de shēng huó zhī mí。 ān nà fù mǔ zǎo shì， zài gū mǔ bāo bàn xià jià gěi liǎo bǐ tā dà 'èr shí suì de dà guān liáo kǎ liè níng。 hūn hòu zài zōng fǎ sī xiǎng zhī pèi xià tā céng 'ān yú tiān mìng， zhǐ shì bǎ quán bù gǎn qíng jì tuō zài 'ér zǐ shēn shàng。 wò lún sī jī huàn xǐng liǎo tā wǎn shú de 'ài qíng。 tā kě wàng zì yóu 'ér dà dǎn dì 'ài， bù yuàn xiàng bié tè xī gōng jué fū rén nà yàng zài jiā yàn shàng gōng kāi jiē dài qíng rén； yě bù yuàn jiē shòu zhàng fū de jiàn yì réng rán bǎo chí biǎo miàn de fū qī guān xì， tōu tōu yǔ qíng rén wǎng lái； zhōng yú chōng chū jiā tíng yǔ wò lún sī jī jié hé， gōng rán yǔ zhěng gè shàng liú shè huì duì kàng。 cóng cǐ 'ān nà shī qù liǎo yī gè guì zú fù nǚ zài shè jiāo jiè de yī qiē dì wèi hé quán lì， chú liǎo wò lún sī jī de 'ài， tā yī wú suǒ yòu， yīn cǐ， tā rè liè 'ér zhí zhe dì xiàn shēn yú zhè zhǒng 'ài。 què shí， zài guó wài， zài wò lún sī jī de zhuāng yuán lǐ， ān nà céng tǐ yàn guò duǎn zàn de“ bù kě yuán liàng de xìng fú”。 tā diū qì mǔ qīn de tiān zhí， dàn nèi xīn wú fǎ píng xī yīn shī qù 'ài zǐ 'ér chǎn shēng de bēi shāng； tā xiǎng 'áng qǐ jiāo 'ào de tóu， xuān chēng tā shì xìng fú de nǚ rén， dàn què bǎi tuō bù diào yòu zuì de qī zǐ de yì shí。 tā de líng hún yī zhí shòu dào zhé mó。 ér gū zhù yī zhì de、 yòu yú zì wǒ de duì wò lún sī jī de 'ài yòu bù kě néng dé dào xiāng yìng de gǎn qíng fǎn xiǎng， ān nà jué wàng liǎo， tā zài lín zhōng qián mǎn hán yuàn fèn dì hǎn chū：“ yī qiē quán shì xū wěi、 quán shì huǎng yán、 quán shì qī piàn、 quán shì zuì 'è。”
　　
　　 ān nà de xíng xiàng zài zuò jiā chuàng zuò guò chéng zhōng yòu guò jí dà biàn huà： cóng yī gè dī jí qù wèi de shī zú nǚ rén gǎi xiě chéng zhēn chéng、 yán sù、 nìngwéi yù suì、 bùwèi wǎ quán de nǚ xìng。 tuō 'ěr sī tài tōng guò 'ān nà de 'ài qíng、 jiā tíng bēi jù jì yù liǎo tā duì dāng shí dòng dàng de 'é guó shè huì zhōng rén de mìng yùn hé lún lǐ dào dé zhǔn zé de sī kǎo。 zuò jiā gē sòng rén de shēng mìng lì， zàn yáng rén xìng de hé lǐ yào qiú； tóng shí， tā yòu jiān jué fǒu dìng yī qiē zhèng zhì、 shè huì huó dòng（ bāo kuò fù nǚ jiě fàng yùn dòng） duì gǎi shàn rén men mìng yùn de zuò yòng， qiáng diào mǔ qīn héng héng fù nǚ tiān zhí de zhòng yào xìng。 zuò jiā shì jiè guān de máo dùn gòu chéng 'ān nà xíng xiàng de fù zá xìng。 yī bǎi duō nián lái gè guó zuò jiā 'àn zì jǐ de lǐ jiě bǎ 'ān nà bān shàng wǔ tái、 yín mù、 yíng guāng píng。 ān nà xíng xiàng yī zhí jī dòng zhe bù tóng shí dài、 bù tóng mín zú de dú zhě， zhè zhèng shuō míng 'ān nà xíng xiàng de yì shù shēng mìng lì shì bù xiǔ de。
　　
　　 liè wén
　　
　　 liè wén zé shì tuō 'ěr sī tài shì zhù rén gōng zhōng zì chuán xìng tè bié qiáng de yī gè rén wù， tā zài tuō 'ěr sī tài de chuàng zuò zhōng qǐ zhe chéng qián qǐ hòu de zuò yòng， zài tā shēn shàng yì shù dì zài xiàn liǎo zuò jiā shì jiè guān jī biàn qián xī de sī xiǎng gǎn qíng hé shēng huó gǎn shòu， cóng jié gòu 'ān pái lái kàn， liè wén de xìng fú jiā tíng yǔ 'ān nà de bù xìng jiā tíng hù wéi duì zhào， dàn cóng sī xiǎng tàn suǒ lái kàn， liè wén hūn hòu què chǎn shēng liǎo jīng shén wēi jī， tā wéi guì zú jiē jí zì gān bài luò 'ér yōu xīn chōng chōng。 tā yán jiū láo dòng lì zài nóng yè shēng chǎn zhōng de zuò yòng， zhì dìng“ bù liúxiě de gé mìng” fāng 'àn， tàn tǎo rén shēng de mùdì， dàn què háo wú chū lù。 luó màn · luó lán zhǐ chū， liè wén bù jǐn tǐ xiàn liǎo tuō 'ěr sī tài kàn dài shì wù de jì bǎo shǒu yòu mín zhù de guān diǎn， ér qiě“ liè wén hé jí tí de liàn 'ài， tā liǎ hūn hòu de tóu jǐ nián shēng huó， jiù shì zuò jiā zì jǐ jiā tíng shēng huó huí yì de bān yǎn。 tóng yàng， liè wén gē gē zhī sǐ yě shì tuō 'ěr sī tài de gē gē dé mǐ tè lǐ zhī sǐ de tòng kǔ zhuī yì”。 ér zuò pǐn de wěi shēng“ zé shì zuò zhě běn rén qū xiàng jīng shén gé mìng de guò dù”。
　　《 ān nà · kǎ liè ní nà》 - zhù tí sī xiǎng
　　
　　 guān yú liè fū · tuō 'ěr sī tài， mǎ yuán yòu yī gè shuō fǎ， tā rèn wéi tuō 'ěr sī tài shì xiǎo shuō shǐ shàng zhēng yì zuì shǎo de zuò jiā。 zhè lǐ suǒ shuō de zhēng yì zuì shǎo， zhǐ de shì tā zài wén xué shǐ shàng de dì wèi。 yě jiù shì shuō， nǐ kě yǐ xǐ huān huò bù xǐ huān tuō 'ěr sī tài de zuò pǐn， dàn sì hū wú rén néng gòu fǒu rèn tā zuò wéi yī wèi jié chū sī xiǎng jiā hé dì yī liú xiǎo shuō jiā de dì wèi。
　　
　　《 ān nà · kǎ liè ní nà》 zài liè fū · tuō 'ěr sī tài de suǒ yòu zuò pǐn zhōng， shì xiěde zuì hǎo de。《 zhàn zhēng yǔ hé píng》 yě xǔ gèng bō lán zhuàng kuò、 gèng xióng wěi、 gèng yòu qì shì， dàn tā bù rú《 ān nà · kǎ liè ní nà》 nà me chún cuì、 nà me wán měi。 shùn biàn shuō yī jù， liè fū · tuō 'ěr sī tài bìng bù shì yī gè chū sè de wén tǐ jiā， dàn tā de wén tǐ de jīng měi yǔ hé xié wú yǔ lún bǐ， zhè bìng fēi lái zì zuò zhě duì xiǎo shuō xiū cí、 jì qiǎo、 xù shù fāng shì de kè yì zhuī qiú， ér jǐn jǐn yuán yú yì shù shàng de zhí jué。
　　
　　 zài《 ān nà · kǎ liè ní nà》 zhè bù xiǎo shuō zhōng， liè fū · tuō 'ěr sī tài sù zào liǎo xǔ duō zài wén xué shǐ shàng guāng máng sì shè de rén wù： ān nà、 wò lún sī jī、 jí tí、 liè wén、 kǎ liè níng、 ào bù làng sī jī gōng jué…… zài zhè xiē rén wù zhōng， wéi yī yī gè zài shēng huó zhōng zuǒ yòu féng yuán， dài yòu diǎn xǐ jù sè cǎi de jiù shì 'ào bù làng sī jī gōng jué， qí tā de rén wù wú bù yǔ sǐ wáng zhù tí yòu guān。 rú guǒ wǒ men jiǎn dān dì guī nà yī xià， zhè bù zuò pǐn zhù yào xiě liǎo liǎng gè gù shì： qí yī， shì 'ān nà yǔ wò lún sī jī cóng xiāng shí、 rè liàn dào huǐ miè de guò chéng， yǐ jí wéi rào zhè yī jìn chéng de suǒ yòu shè huì guān xì de jiū gé， qí 'èr shì liè wén de gù shì yǐ jí tā zài zōng jiào yì yì shàng de zhǎn kāi gè rén sī kǎo。
　　
　　 zhèng rú nà jù zhù míng de kāi chǎng bái suǒ xiǎn shì de yī yàng， zuò zhě duì xiàn shí de sī kǎo shì yǐ jiā tíng hūn yīn wéi jī běn dān wèi 'ér zhǎn kāi de， zhì shǎo shè jí dào liǎo sì zhǒng hūn yīn huò 'ài qíng dá 'àn： kǎ liè níng fū fù， ān nà hé wò lún sī jī， ào bù làng sī jī fū fù， liè wén yǔ jí tí。 měi yī gè dá 'àn dū yì wèi zhe zuì 'è hé zāinàn。 ān nà shì wéi yī jīng lì liǎo liǎng zhǒng bù tóng hūn yīn ( ài qíng ) xíng shì de rén wù。 zài zuò zhě suǒ fù yú de 'ān nà de xìng gé zhōng， wǒ yǐ wéi jī qíng hé huó lì shì qí jī běn de nèi hán， zhèng shì zhè zhǒng yā yì bù zhù de huó lì shǐ měi mào chún jié de jí tí xiāng xíng jiàn chù； zhèng shì zhè zhǒng bèi huàn xǐng de jī qíng shǐ tā yǔ kǎ liè níng de hūn yīn、 shèn zhì bǐ dé bǎo xí yǐ wéi cháng de shè jiāo shēng huó、 shèn zhì bāo kuò hái zǐ xiè liáo shā dū 'àn rán shī sè。
　　
　　 yǔ zhè zhǒng jī qíng yǔ huó lì xiāng bàn 'ér lái de shì bù gù yī qiē de yǒng qì。 dāng xiǎo shuō zhōng xiě dào wò lún sī jī zài sài mǎ huì shàng shuāi xià mǎ lái， ān nà yīn shī shēng dà jiào 'ér bào lù liǎo " jiān qíng " zhī shí， duì zhàng fū shuō chū xià miàn zhè duàn huà shì xū yào yī diǎn yǒng qì de，“ wǒ 'ài tā， wǒ shì tā de qíng fù…… suí nǐ gāo xīng zěn me yàng bǎ wǒ chǔzhì bā。” tuō 'ěr sī tài duì zhè zhǒng jī qíng zhēn shì tài shú xī liǎo， wǒ men bù fáng xiǎng yī xiǎng《 zhàn zhēng yǔ hé píng》 zhōng de nà tǎ suō，《 fù huó》 zhōng de kǎ qiū suō， hái yòu zhé fú yú zuò zhě xīn zhōng de nà tóu qiáng zhuàng de xióng -- tā de páo xiào shēng yī zhí kùn rǎo zhe liè fū · tuō 'ěr sī tài。
　　
　　 mǎ dīng · dù gā 'ěr céng rèn wéi， tuō 'ěr sī tài shì zuì jù dòng chá lì de zuò jiā， tā de mù guāng shí fēn ruì lì， néng gòu chuān tòu shēng huó de bì lěi 'ér fā xiàn yǐn hán qí zhōng de " zhēn shí "。 dàn wǒ què qīng xiàng yú rèn wéi， cóng gēn běn shàng lái shuō， tuō 'ěr sī tài shì yī gè tú jiě zì wǒ guān niàn de zuò jiā， bù guǎn shì zǎo qī hái shì wǎn qī zuò pǐn， zhù tí shàng de lián xì shí fēn qīng xī， yóu qí shì《 zhàn zhēng yǔ hé píng》、《 ān nà · kǎ liè ní nà》 liǎng bù jù zhù， qí zhōng de rén wù、 qíng jié、 zhù tí duō yòu léi tóng zhī chù， tā de guān niàn de jiāng yù bìng bù kuān guǎng， tā de sù cái yě bù fēng fù， dàn zhè bìng bù fáng 'ài tuō 'ěr sī tài de wěi dà， zhèng rú sài wàn tí sī de xiá 'ài zhù tí bìng bù fáng 'ài《 táng jí hē dé》 de wěi dà yī yàng。 xiǎo shuō de zhēn shí lái zì tā de zhì huì， mǐn gǎn 'ér hào hàn de xīn líng， ér gèng wéi zhòng yào de shì tā de chéng shí。 wéi tè gēn sī tǎn zài dú wán《 hā zé · mù lā tè》 yǐ hòu céng gǎn kǎi dì shuō：“ tā ( tuō 'ěr sī tài ) shì yī gè zhēn zhèng de rén， tā yòu quán xiě zuò。”
　　
　　 tuō 'ěr sī tài yǔ《 ān nà · kǎ liè ní nà》
　　
　　　　 guān yú liè fū · tuō 'ěr sī tài， mǎ yuán yòu yī gè shuō fǎ， tā rèn wéi tuō 'ěr sī tài shì xiǎo shuō shǐ shàng zhēng yì zuì shǎo de zuò jiā。 wǒ lǐ jiě tā de yì sī， zhè lǐ suǒ shuō de zhēng yì zuì shǎo， zhǐ de shì tā zài wén xué shǐ shàng de dì wèi。 yě jiù shì shuō， nǐ kě yǐ xǐ huān huò bù xǐ huān tuō 'ěr sī tài de zuò pǐn， dàn sì hū wú rén néng gòu fǒu rèn tā zuò wéi yī wèi jié chū sī xiǎng jiā hé dì yī liú xiǎo shuō jiā de dì wèi。
　　　　 zài wǒ de xué shēng zhōng jiān， duì tuō 'ěr sī tài bù xiè yī gù de dà yòu rén zài。 yòu yī cì pèng dào yī wèi xué shēng， yǐ wǒ kàn tā de dǎo shī shì yī míng pō yòu xué wèn de 'é guó wén xué zhuān jiā， bù zhī hé gù， gāi shēng què duì 'ēn shī pō wéi bù mǎn， tí chū shì fǒu kě yǐ zhuǎn dào wǒ de míng xià， ràng wǒ gěi tā zhǐ dǎo。 wǒ wèn tā wèihé yào gēnghuàn dǎo shī， tā biàn liè jǔ liǎo yuán dǎo shī de jǐ gè zuì zhuàng， qí zhōng yī tiáo shì： tā jìng rán ràng wǒ qù dú shénme《 ān nà · kǎ liè ní nà》。 kě jiàn， zài zhè xiē yán bì chēng měi guó de xué shēng men de tóu nǎo zhōng， lǎo tuō 'ěr sī tài xiǎn rán yǐ jīng shì yī gè bù zhōng yòng de gǔ dǒng liǎo。 wǒ duì tā shuō， dǎo shī jiù bù bì huàn liǎo。 yīn wéi rú guǒ wǒ dāng nǐ de dǎo shī， dì yī běn tuī jiàn de shū kǒng pà hái shì《 ān nà · kǎ liè ní nà》。
　　　　《 ān nà · kǎ liè ní nà》 bù jǐn shì wǒ zuì xǐ huān de cháng piān xiǎo shuō， ér qiě wǒ yě rèn wéi， zài liè fū · tuō 'ěr sī tài de suǒ yòu zuò pǐn zhōng， tā yě shì xiěde zuì hǎo de。《 zhàn zhēng yǔ hé píng》 yě xǔ gèng bō lán zhuàng kuò、 gèng xióng wěi、 gèng yòu qì shì， dàn tā bù rú《 ān nà · kǎ liè ní nà》 nà me chún cuì、 nà me wán měi。 shùn biàn shuō yī jù， liè fū · tuō 'ěr sī tài bìng bù shì yī gè chū sè de wén tǐ jiā， dàn tā de wén tǐ de jīng měi yǔ hé xié wú yǔ lún bǐ， zhè bìng fēi lái zì zuò zhě duì xiǎo shuō xiū cí、 jì qiǎo、 xù shù fāng shì de kè yì zhuī qiú， ér jǐn jǐn yuán yú yì shù shàng de zhí jué。
　　　　 zài《 ān nà · kǎ liè ní nà》 zhè bù xiǎo shuō zhōng， liè fū · tuō 'ěr sī tài sù zào liǎo xǔ duō zài wén xué shǐ shàng guāng máng sì shè de rén wù： ān nà、 wò lún sī jī、 jí tí、 liè wén、 kǎ liè níng、 ào bù làng sī jī gōng jué…… zài zhè xiē rén wù zhōng， wéi yī yī gè zài shēng huó zhōng zuǒ yòu féng yuán， dài yòu diǎn xǐ jù sè cǎi de jiù shì 'ào bù làng sī jī gōng jué， qí tā de rén wù wú bù yǔ sǐ wáng zhù tí yòu guān。 rú guǒ wǒ men jiǎn dān dì guī nà yī xià， zhè bù zuò pǐn zhù yào xiě liǎo liǎng gè gù shì： qí yī， shì 'ān nà yǔ wò lún sī jī cóng xiāng shí、 rè liàn dào huǐ miè de guò chéng， yǐ jí wéi rào zhè yī jìn chéng de suǒ yòu shè huì guān xì de jiū gé， qí 'èr shì liè wén de gù shì yǐ jí tā zài zōng jiào yì yì shàng de zhǎn kāi gè rén sī kǎo。
　　　　 zhèng rú nà jù zhù míng de kāi chǎng bái suǒ xiǎn shì de yī yàng， zuò zhě duì xiàn shí de sī kǎo shì yǐ jiā tíng hūn yīn wéi jī běn dān wèi 'ér zhǎn kāi de， zhì shǎo shè jí dào liǎo sì zhǒng hūn yīn huò 'ài qíng dá 'àn： kǎ liè níng fū fù， ān nà hé wò lún sī jī， ào bù làng sī jī fū fù， liè wén yǔ jí tí。 měi yī gè dá 'àn dū yì wèi zhe zuì 'è hé zāinàn。 ān nà shì wéi yī jīng lì liǎo liǎng zhǒng bù tóng hūn yīn ( ài qíng ) xíng shì de rén wù。 zài zuò zhě suǒ fù yú de 'ān nà de xìng gé zhōng， wǒ yǐ wéi jī qíng hé huó lì shì qí jī běn de nèi hán， zhèng shì zhè zhǒng yā yì bù zhù de huó lì shǐ měi mào chún jié de jí tí xiāng xíng jiàn chù； zhèng shì zhè zhǒng bèi huàn xǐng de jī qíng shǐ tā yǔ kǎ liè níng de hūn yīn、 shèn zhì bǐ dé bǎo xí yǐ wéi cháng de shè jiāo shēng huó、 shèn zhì bāo kuò hái zǐ xiè liáo shā dū 'àn rán shī sè。
　　　　 yǔ zhè zhǒng jī qíng yǔ huó lì xiāng bàn 'ér lái de shì bù gù yī qiē de yǒng qì。 dāng xiǎo shuō zhōng xiě dào wò lún sī jī zài sài mǎ huì shàng shuāi xià mǎ lái， ān nà yīn shī shēng dà jiào 'ér bào lù liǎo“ jiān qíng” zhī shí， duì zhàng fū shuō chū xià miàn zhè duàn huà shì xū yào yī diǎn yǒng qì de，“ wǒ 'ài tā， wǒ shì tā de qíng fù…… suí nǐ gāo xīng zěn me yàng bǎ wǒ chǔzhì bā。” tuō 'ěr sī tài duì zhè zhǒng jī qíng zhēn shì tài shú xī liǎo， wǒ men bù fáng xiǎng yī xiǎng《 zhàn zhēng yǔ hé píng》 zhōng de nà tǎ suō，《 fù huó》 zhōng de kǎ qiū suō， hái yòu zhé fú yú zuò zhě xīn zhōng de nà tóu qiáng zhuàng de xióng héng héng tā de páo xiào shēng yī zhí kùn rǎo zhe liè fū · tuō 'ěr sī tài。
　　　　 mǎ dīng · dù gā 'ěr céng rèn wéi， tuō 'ěr sī tài shì zuì jù dòng chá lì de zuò jiā， tā de mù guāng shí fēn ruì lì， néng gòu chuān tòu shēng huó de bì lěi 'ér fā xiàn yǐn hán qí zhōng de " zhēn shí "。 dàn wǒ què qīng xiàng yú rèn wéi， cóng gēn běn shàng lái shuō， tuō 'ěr sī tài shì yī gè tú jiě zì wǒ guān niàn de zuò jiā， bù guǎn shì zǎo qī hái shì wǎn qī zuò pǐn， zhù tí shàng de lián xì shí fēn qīng xī， yóu qí shì《 zhàn zhēng yǔ hé píng》、《 ān nà · kǎ liè ní nà》 liǎng bù jù zhù， qí zhōng de rén wù、 qíng jié、 zhù tí duō yòu léi tóng zhī chù， tā de guān niàn de jiāng yù bìng bù kuān guǎng， tā de sù cái yě bù fēng fù， dàn zhè bìng bù fáng 'ài tuō 'ěr sī tài de wěi dà， zhèng rú sài wàn tí sī de xiá 'ài zhù tí bìng bù fáng 'ài《 táng jí hē dé》 de wěi dà yī yàng。 xiǎo shuō de zhēn shí lái zì tā de zhì huì， mǐn gǎn 'ér hào hàn de xīn líng， ér gèng wéi zhòng yào de shì tā de chéng shí。 wéi tè gēn sī tǎn zài dú wán《 hā zé · mù lā tè》 yǐ hòu céng gǎn kǎi dì shuō：“ tā ( tuō 'ěr sī tài ) shì yī gè zhēn zhèng de rén， tā 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)

　　liè fū · ní gǔ lā yé wéi qí · tuō 'ěr sī tài (ЛевНиколаевичТолстой)(1828 ～ 1910)19 shì jì mò 20 shì jì chū 'é guó zuì wěi dà de wén xué jiā， yě shì shì jiè wén xué shǐ shàng zuì jié chū de zuò jiā zhī yī， tā de wén xué zuò pǐn zài shì jiè wén xué zhōng zhàn yòu zhòng yào de dì wèi。 dài biǎo zuò yòu cháng piān xiǎo shuō《 zhàn zhēng yǔ hé píng》、《 ān nà · kǎ liè ní nà》、《 fù huó》 yǐ jí zìzhuàn tǐ xiǎo shuō sān bù qū《 yòu nián》《 shàonián》《 qīng nián》。 qí tā zuò pǐn hái yòu《 yī gè dì zhù de zǎo chén》《 gē sà kè》《 sài wǎ sī tuō bō 'ěr gù shì jí》 děng。 tā yě chuàng zuò liǎo dà liàng tóng huà。 tā yǐ zì jǐ yī shēng de xīn qín chuàng zuò， dēng shàng liǎo dāng shí 'ōu zhōu pī pàn xiàn shí zhù yì wén xué de gāo fēng。 tā hái yǐ zì jǐ yòu lì de bǐ chù hé zhuó yuè de yì shù jì qiǎo xīn qín chuàng zuò liǎo“ shì jiè wén xué zhōng dì yī liú de zuò pǐn”， yīn cǐ bèi liè níng chēng sòng wéi jù yòu“ zuì qīng xǐng de xiàn shí zhù yì” de“ tiān cái yì shù jiā”。
　　
　　 tuō 'ěr sī tài sī xiǎng zhōng chōng mǎn zhe máo dùn， zhè zhǒng máo dùn zhèng shì 'é guó shè huì cuò zōng fù zá de máo dùn de fǎn yìng， shì yī gè fù yòu zhèng yì gǎn de guì zú zhī shí fènzǐ zài xún qiú xīn shēng huó zhōng， qīng xǐng yǔ ruǎn ruò、 fèn dǒu yǔ fǎng huáng、 hū hǎn yǔ kǔ mèn de shēng dòng xiě zhào。 tuō 'ěr sī tài de zuò pǐn zòng rán qí zhōng yòu fǎn dòng de hé kōng xiǎng de dōng xī， dàn réng bù shī wéi shì jiè jìn bù rén lèi de jiāo 'ào， tā yǐ bèi gōng rèn shì quán shì jiè de wén xué tài dǒu。 liè fū · tuō 'ěr sī tài bèi liè níng chēng wéi“ é guó gé mìng de jìng zǐ”

　　Childhood (Russian: Детство, Detstvo) is the first novel in Leo Tolstoy's quasi-autobiographical trilogy first published in the Russian literary journal "Sovremennik" in 1852. This book describes the major physiological decisions of boyhood that all boys experience.
　　Excerpt
　　
　　"Will the freshness, lightheartedness, the need for love, and strength of faith which you have in childhood ever return? What better time than when the two best virtues -- innocent joy and the boundless desire for love -- were the only motives in life?"