The end is demarcated by the violent and brutal death of the “muffled up” guard, which Anna sees as an “ill omen”.

Yet, she holds Vronsky’s love closely. . The physical recovering instigates verbal control, which she used to easily possess. | The old prince, and Lvov, whom he liked so much, and Sergey Ivanovich [Koznyshev], and all the women believed” (889). In the absence of both factors, women became the subjects of pity. Our team is working tirelessly to make the IQEssay more convenient to use. | In closely looking at how the characters behave at the station in chapter xviii, part I, important links can be drawn to understanding the nature of Anna-Vronsky love affair. Anna Karenina, on a much more intimate level, illustrates the forces which allow individuals to confront challenges. He is conscious of the desire to prove himself, and therefore mows too “vigorously” and with too much thought. The guard’s end was violent, drawing parallels with the violent nature of Anna’s adulterous affair with Vronsky – she rips herself out of the comfortable social position she enjoys, and flings herself in the dangerous path of adultery.

| Nothing more than the barest existence is given to Lukeria, “I sense that I’m alive, I breathe – and that’s all there is of me” (359), and yet, her life seems to be filled with nothing but beauty. In Anna Karenina, when Anna and Vronsky consummate their relationship, rather than the ideal perfect union, their coupling is compared to a dead body. In the first visible meeting with his deeply rationalist brother, Koznyshev, Levin walks in to find him debating furiously with a ‘professor’. These are very drastically different social implications: one insists on an emotional bond, and the other frowns upon it.

The dark language not only foreshadows the death of the guard, but the fatally destructive meeting of Anna and Vronsky. It can be argued that the emotional break that caused her to jump underneath the train on that fateful day could be foreshadowed by her witnessing the peasant dying by getting run over by the train in Part I. "Historical necessity" is illustrated in Anna Karenina according to the personal destinies of the main characters as they react to changing circumstances. Despite showing the blissful union of Kitty and Levin, Tolstoy ultimately states that marriage, and other sexually-based relationships, weaken the individual's quest for "immanent goodness." | She “shrouded” this life, pushing it back within her “deliberately”, but it resisted her efforts and once again “shone against her will” in her “faintly perceptible smile”. Anna and Vronsky, however, experience love at first sight in this very setting, which marks out the beginning of their love affair as an absurd happening that is out of place of the social milieu in which they exist, highlighting the socially unacceptable nature of their love. Some of these reforms included changes to the organization of Russian social classes, educational and farming reforms, and an enormous increase in urbanization (Riasanovsky 24-27). He reacts so sharply because he is unfamiliar with affection, and is aware that he has enabled this kind of affection. Tolstoy shows us that men's primary interests are outside the home, whereas women, like Dolly, center their existence on the family. Her final moments are her mental ending her externally expressed internal struggle. She glows bronze; it seems with the light of life. This is not socially acceptable, so rather than either of them facing the embarrassment, they pretend like everything is normal.

Levin’s journey to greater self-knowledge is essentially the ‘successful’ result to the novel’s experiment, with Anna’s journey to the absolute depths of delusion standing as the negative control. As Levin sits eating with Oblonsky, Levin similarly talks of the carefully manicured nails of one of Oblonsky’s friend, and goes on to say, “We in the country try to have our hands in such condition as will be most convenient for working with” (43). This is what can be called professionalism. Levin is able to leave his identity as the “master” behind, and is taken under the wing of the old peasant in front of him. Jesus says, “He that is without sin among you, let him cast the first stone at her” (John 8:7). She emphasized that “the black dress with luxurious lace was not seen on her; it was just a frame, and only she was seen – simple, natural, graceful, and at the same time gay and animated” (p.79). He was personally responsible for opening schools for peasants and trying to increase literacy through the lower class as best he could (Souder). The station is described in the following words in Chapter xvii, Part I;“The approach of the train was more and more evident by the preparatory bustle in the station, the rush of porters, the movement of policemen and attendants, and people meeting the train….The hiss of the boiler could be heard on the distant rails, and the rumble of something heavy.”In the next chapter, Tolstoy describes the scene in which the guard is crushed under the train, this way: “Just as they were getting out of the carriage, several men ran suddenly by with panic-stricken faces. Levin and Kitty first meet in the drawing room of the Oblonskys’.

Their marriage is a fulfillment, not a compromise, because Levin’s family represents an integral part of his search for essential reality. Anna Karenina features portraits of three relationships: Dolly and Oblonsky, Kitty and Levin, and Anna and Vronsky. Maternity still has the symbolic significance of conveying religious and spiritual authority; however the nannies and maids fulfill most of the maternal roles. His outside interests and his love are vehicles which aid him to discover the truth of inner goodness. This is a reference in the bible when a woman is caught in the act of adultery. He prefigures this later doctrine as the love between Anna and Vronsky deteriorates and by the lighthearted intrusion of Vassenka Veslovsky. Alexander II profoundly affected the everyday lives of his subjects and the lives of Russians in the generations after he fell from power. Two of them clung about her white skirts, the third she took from its nurse and with a thousand endearments bore it along in her own fond, encircling arms. With a couple of cleverly placed words Cherneshevsky believes that he can dispense with even the worlds most lasting questions. Her inability to think of her situation in practical terms, and remain “muffled up” in her own world is one of the main reasons of the conflict her conscience is subject to. We have been working for more than 6 years, and the majority of clients become our loyal friends. IQEssay is not the other writing service, but a company with an innovative approach. He knows that estrangement is the ideal, yet he cannot help his feelings for I-330, making them toxic. Our writers are developing their writing experience every day. | While all forms of violence are evil, any government compulsion shares this taint, since the individual must be free to follow his own inner goodness, seeking for himself what is right and wrong. Just like the current binds the voluminous velocity of the youthful river, it is this “unity inherent within the variety” that binds the novel together. | While the watchman was quite literally “cut in two pieces”, the train symbolizes the advent of modernity and European ideas of physicality, which served to divide Anna. "Historical necessity" is illustrated in Anna Karenina according to the personal destinies of the main characters as they react to changing circumstances. This revelation allows the clarification of the excitement over work, but its true essence is that it allows the reader to see once more the deeper similarity between him and Lukeria and Kasyan. Plot Structure and Technique in Anna Karenina. | 7 Anthony Thorlby writes that Anna’s thoughts to herself belie a sense of “the pressure of unspoken considerations, of evasions and pretences” (Thorlby 60). Apart from the creation of specific situations that draw links to the overall themes of the novel, Tolstoy has employed recurrent images throughout the course of the text that belie the presence of a centrally wedged and binding keystone within the structural design of Anna Karenina. Lukeria is not only able to do without words and people, she consciously rejects these things.Kasyan is a ‘roaming sheep’ and clearly does not look for either people or conversation. Tolstoy shows us that men’s primary interests are outside the home, whereas women, like Dolly, center their existence on the family.

In her first conversation with Dolly she is presented as all filled with genuine empathy and compassion for her sister-in-law.

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