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安娜形象的中国式诗化分析(Chinese poetic analysis of Annas image)
安娜形象的中国式诗化分析(Chinese poetic analysis of Annas image)
The plane leaves: analysis of the image of Anna China poetic style
Like many tragic images of women in Chinese and foreign famous works, the character and life course of Anna Karenina has its own complexity and legend. This can be found in many characters with echo in other works, such as Hamlet in Ophelia, Dumass La Traviata, as a dream of Red Mansions in Lin Daiyu, Xue Baochai, Du Shiniang in the three words, they are some emotional beauty but ill fated woman. Refined and elegant talent, not in the world Gao Jie temperament inevitably become a flower at the end of the soil in the secular society under the weight of their own, or noble status or have remarkable outstanding personality, open-minded, or or sensitive, but eventually the moon sunk in the sea, fresh life in the struggle to weakness silence. They are suffering love, are living in the cracks in society, their religious and moral pressure chains, the rebels die miserable, obedient silent end. But the difference is that Anna, between love and parent-child love her to do the two one choice, no matter how she can only choose to sacrifice, and both of the women are almost equivalent to half of her life. -
Anna in the last love of despair is engaged in under the wheels, on the one hand is the inevitable result of her character and realistic contradiction of development; hand also reflects the authors pursuit of love to Anna left her husband and childrens verdict: Although the author sympathize with her: her twenty-five year old husband a cold, loveless marriage asphyxia that is to suppress and destroy the original should be bold and warm temperament... But in Tolstoys mind, he still kept the traditional moral requirements, women should be on family and marriage as an understanding wife and loving mother, and to take responsibility for her husband and children, these ideas in the works of remarkable: when Dolly the face of her husbands infidelity, although she
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