A combination of factors led to Anna's tragic ending. The first is social isolation: they stopped communicating with Anna, condemning her for her connection with Vronsky, almost all people significant to her. She was left alone with her shame, pain at being separated from her son, anger at those who threw her out of their lives. The second is a discord with Alexei Vronsky. Jealousy and suspicion of Anna, on the one hand, and his desire to meet friends, to be free in desires and actions, on the other hand, heat up their relationship.

Society perceives Anna and Alexei differently: all doors are still open before him, and she is despised as a fallen woman. Chronic tension, loneliness, lack of social support reinforce the third factor - the heroine's impulsiveness and emotionality. Unable to bear heartache, a feeling of abandonment and uselessness, Anna dies.

Anna sacrificed everything for the sake of relations with Vronsky - in fact, she committed social suicide

American psychoanalyst Karl Menninger described the famous suicidal triad: the desire to kill, the desire to be killed, the desire to die. Anna was probably furious with her husband, who refused to give her a divorce, and the representatives who destroyed her with contempt. high society, and that rage was at the heart of the desire to kill.

Pain, anger, despair find no way out. Aggression is directed to the wrong address - and Anna either bullies Vronsky, or suffers, trying to adapt to life in the village. Aggression turns into auto-aggression: it transforms into a desire to be killed. In addition, Anna sacrificed everything for the sake of relations with Vronsky - in fact, she committed social suicide. A real desire to die arose in a moment of weakness, disbelief that Vronsky loved her. Three suicidal vectors converged at the point where Karenina's life ended.

Could it be otherwise?

Undoubtedly. Many of Anna's contemporaries sought divorce and remarried. She could keep trying to soften her heart ex-husband. The mother of Vronsky and the remaining friends could ask for help and do everything possible to legitimize the relationship with her lover.

Anna would not have been so painfully lonely if she had found the strength to forgive Vronsky for the offenses inflicted on her, real or imagined, and gave herself the right to make her own choice instead of aggravating the pain by mentally repeating to herself the reproaches of the world.

But the habitual way of life, which Anna suddenly lost, was, it seems, the only way she knew how to exist. To live, she lacked faith in the sincerity of the feelings of another, the ability to rely on a partner in a relationship, and the flexibility to rebuild her life.

An interesting railway-philological analysis of "Anna Karenina".
Usually, literary critics and philologists analyze the text and content of the novel, but do not go into the technical side: what did the locomotive and train look like under which the unlucky heroine threw herself?
Decided to find out mopsia . Her text, and I only consulted and supplemented it on the railway part.

[...] Unfortunately, Lev Nikolayevich, who was actually very attentive to all the details of the text being created, did not bother to indicate the type, serial number and year of manufacture of the steam locomotive under which Anna Karenina threw herself. There are no clarifications, except that the train was a freight train.

- What do you think, under which particular locomotive did Anna Karenina throw herself? - I once asked the great ferroequinologist of all LiveJournal.
- Most likely, under the "Sheep", - after thinking, S. answered. - But, perhaps, under the "Hard Sign".

"Lamb":

"Solid Sign"

I decided that, most likely, Tolstoy described “a train in general”, and he was not interested in the type of locomotive. But if contemporaries could easily imagine this very "steam locomotive in general", then for descendants it is already much more difficult. We assumed that for the readers of that time, the "locomotive in general" was precisely the popular "Sheep", known to everyone from young to old.

However, during the check of the already posted post, it turned out that we both jumped to conclusions. S. did not remember the exact date of publication of the novel and attributed it to the end of the 1890s, when both "Ov" and "Kommersant" were already widely used on the railways Russian Empire, and when checking, I got confused in the series and letters and, due to inexperience, simply "adjusted" the release dates to the publication date. Alas, it turned out to be not so simple at all.

The novel was conceived in 1870, published in parts in the Russky Vestnik magazine in 1875-1877, published as a separate book in 1878. X. Consequently, the heroine threw herself under some much more archaic locomotive, which is difficult for us to imagine now. I had to turn to the encyclopedia "Locomotives of domestic railways 1845-1955".

Since we knew that Karenina threw herself under a freight train, and we also knew the name of the road on which the tragedy occurred (Moscow-Nizhny Novgorod, opened for train traffic on August 2, 1862), the G 1860 series freight steam locomotive can be considered the most likely contender -s. release. For the Moscow-Nizhny Novgorod railway, such locomotives were built by French and German factories. A characteristic feature is a very large pipe expanding upwards and a half-open booth for the driver. In general, in our modern opinion, this miracle of technology is more like a children's toy :)

Station

Just in case, let me remind you that Anna Karenina threw herself under a train at the Obiralovka station, located 23 kilometers from Moscow (and not in Moscow or St. Petersburg). In 1939, at the request of local residents, the station was renamed Zheleznodorozhnaya. The fact that Tolstoy chose Obiralovka once again confirms how attentive he was to all the details of the plot. At that time, the Nizhny Novgorod road was one of the main industrial highways: heavily loaded freight trains often ran here, under one of which the unfortunate heroine of the novel found her death.

The railway line in Obiralovka was laid in 1862, and after a while the station became one of the largest. The length of sidings and sidings was 584.5 fathoms, there were 4 arrows, a passenger and a residential building. Every year, the station was used by 9,000 people, or an average of 25 people a day. The station settlement appeared in 1877, when the novel Anna Karenina itself was published (in 1939 the settlement was also renamed the city of Zheleznodorozhny). After the release of the novel, the station became a place of pilgrimage for Tolstoy's fans and acquired great importance in the life of the surrounding villages.

When the Obiralovka station was the final one, there was a turning circle - a device for turning 180 degrees for locomotives, and there was a pumping station mentioned in the novel "Anna Karenina". Inside the wooden station building there were office premises, a telegraph office, commodity and passenger cash desks, a small hall of the 1st and 2nd class and a common waiting room with two exits to the platform and the station square, on both sides of which the passengers were "guarded" by cabbies at the hitching posts. Unfortunately, now nothing remains of the former buildings at the station.

Here is a photograph of the Obiralovka station (late 19th - early 20th century):

Now let's look at the text of the novel:

When the train approached the station, Anna got out in a crowd of other passengers and, as if from lepers, shunning them, stopped on the platform, trying to remember why she had come here and what she intended to do. Everything that had seemed possible to her before was now so difficult to comprehend, especially in the noisy crowd of all these ugly people who would not leave her alone. Now artel workers ran up to her, offering her their services; now the young people, banging their heels on the boards of the platform and talking loudly, looked around it, then the oncoming people stepped aside in the wrong direction.

Here it is, the boardwalk - on the left side of the photo! We read further:

"My God, where should I go?" – farther and farther away along the platform, she thought. She stopped at the end. The ladies and children, who had met the spectacled gentleman and were laughing and talking loudly, fell silent, looking at her as she drew level with them. She quickened her pace and moved away from them to the edge of the platform. A freight train was coming. The platform shook, and it seemed to her that she was riding again.

And suddenly, remembering the crushed man on the day of her first meeting with Vronsky, she realized what she had to do. With a quick, light step, she descended the steps that led from the pumping station to the rails, and she stopped beside her passing train.

By "water tower" is meant a water tower that is clearly visible in the photograph. That is, Anna walked along the board platform and went downstairs, where she threw herself under a freight train passing at low speed. But let's not get ahead of ourselves - the next post will be devoted to the railway-philological analysis of suicide. On this moment one thing is clear - Tolstoy visited the Obiralovka station and had a good idea of ​​​​the place where the tragedy occurred - so well that the entire sequence of Anna's actions in the last minutes of her life can be reproduced based on a single photograph.

Second part of the investigation

While selecting materials for the post, I came across the opinion that the suicide of Anna Karenina is convincing from an artistic point of view, but doubtful from a, so to speak, “technical” point of view. However, there were no details - and I wanted to figure it out myself.

As you know, the prototype of Anna Karenina is a combination of the appearance of Maria Hartung, Pushkin's daughter, the fate and character of Maria Alekseevna Dyakova-Sukhotina, and the tragic death of Anna Stepanovna Pirogova. We will talk about the latter.

In the original plan, Karenina was called Tatyana, and she parted with her life in the Neva. But a year before the start of work on the novel, in 1872, a tragedy occurred in the family of Tolstoy's neighbor, Alexander Nikolayevich Bibikov, with whom they maintained good neighborly relations and even started building a distillery together. Together with Bibikov, Anna Stepanovna Pirogova lived as a housekeeper and common-law wife. According to her recollections, she was ugly, but friendly, kind, with a spiritual face and a light character.

Recently, however, Bibikov began to give preference to the German governess of his children and even decided to marry her. When Anna Stepanovna found out about his betrayal, her jealousy crossed all boundaries. She ran away from home with a bundle of clothes and for three days wandered the area beside herself with grief. Before her death, she sent a letter to Bibikov: “You are my killer. Be happy, if a killer can be happy at all. If you wish, you can see my corpse on the rails in Yasenki” (a station not far from Yasnaya Polyana). However, Bibikov did not read the letter, and the messenger returned it. Desperate Anna Stepanovna threw herself under a passing freight train.

The next day, Tolstoy went to the station, when an autopsy was being performed there in the presence of a police inspector. He stood in the corner of the room and saw in every detail the female body lying on the marble table, bloodied and mutilated, with a crushed skull. And Bibikov, having recovered from the shock, soon married his governess.

This is, so to speak, prehistory. And now let's reread the description of the suicide of the unfortunate heroine.

*****
With a quick, light step, she descended the steps that led from the pumping station to the rails, and she stopped beside her passing train. She looked at the bottom of the cars, at the screws and chains, and at the high cast-iron wheels of the slowly rolling first car, and with her eye tried to determine the middle between the front and rear wheels and the minute when this middle would be against her.

"There! - she said to herself, looking into the shadow of the car, at the sand mixed with coal, with which the sleepers were covered, - there, in the very middle, and I will punish him and get rid of everyone and myself.

She wanted to fall under the first carriage, which was level with her in the middle. But the red bag, which she began to remove from her hand, delayed her, and it was already too late: the middle passed her. We had to wait for the next car. A feeling similar to the one she experienced when, while bathing, she was preparing to enter the water, seized her, and she crossed herself. The habitual gesture of the sign of the cross evoked in her soul a whole series of girlish and childhood memories, and suddenly the darkness that covered everything for her broke, and life appeared to her for a moment with all her bright past joys. But she did not take her eyes off the wheels of the approaching second carriage. And exactly at the moment when the middle between the wheels was level with her, she threw back the red bag and, pressing her head into her shoulders, fell under the car on her hands and with a slight movement, as if preparing to immediately get up, sank to her knees. And in that moment she was horrified at what she was doing. "Where I am? What am I doing? For what?" She wanted to rise, to lean back; but something huge, inexorable pushed her in the head and dragged her behind. "Lord, forgive me everything!" she said, feeling the impossibility of fighting. The peasant, saying something, worked on the iron. And the candle, under which she read a book full of anxieties, deceptions, grief and evil, flared up with a brighter light than ever, illuminated for her everything that had previously been in darkness, crackled, began to fade and went out forever.

*****
The fact that Anna Karenina threw herself under a freight train and not under a passenger train is absolutely correct from a technical point of view. Whether Tolstoy's powers of observation played a role here or whether he specifically drew attention to the arrangement of carriages is unknown, but the fact remains: it was extremely difficult to throw yourself under a pre-revolutionary passenger carriage. Pay attention to the undercarriage boxes and iron struts for strength. An unlucky suicide would have been more likely to be maimed and thrown onto the platform.

And here is the freight car. Approximately under this, according to the description, the unfortunate heroine rushed. There are no undercarriage boxes here, there is a lot of free space and it is quite easy to "count" the middle. Considering that Anna managed to “dive” under the car, fall on her hands, kneel, be horrified by what she was doing, and try to get up, it becomes clear that the train was moving very slowly.

... fell under the car on her hands and with a slight movement, as if preparing to immediately get up, knelt down.

But here I disagree with the classic: you can fall between wagons, and under the car will still have to “dive”, that is, bend over, lean forward and only then fall onto the rails. For a lady in a long dress with a bustle (according to the fashion of that time), in lace and in a hat with a veil (ladies with uncovered heads did not go out into the street, and even above in the text it is mentioned that “horror was reflected on her face under the veil”) difficult, but in principle possible. By the way, pay attention - she took off the "pouch" and threw it away, but not the hat.

« Something huge, inexorable pushed her in the head and dragged her behind.”- here Tolstoy took pity on the readers and tried to avoid excessive realism. The nameless “something” is a heavy cast-iron wheel (or rather, a pair of wheels). But I won't go too deep either, because imagining it is really scary.

“But why didn’t she just throw herself under the engine?” - I asked S. - Why did you dive under the car?
- What about the front bumper? It was for this that it was installed - in order, if necessary, to push cows, goats and other Karenins out of the way ... She would simply be thrown aside, and instead of a romantic death, there would be a deep disability. So the method is technically correct, although not very convenient for a lady dressed in the fashion of that time.

In a word, we did not find any "technical" mistakes in the description of the death of Anna Karenina. Apparently, Tolstoy not only watched the autopsy of the deceased Anna Pirogova, but also talked with the investigator, collecting eerie, but necessary material for describing the suicide.

To understand why Anna Karenina threw herself under a train, what is the reason for this act, one should analyze the society of that time. Leo Tolstoy's novel describes the manners and customs of high society late XIX and the power of its influence on a person. Society imposes its own rules and requires their strict observance.

Adultery is not condemned, and rather is the norm of that time, but it had to be hidden, not flaunted. Anna defied the hypocritical rules of society, for which she paid.

Why Anna Karenina threw herself under a train

The prosperous life of Anna in the novel is described quite vividly. The husband is a wealthy royal official, strong, solid, but not loved. Anna did not resist marriage, however, she felt only respect for her husband, but not love. She gave all her tenderness to her little son, and it was he who became the center of the universe for her. In society, Anna was respected, appreciated, her advice was listened to. Her intelligence and charm made her a welcome guest in any home.

Young woman created an illusion happy family, but everything crashed in an instant when a chance meeting turned her world upside down. The brilliant officer Alexei Vronsky awakened in her heart those feelings that Anna had not previously suspected. The struggle with herself, with the imposed rules and the inability to live a lie, leads Anna to demand a divorce from her husband.

However, the husband more important than the rules, laws and etiquette. He is ready to forgive Anna, turning a blind eye to her betrayal. After all, a divorce could affect his career, and Anna's feelings were not taken into account. The main thing is the rules. According to the concepts of that time, the spouse showed nobility, however, is this act really noble? He was not jealous of Anna, but only demanded that she "keep up appearances."

Why did Karenina throw herself under a train? After all, Anna nevertheless went to her beloved, and even bore him a daughter?

In a new relationship, Anna did not find peace and harmony. Her husband separated her from her beloved son, the sanctimonious society condemned and rejected her. Vronsky was forced to resign and the young lovers left the city, where they were condemned.

Deprived of her son and friends, Anna could not find a place for herself. Her whole world narrowed down to Vronsky, and she strove to become the whole world for him. She understood that Vronsky had sacrificed a lot for her, but it seemed to her that this was not enough. Anna did not see a way out of this situation, and any step she takes will bring pain to someone close to her.

The feeling of guilt exhausted the young woman, made her insecure and jealous. The sudden realization of what she had become, shocked the unfortunate woman even more. She just wanted happiness, wanted to live honestly, not hiding her love, but this was unacceptable for high society.

Morphine, which she began to drink to calm her down, only exacerbated her feelings. Under the influence of dope, Anna was jealous of Vronsky for fictional women, which caused quarrels between lovers. Anna's love began to weigh on Vronsky, and he tried to be at home less often.

Vronsky's desire to visit his mother led to another quarrel. Anna went to the station to once again reproach Alexei for being in such a situation.

Once at the station, Anna becomes a witness to a conversation between the spouses. In their benevolent smiles, she saw all the same falseness and hypocrisy. They hated each other, but "keep up appearances".

Publications in the Literature section

Trains in Russian literature XIX century

In 1837, the first train was launched in Russia along the road connecting Tsarskoye Selo with St. Petersburg. Since then, steam engines, along with wagons and cradles, have become an important part of literature. We recall which trains swept through the pages of Russian classics.

Fear in life and in literature

Carl Beggrov. Train of the Tsarskoye Selo railway. 1836. Photo: om-okt.ru

They got used to the new way of transportation for a long time: they began to build railways throughout the country only in the 1870s. At first the trains seemed ordinary people monsters: for example, the wanderer Feklusha in Alexander Ostrovsky's Thunderstorm was very realistic for that time horrified by the "fiery serpent". Fearing ruin, the owners of stagecoaches, together with the cabbies, willingly supported rumors that the speed of trains develops a brain disease, the smoke from the chimney kills flying birds, and if the locomotive explodes, the passengers will be torn to pieces.

The ominous atmosphere enveloped the trains for another reason: a lot of workers died during the construction of roads, they were buried along the route being laid. One of the most disastrous for the builders was the railway between Moscow and St. Petersburg. Nikolai Nekrasov dedicated a poem of the same name to her, where the boy Vanya raced on the train in the moonlight and had a terrible dream:

A shadow ran over the frosty glass...
What's there? Crowd of the Dead!
They overtake the cast-iron road,
Then the sides run.

And for many, the mass fear of trains was an opportunity to show their own prowess. Teenager Kolya from Fyodor Dostoevsky's novel The Brothers Karamazov, on a dare, lay down between the rails and lay face down while a train rushed over him at full speed. “Two red lanterns flashed out of the darkness, an approaching monster rumbled. "Run, run away from the rails!" - the boys who were dying of fear shouted to Kolya from the bushes. And although Kolya lost consciousness with fright, “the glory of the“ desperate ”behind him was strengthened forever”. So did many daredevils in real life.

Even towards the end of the century, when trains became commonplace, this fear, almost superstitious, did not completely disappear. In Leonid Andreev's short story "Belkom", the rumbling trains continued to frighten both the small suburban platform and the narrator himself: “...because of the wall that closed the right side of the road from me, a black and fiery monster suddenly burst out and rushed like a whirlwind, with thunder and clanging, dragging heavy wagons behind it”.

Death under the wheels

Alexander Samokhvalov. Illustration for Leo Tolstoy's novel "Anna Karenina". Photo: dic.academic.ru

Frame from the film "Anna Karenina". 1914

Trains were inextricably linked with the theme of death: the new transport turned out to be a way for many to commit suicide. Thanks to Leo Tolstoy, the image of the killer locomotive became a landmark for Russian literature.

Anna Karenina was the most famous victim of the train. But long before her, at the beginning of the novel, the watchman also died under the wheels: "...whether he was drunk, or too wrapped up from a severe frost, did not hear the train moving backwards, and he was crushed". On Anna, his death, "terrible" or "on the contrary, the easiest, instantaneous", made a crushing impression. Ultimately, it was this memory that pushed her onto the rails: “And suddenly, remembering the crushed man on the day of her first meeting with Vronsky, she realized what she had to do”.

Another hero of Tolstoy was ready to follow Anna's example - the landowner Pozdnyshev, tormented by jealousy, from the story The Kreutzer Sonata. He told a random fellow traveler without concealment: “The suffering was so strong that, I remember, an idea came to me, which I liked very much, to go out onto the track, lie down on the rails under the car and finish”.

And the writer Leonid Andreev, in his youth, himself lay under the train because of unhappy love, but, fortunately, survived. However, in his story "Silence", Karenina's tragic fate was shared by the priest's daughter Vera: “She was no longer seen alive, because that evening she threw herself under a train, and the train cut her in half”. Leo Tolstoy, who carefully read Andreev's stories, always praised Silence.

Eternal vanity

Frame from the film "Anna Karenina", 2012

Over the course of the trip railway ceased to be the privilege of landowners and nobles, and a rare author in the 19th century did without descriptions of the station and wagon bustle. Back in 1862, Nikolai Leskov, in a series of travel essays, wrote how, shortly before arrival, everyone ran to drink tea, “but you can’t get to tea, and half of the passengers return to their cars without salty slurping.”

In Anton Chekhov's story "One of the Many", a summer resident overwhelmed with assignments complained: “... at the station and in the carriage you will stand ... all in bags, in cardboard boxes and other rubbish. And the train starts to move, the audience begins to throw your luggage in all directions: you have taken other people's places with your things.. The apogee of the road confusion in Chekhov's style was the story "In the car", where the mail train raced at full speed "from the Cheerful Fuck-Tararakh station to the Save yourself, who can!" station.

By the end of the century, this picture remained virtually unchanged. Leonid Andreev’s short story “Petka in the Country” depicts the same motley, crowded station “with its discordant hustle, the roar of incoming trains, the whistles of locomotives” and “hurried passengers who go on and on, as if there is no end to them.”

When the gathering and seeing off were left behind, the passengers made themselves comfortable and began to look at those who were riding nearby. The hero of Chekhov's "In the Carriage" was surrounded by a succession of characters: around were old women with knapsacks, a puffing peasant, a mower in a top hat, high school students with cigarettes. Snoring there forensic investigator, next to him, a “pretty woman” was dozing, and “under the benches, the people are sleeping in a heroic dream.”

Leo Tolstoy in Anna Karenina created characteristic images with a couple of strokes: a dashing conductor, a guards officer who stood straight and looked around sternly, a fidgety merchant with a bag, a peasant with a bag over his shoulder. In Tolstoy's carriages one could meet both a merchant who squandered his fortune in his youth, and a retired officer who tried everything in this life, and a modest artilleryman who volunteered for the Serbian war.

The gallery of passengers was also presented by Nikolai Garin-Mikhailovsky's essays "In the hustle and bustle of provincial life." In the first-class non-smoking section, there were people "good manners, prim and dull." Another thing is the smoking section, where there were "clouds of smoke, always a cheerful, contented circle of cavalrymen and talk about horse races" and two girlfriends in huge hats. And on the site of the third class there is a “happy, wind-tousled couple” - a carefree student and a female student.

Road Talk

Performance based on the novel by Leo Tolstoy "The Kreutzer Sonata", 2013. Director - Alexei Kriklyvy. Photo: tayga.info

Not all fellow travelers of the heroes of Russian literature remained fleeting images - the heroes entered into a conversation with someone, especially if the path was long. This is how Anna Karenina and Vronsky's mother met in the carriage, and in Alexander Kuprin's story "At the Departure", an affair began between the traveler and his random married companion. In Dostoevsky's novel The Idiot, a conversation on the morning train, which "approached St. Petersburg at full speed", brought together the main characters - Prince Myshkin and the merchant Rogozhin.

Sometimes road chatter led to incidents. In the story of Nikolai Leskov "Journey with a Nihilist", passengers on trains were seated at random: “Whatever class you take, everything comes out the same - everyone is together”. The cars were not heated, there were no buffets, it was left to warm up with alcohol from road flasks and discuss everything in a row. As a result, suspecting each other, fellow travelers mistook the prosecutor of the judicial chamber for a thief and a terrorist.

And for Pozdnyshev, in Tolstoy's Kreutzer Sonata, the carriage became a real confessional. He told fellow travelers that he had killed his wife, and then told the sad story of his marriage all the way. The jealous landowner also told about the torment that "eight hours in a cast-iron" became for him: “Is it because, having got into the car, I vividly imagined myself having already arrived, or because the railway has such an exciting effect on people, but only since I got into the car, I could no longer control my imagination”.

Alexander Kuprin sarcastically remarked in the story “In the Dark” that a person who travels by rail for a long time becomes “vulgarly curious” out of boredom and “boosts his neighbors with unnecessary questions.” But by the end of the century, trains became more comfortable, and the mood of the passengers changed along with the topics of conversation. “We entered the car with a desire to rest”- wrote Leonid Andreev in the story "On the train". They were no longer talking out of boredom and not in order to kill time - the atmosphere itself disposed to a leisurely conversation. People talked about everything in the world "in the ghostly twilight of the car under the quiet sound of wheels, not seeing each other, but feeling how closeness and tender affection grow."

So by the end of the 19th century, trains that used to be frightening, smoking and vain became a way of escaping from reality. Lulled by the sound of wheels, the passengers seemed to find themselves out of time and space. And if there was no one to talk to, then you can always reflect - about yourself, about life, about the past and about the future.

In Nikolai Garin-Mikhailovsky's story "Gymnasium Students", even noisy youth succumbed to silent road dreaming. Natasha Kartasheva looked out the car window at the sunset steppe and plunged into a pleasant, poignant thoughtfulness, "which embraces in the evening at the open window in a fast-moving train". And it seemed to her brother Theme that something was looking at them from the darkness, “as if the shadows of the former owners were looking into the bright windows of the cars.”

At the turn of the century, Leonid Andreev summed up the inevitable change in the relationship between man and the train: “For the people in the carriage there is no real, damned present, which holds the thought in a vice and in the movement of the hand - perhaps that is why the people in the carriage become philosophers”.

The novel "Anna Karenina" was written by the great Russian writer L.N. Tolstoy already after the huge social canvas "War and Peace". In this novel, Leo Tolstoy tried to show the modest family life of provincial Russia at the end of the 19th century. But Tolstoy could not resist telling about a family tragedy. The background of the narration was a picture of the life of the society of that time, amazing in brightness and authenticity, brilliance and poverty at the same time. And against this background, the short life story of a bright personality, striving to escape from the shackles of everyday life, is superbly shown.

Why Anna Karenina threw herself under a train

Anna's life followed the path that her parents assigned her. Married early to an elderly official, Anna did not know what love was. She thought love was about loyalty and obedience. And after the birth of her son Serezha, Anna had true love - love for her son. Quite by chance, she meets a young handsome Vronsky at the station - Anna was traveling by train with his mother. Now something happened to Anna, which now, in our time, is called a "short circuit". But here an incident occurred that made a terrible impression on Anna and influenced her future fate. The lineman at the station threw himself under the train, as he could not bear the beggarly existence.

Meeting with Vronsky at the ball served as an impetus for the development of their relationship. Anna decides to leave her husband for him and even admits that she is pregnant by Vronsky.

The world did not understand Anna's act and all the doors were closed in front of her. All this served as an impetus to the fact that Anna was increasingly visited by thoughts that the act of the station crawler was not without meaning. Even the birth of her daughter did not bring peace to Anna. That is why Anna Karenina threw herself under the train at the very station where she first met Vronsky.

Judging by the text of the novel, Anna Karenina threw herself under the train because she lost her footing, she was rejected by the light in which Anna grew up, and Anna could not find another world of communication. Another impetus that pushed Anna Karenina to commit suicide was Vronsky's cooling off towards her, and even her daughter, whom Anna did not really love, because she could not come to terms with the fact that Karenin forbade her to see Seryozha, could not keep her from the fatal step. Count Leo Tolstoy, a representative of the high society of tsarist Russia, who at the end of his life went to the people, his novel Anna Karenina tried to show all the rigidity of the so-called. high society, its morality. All the heroines of his works are trying to escape from the clutches of everyday life. Therefore, the fate of one of the most striking heroines of the writer is so dramatic.