Anna is the protagonist in lev tolstoy's masterpiece Anna karenin, and a very plump and moving beauty in the history of world literature. She is beautiful and noble in appearance, elegant in manners, simple and kind in heart, and more importantly, she has a gripping experience and a heartbreaking ending. Since the image of Anna was born, the comments on her have never stopped. In fact, people have different views on Anna, but in general, it should not be divorced from her social environment and specific background of the times. Anna lived in a period of great change in Russian history. The ancient feudal serfdom and new capitalism collided fiercely in Russia, impacting the old system, old order and old moral concepts, and people's thoughts were at a crossroads of confusion. Anna has been thoroughly analyzed by scholars. Some people think that she is a pioneer of women's liberation, while others think that she is just a witch who doesn't follow women's morals. In a word, different people have different opinions. I will talk about Anna's image from the background of the times and Anna's character, and analyze it from the perspective of feminism, so as to see through Tolstoy's view of women behind the image. 1. 1, an outstanding representative of upper-class women, is an outstanding performance of her beauty and wisdom. Compared with the intrigue of the upper class at that time, Anna's Excellence was first manifested in her sincerity, kindness and frankness. Anna seems to be a lotus flower emerging from the mud, not dyed. In high society. She dares to openly and honestly reveal her love for Volynski. Compared with other aristocratic men and women, she longed for Volynski's true love. At the same time, it is her openness that makes her a target of public criticism. Secondly, Anna's Excellence lies in her courage and tenacity. She shouted: "I want love, I want life" [1]. Although she went through a painful spiritual struggle, she still went out, which was a very rare act in Russia at that time. How brave it takes!

1.2. 1 social tragedy As mentioned earlier, Russia in Anna's era was an era of great change, and people were confused but were pursuing ancient norms. Anna's parents died young, and she and her brother were raised by her aunt. She received a good education from an early age and was deeply bound by traditional etiquette and religion. When she was young, she married karenin, who was twenty years older than her. Although the new capitalist forces were rising rapidly at that time, the old feudal ideological forces were still very strong. In the upper class, the deception and hypocrisy of the aristocratic class are commonplace. In that circle, there is no sincerity, no true love, only deception and flirting between ladies and lovers, while between men and women, there is more excitement brought by chasing, conquest and vanity. Typical representatives are Countess Lydia and Duchess Betsy, representing hypocrisy and depravity respectively. Countess Lydia preaches so-called Christianity such as kindness, fraternity, salvation and tolerance. On the outside, she seems to be a devout Christian, but in life, she firmly controls karenin, interferes with karenin and Anna's family affairs, exhorts karenin for religion, and makes him fall into religious fanaticism. But also embarrassed Anna everywhere, cut off the contact between Anna and her son Seryosha, provoked the relationship between Anna and her mother, and created the shadow of her mother's death in Seryosha's heart, thus making Anna fall into the situation of "abandoning her husband and children". Such a woman is not benevolent, but cold and hypocritical. And then Becky. At first, she agreed with the feelings of Anna and Wolinski, because she thought it was just an ordinary pleasure and flirting between aristocratic men and women, which was immoral and would not harm the "decency of decent people". However, when she knew that Anna could abandon her family and ignore her husband and son, Becky and her society thought that Anna had violated the etiquette of feudal society and closed all social doors to Anna. The whole society despises Anna, laughs at Anna, regards Anna as a depraved and immoral bad woman and thinks she is rebellious. But what about Becky herself? Living a life with a husband and a lover, he called Anna "the wife of a criminal" instead, and even publicly expressed his contempt for Anna. In this way, Anna was exiled by the indifferent upper class. Anna's simplicity and kindness made her go home under such heavy pressure. She lost her reputation and her son. "Reason tells her to be a good wife and mother, but feelings call her to pursue a loving life. She is at a loss in front of reason and emotion "[4]. In Anna's mind, selfishness and guilt are always intertwined. When she was with Wolinski, she was ruined, even though she knew it. She once said to Wolinski, "It's all over. I have nothing but you. Please remember this! " [5]。 For Anna who lives in an aboveboard aristocratic society, love is true love, which is a very sacred and important topic. Anna lives in a society that restricts her wings to fly freely. She doesn't want to be broken like this, even if her head is broken, she will break free and yearn for the free sky for the sake of sacred love. However, she stayed in this cage for too long. Her wings are only bright and gorgeous feathers, but she is not good at Yu Feixiang. She finally turned into a wounded and desperate bird and was run over by a train on the track. Before she died, Anna muttered something to herself, accusing her of persecuting in the cage that bound her: "Everything is disgusting. The bell rang at night, and the businessman crossed so piously! " As if afraid of losing something. What are these churches, these clocks, these hypocritical affectations for? Just to cover up our hatred for each other, just like those swearing drivers ... everything is hypocrisy, lies, deception and sin! [6] Not only the ethical system and conservative customs of the upper class attacked Anna, but also the laws of the upper class aggravated Anna's tragic color. It was the hypocritical law that adapted to the social atmosphere at that time, but only maintained the so-called patriarchal relationship. If Anna wants a divorce, she must admit that if she is convicted by law, she will have no right to get married after divorce. At that time, aristocratic gentlemen could wantonly flirt with some women. These are the reasons why Anna stepped into despair.

First, Anna bears a heavy burden of traditional ethics. Her tragedy contains her own spiritual confusion and confusion, and even her inner painful struggle. She lived in a period when the conservative forces were still very strong, and the dawn of hope appeared, but she still could not dispel the haze of the old forces. The feudal patriarchal ideology still has a great influence. The traditional ideas of the aristocratic class and the ideas of freedom, equality and democracy advocated by the emerging bourgeoisie are intertwined in Anna's mind. Anna is, after all, an aristocratic woman with a good old-fashioned education. What she did was too advanced in Russia at that time. As mentioned above, it is common for the upper class to have fun, but no one dares to admit their affair. Anna took this step bravely, but she was full of guilt. For Anna, having a son and standing in the upper class are two symbols of the value of life, while her pursuit of love and betrayal of her family and husband are the destruction of her two pillars and a challenge to the hypocrisy of the upper class. Therefore, she is always in fear, full of fear and guilt. "This contradictory and painful psychology has been destroying her, torturing her, devouring her life, and at the same time restricting her rebellious degree" [2]. Anna's frankness, sincerity, daring to love and hate are her loveliness, but her sadness is that once she really walks out of rebellion, she falls into deep remorse and guilt. After Anna first tasted the joy of falling in love with Wolinski, she was in great pain and asked God for forgiveness. Karenin, whom she once hated, is also the object she needs to repent. At the moment she threw herself under the wheel, she was still longing for God's forgiveness. Anna always bears a heavy psychological burden. This is the reflection of Russian upper class and traditional religious beliefs on her at that time. Secondly, Anna's love supremacism drove her to the wall. Anna once said to Volynski, "You have to understand that everything has changed since I fell in love with you. On me, there is only one thing, one thing-that is your love ... It's all over, and I have nothing but you, please remember this "[5]. For love, she abandoned her reputation, husband and son. For love, she resolutely left her family. For love, she is willing to be a bad woman. Anna's resistance to the corrupt society at that time was naturally prohibited by everyone. In Anna's eyes, Wolinski is perfect, and at the same time, it is Anna's only lifeline. Because of this, Anna tried her best to catch this lifeline. She asked Wolinski to regard her as the only and the whole of life. Love is only a part of life for men, but it is the whole of life for women. Anna entrusted her passion, together with all her fate and future for the rest of her life, to Wolinski, and limited him to the point of losing his mind. Anna became sensitive, irritable, surly and moody, which made everyone feel bored and suffocated, not to mention an affectionate and grandiose Volynski. In Volynski's world, you can't live without high society and aristocratic life, and Anna's overbearing demands often make him feel heavy. Anna threw all her burdens to Wolinski, but never thought that even the strongest birds would be overwhelmed. Love is paramount. She once said to Volynski more than once: "For you and me, the most important thing is whether we love each other or not, and nothing else needs to be considered" [12]. The paranoia, unprecedented selfishness and possessiveness brought by the supremacy of love finally destroyed Anna. As romain rolland said, "Anna karenin's love is intense, emotional and bossy. Anna's love for Wolinski is like a hungry person getting food "[13]. On the one hand, this possessiveness stems from her long-term repression and blockade of reality, on the other hand, it may stem from her personality, that is, personality. She clung to Wolinski's straw and thought that she could have Wolinski completely. But who would have thought that love is the sand in her hand? The tighter she holds, the less she holds. Wolinski couldn't bear her bossiness, and Anna became more and more desperate: "My love is more and more passionate and selfish, but he is less and less. That's why we parted ... it's irreversible. For me, everything is centered on him. I let him devote himself to me more and more completely, but he alienated me more and more. Before we United, we were really close, but now we are irrevocably opposed, which cannot be changed. He said I was too unreasonable to be jealous, and I myself said I was too unreasonable to be jealous, but this is not the case. I am not jealous, but dissatisfied ... "[14] Anna's monologue truly reveals her true feelings and is a kind of" dissatisfaction ". Before meeting Volynski, her love soil was dry, but when she was nourished by Volynski's love, her emotional soil was too greedy, and her excessive attachment to water made her hesitate, which led to her overbearing character.

Analyzing Anna karenin from another angle, her tragedy contains the spiritual confusion and exploration of Russian aristocrats headed by Tolstoy. At the same time, as a keen realistic writer, Tolstoy also wrote the buried female discourse and the voice of "second sex" in male society. But the author let the voice wither and lose it. If we look at this work from the perspective of women, Tolstoy, the author, is expressing women's cries and hard pursuit after being suppressed, their mental torture and the author's thinking on women's issues with the powerful power of a patriarchal society. Examining Tolstoy's works from the perspective of existential feminist theory, Anna's tragedy lies in women's subordinate position and women's role in a patriarchal society. Anna's suicide is both an indictment of this position and an escape. So "her suicide is tragic and noble" [15]. Beauvoir pointed out in The Second Sex that women are "as free and independent as others, but still find themselves living in a world where men force her to accept the status of the other ... We are the only species in which women depend on men for food, and the only gender relationship is equivalent to economic relationship" [16]. Economic dependence is the main reason why women depend on men in all aspects of life and survival. Just like karenin growled at Anna, saying that she was cheating others and eating her husband's bread. Indeed, Anna clung to karenin by virtue of her own external conditions. Karenin defended her dignity, her food and clothing, and her survival. At the same time, "Mrs. karenin" is also her status and identity. Karenin no matter what Anna is like, as long as it is his wife, he has to pay Anna a certain amount of living expenses every month. Anna needs clothes, jewelry, horses and other expenses to socialize, which are all expenses of karenin. And Anna for karenin, it is such a woman who needs support. So when karenin learned about Anna's affair, he confidently wrote her a letter as a warning, and attached pocket money to the letter. Karenin is confident that this can stop Anna's madness. It can be seen that karenin, as the master who has the right to speak in a patriarchal society, always regards Anna as the "other" to prove the subjective position of the individual. This is Anna's misfortune. No matter how excellent and brave she is, she can't change her status as the other and doll vase in men's hearts, whether it's karenin or Wolinski. "Under the discrimination of patriarchal culture, women are isolated from society, and all personal social outlets are almost blocked, leaving only a' shortcut' to attach to powerful men" [17]. After Anna left her husband, she was still supported by Volynski in Volynski, so she gave Volynski not only affection, but also food, clothing, housing and transportation for the rest of her life. The conflict between such a position and her rebellion is enormous. Men not only have an advantage in economy, but also create a set of rules of religious and ethical values to safeguard their position, and make women internalize this concept into their own code of conduct. "In a patriarchal society, for women, it is to take the initiative to accept the concept of male-centeredness and treat themselves as others, which is self-deception" [15]. In Anna's subconscious, there has always been such a patriarchal concept, so she has always been in the conflict of wife, motherhood and affection. She was abandoned by the upper class precisely because she could not "abide by women's morality" and because she rebelled and broke away from her husband's authority. After she devoted herself to Volynski's love, she still maintained the status of "the other". It can be seen that Anna resisted karenin's male dominance, but she didn't realize that what she really needed to change was to completely subvert her status as the other. Anna's attachment to Wolinski, coupled with emotional demands, will make Anna paranoid and irritable. "I poured everything into him, and I asked him to fall in love with me more and more, but he wanted to avoid me more and more" [18]. This dependence on Anna and Volynski did not change, which led to her tragedy.

Anna didn't choose to resist because of her marital status with karenin. In a sense, this is indeed a challenge to the male society and the whole ethical system, and it can also give her a brand-new meaning, that is, to find her missing main position in emotional and family life. But she immediately fell into a siege, lost her attachment to men, completely lost her dominant position, and even lost her real meaning. So her heart suffered a serious fracture. From this point of view, Anna's suicide is not only the pursuit of love and happy life, but also the performance of transcending the limitations of women's status, so her suicide has unusual significance. Although everyone doesn't want to see this tragedy, it is this "tragic conflict between the inevitable requirement of human nature and the fact that this requirement can't be realized" [19] that makes people feel sad and regretful, enough to stand in the forest of world literature. Tolstoy created an "angel" in men's eyes, and women's consciousness and desire were awakened, which was still lost in men's discourse. It also includes Tolstoy's own thinking and criticism of female consciousness, patriarchal family and the whole society. Many critics have always regarded Tolstoy as a typical male chauvinist and a representative of male writers. Otherwise, Anna's ending wouldn't be so miserable. However, from Anna, we see Tolstoy's contradictory psychology of blood and tears. His view of women is very complicated in Anna, and Anna's tragedy is inevitable, which is a sharply exposed reality in realistic works. Tolstoy praised the new female image that embodies the spirit of the times. Anna is an image that meets this requirement. Tolstoy once expressed his views on family and marriage through Levin's mouth, that is, what is important in marriage is love. With love, people are always happy. Such a beautiful marriage does not exist in karenin and Anna. The two sides are not really husband and wife, but they seem to have their own needs. Such a painful marriage foundation is not solid. Marriage without love is immoral. Dolly and Aublanc's family used to be warm and harmonious, and it was precisely because Dolly discovered the affair between her husband and governess that it became full of gunpowder. Oblonski cheated her because her wife was old. For such a family, Tolstoy wrote, it was about to disintegrate, because Dolly thought there was no feelings, and she could not restore peace until Oblonsky explained that she would no longer have anything to do with other women.

On the contrary, Kitty, Levin and Tolstoy enthusiastically praised their love and warm family life. They are soul mates, and they are combined based on love. So they have been living a fairy-tale happy life since their marriage. However, Anna and karenin had no love before and after marriage, so Tolstoy showed his recognition of Anna's female consciousness. Being a repressed other in family life for a long time, Anna has indeed been suppressed for too long. Her marriage was not the result of love, but arranged by others. As the saying goes, "fate can be unfortunate, but it can't be arranged", and so is marriage. Their marriage has no equal status and minimum warmth, which is the most contrary to Tuo Weng's family purpose. Karenin is a ruthless bureaucratic machine, and I'm afraid he has no other hobbies except fame and fortune. His nature is incompatible with Anna's principle of advocating happiness and spiritual supremacy. He often uses men's superiority and superiority to restrain Anna. On the one hand, Anna has a traditional shadow in her subconscious, so she consciously abides by the moral norms of a patriarchal society. However, the inner bud of "I want to live, I want to love" germinated after meeting Volynski. The living woman in her heart suddenly woke up. She hates karenin's repression and long-term neglect of her. For Anna in such a situation, escape is the only way out. Tuo Weng also sympathizes with Anna's situation and agrees with her behavior. After all, their marriage does not conform to Tuo Weng's family concept. Anna, a gorgeous, charming, graceful and elegant woman, should not be suppressed by karenin. Thun's "I want love, I want life" through Anna is his recognition of the awakening of female consciousness. Anna, an "angel", rebelled because of the awakening of desire, and Tolstoy himself created this rebellious woman, but she was finally pushed under the train wheel by Tolstoy. The awakening of Anna's female consciousness makes Anna feel deeply guilty and wander in the whirlpool of female motherhood and wife. This rebellion was obstructed, ridiculed and despised by the whole society. Although Anna's marriage has no love, it is still a legal family in society, and when such a family is going to end because of Anna's pursuit, Tuo Weng did not agree. Contrary to Anna's thought, Tolstoy created women like Katie and Dolly to entrust their ideal ideas about housewives. Kitty is also a noble lady, lively and beautiful. She is not as heavy as Anna, but as simple and kind as Anna. She and Levin are soul mates. After they got married, she changed from a noble lady to a capable housewife, left the city life and went to the countryside with her husband to live a warm and sweet life. Take care of her husband's life and feelings everywhere. Like the legendary wife and mother, this is also Tolstoy's ideal wife. In Soren's view, women can't leave the role of mother. Tolstoy in Katie embodies his own characteristics as a representative of male discourse. Kitty is very satisfied and happy with her family life. She is fulfilling the responsibilities entrusted to her by society, that is, being a husband, educating children and following her husband in everything. So is Dolly. Although she is old and facing the fate of being abandoned by her husband, she is still paying for her family and children. Her life should be devoted to her children, her husband and her family. Compared with these two men, Anna is fresh and refined in the upper class, spotless. At the same time, Tuo Weng gave her some fatal deformities, that is, "abandoning her husband and children" and abandoning motherhood and responsibility in family life, which is the most serious mistake of women in Tuo Weng's view. So of course Anna will be ostracized and humiliated by the upper class.

However, Soren punished Anna's female consciousness and found an ideal way out for women, namely "the doctrine of love". As mentioned above, Tolstoy's attitude towards Anna is both approval and criticism. On the one hand, it is sad that she has no equal status in a heartless marriage, so it is reasonable for her to pursue love, but on the other hand, it is "guilty" from religious ethics, reasonable but unreasonable. The inscription of this book is "I am the Avenger, and I will pay it back". This "I" should be the belief and doctrine of God as understood by Tuo Weng. Anna has violated God's teachings and beliefs, so she must be punished as she deserves. The so-called tragedy is to tear up beautiful things for people to see. Anna is a tragedy. In Tolstoy's mind, the germination and strangulation of Anna's feminist consciousness coincides with her inner contradictory view of women. Cartoons believe that if you are a wife, you should obey and accept it, just like Kitty. If you are the mother of a child, you should try to be a good mother, just like Dolly. Anna didn't do this, which is contrary to Russian patriarchal family concept. Therefore, no matter how much Tolstoy sympathized with Anna and agreed with her, he could never forgive Anna's behavior and let her die under the wheel. In his book, Tuo Weng also lashed and criticized the social atmosphere and the backward corruption in the upper class, and also exposed and condemned the frivolous men in the upper class. In this work, Tolstoy publicizes his views on marriage and family through the life of Katie and Levin, an ideal couple, that is, he has religious beliefs, loves his family and wife, and needs love, equality and sincerity in marriage, which we can simply call "the doctrine of love". Men should not suppress their wives with the concept of male chauvinism, and should not have sex with women everywhere, but wives should be considerate of their husbands and take care of their families and children everywhere. Both sides should be full of love and respect each other in order to live in harmony. "This is the tragedy of the soul tortured by love and oppressed by God's law." . Anna is a woman who dares to love and hate without hesitation. Looking back on Ibsen's A Doll's House, we can see how brave Anna is. Jane finally returned to Rochester's side, and Pushkin's tatiana should also abide by a loveless marriage. Balzac also warmly praised the lady bound by traditional ethics in Lily of the Valley. Tolstoy deeply buried his thinking and interpretation of women's fate in this book. Anna's voice "I want to live, I want to love" has gradually opened the prelude to women's awakening and liberation.