In 1898, Tolstoy wrote in a Letter on Suicide that “suicide is immoral.” He vehemently condemned the act, calling it unreasonable and wrong. However, in his earlier books, such as War and Peace and Anna Karenina, Tolstoy treats suicide, as well as mortality in general, as an extremely important topic that affects many characters. Although Tolstoy spoke out against suicide in his later works, the author clearly understood its reality and importance in society; he therefore chose to represent him in Anna Karenina with Anna Karenina, Constantine Levin and Alexei Vronsky, and in War and Peace with Natasha Rostov and Hélène Kouraguine. Tolstoy does not condemn suicides as immoral or irrational, but, in most cases, portrays the characters in a very sympathetic manner. Most importantly, Tolstoy shows us what characteristics make people capable of dealing with situations that would drive other people to suicide. He describes suicide as an unfortunate last resort for those who lack family support and strong religious values. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay In his two great novels, Tolstoy uses a sympathetic narrator, who sees both the good and the bad in each of the characters. Suicide is no exception to this approach, and although Tolstoy may have condemned it later in his life, it portrays significant suicidal characters in a very understandable light. Anna's suicide is surrounded by a feeling of sympathy, because she is finally doing something independently. She made this choice alone and has no one to guide or help her. Throughout the suicide scene, she is surrounded by many passers-by who stare at her: “they looked into her face again and shouted something in unnatural voices” (Anna Karenina 883). This description brings the reader closer to Anna, as if the reader is also being looked at; thus, Anna's feelings become cathartic and suicide seems like an understandable end to her situation. With Natasha's suicide attempt, sympathy emerges in her recovery phase. Tolstoy portrays Natasha through her feelings of guilt and slow forgiveness, and helps the reader understand why suicide might have seemed like a solution. Her failed attempt makes her extremely ill, and it is through this recovery phase that Natasha arouses the reader's sympathy. Her character evolves slowly: she goes from the status of an innocent young girl to that of a mature and understanding woman, who understands the values ​​of marriage and religion. This approach also arouses sympathy, since we see the difficulty she has in forgiving herself. Tolstoy also depicts this theme of understanding by forcing her husband, Andrei, to forgive her on his deathbed. His action amplifies the importance of his past actions and thus makes suicide seem like an understandable option. Alongside his sympathetic depictions, Tolstoy shows us what could have led certain characters to suicide. A first perspective to consider is that of Christianity. Anna's suicide and Natasha's suicide attempt are the result of events comparable to the fall of Adam and Eve. This comparison can be made since their unfortunate events occur when both characters seemed to have achieved a certain degree of satisfaction in their lives. As with Adam and Eve, their decisions and the consequences that followed are extremely negative and can therefore be described as “fall” sequences. In the interpretations ofChristian narrative, many theologians disagree on whether Adam and Eve's temptation toward the fruit of "the tree of the knowledge of good and evil" (Genesis 2:9) caused problems to our world or actually helped humanity prosper. Jacob Boehme, a 16th-century Christian theologian, summed up one side of the debate by calling the fall "horrible, lamentable, and wretched." Indeed, many believe that it was a total tragedy for all humanity. However, others consider this fall “fortunate”. These theologians see the fall as a blessing and a step forward in the progress of humanity. They argue that the fall guarantees the incarnation of God in Christ and the eventual elevation of man to an even greater paradise, and is therefore a good thing. These two different interpretations can be seen in the contrast between the fates of the two characters. The falls of Anna and Natasha, as reinterpretations of the same biblical event, are extremely similar in many ways. Anna's downfall takes place in the first part of Anna Karenina during the ball scene. In this episode, Anna dances with Vronsky, a man she quickly became attracted to. However, she is already married to Karenin. Natasha's downfall occurs during chapter 5 of part 9 of War and Peace, at the opera. Here, Hélène tries to befriend Natasha and takes her under her wing. She directs her to her brother Anatole and makes her believe that he is extremely interested in her. Natasha succumbs to their tricks, even though she is also married. Anna and Natasha's downfalls occur during important events in Russian society. Anna has already met Vronsky at the train station, but it is at the ball that she is really attracted to him (Annna Karenina 96). Similarly, Anatole flirts with Natasha at the opera, becoming a fully tangible love interest for the first time. A second similar element is the audacity of the suitors. Indeed, Anna asks Vronsky to leave her alone, but he follows her to St. Petersburg, claiming that he will be wherever she is (Annna Karenina 119). Natasha is struck by Anatole's very direct language and engagement with her. When she confronts him by telling him that she is married, Anatole overlooks this reservation, asserting that he cannot control his love and that he is madly in love with her (War and Peace 611). On this same point, both women initially rejoice at the attention they receive, but this happiness is followed almost immediately by guilt and a rationalization of their actions. At the ball, Anna feels “a joyful light light up in her eyes” every time Vronsky speaks to her (Annna Karenina 97). Furthermore, “she seemed to be making an effort to restrain these signs of joy, but they appeared on her face of their own accord” (Annna Karenina 97). However, at the end of the ball, Anna describes herself as "bad", but justifies her impulses by telling herself that she "was really not guilty, or only a little bit" (Annna Karenina 114). Even as Anna is on the train home, she feels "the feeling of shame" that increases when she thinks of Vronsky, but once again, she justifies it by thinking that their interaction was nothing “different from that with other knowledge” (Annna Karenina 618). ). The same pattern can be seen in Natasha. At first, she seems "happy to see that [Anatole] was captivated by her and it did not occur to him that there was anything wrong with it" (War and Peace 603). However, soon after, "she felt all the time that in speaking to him she was doing something improper" (War and Peace 603). Her justification for her actions comes after the opera, when she reflects on what happened to her: “Nothing! I didn't do anything, I didn't train him at all. Nobodywill know and I will never see him again” (War and Peace 605). This rationalization and non-accountability can be seen as a response to vulnerability. Indeed, for Anna and Natasha, these events occur when each woman finds herself in a very vulnerable position in her life. Anna hasn't been to the ball for a long time, since she now lives in St. Petersburg with her husband. She only comes to the ball because Kitty invites her and wants Anna to be there for her grand entrance into society. As for Natasha, this is the first time she comes to the opera, as can be seen from the external description of the opera as comic and strange. Natasha is not only vulnerable because she has never been in this environment, but also because she is waiting in the countryside for her husband, Andrei. All of this makes both characters susceptible to seduction. Another element also present in both falls is the amplitude of the terms associated with the body and physical pleasure. Anna wears “a low-cut black velvet dress that exposes all of her shoulders and chest” (Anna Karenina 95). Similarly, Natasha has her “bare arms and neck” exposed and notices “women with precious stones on their bare flesh” (War and Peace 596, 598). Tolstoy's descriptions characterize each fall as something unromantic, but rather based entirely on physical attractiveness. The final element that connects the two falls is the influence of a parental figure. is less obvious with Anna, but can still be inferred from her interaction with Vronsky's mother. The two women meet on the train from St. Petersburg to Moscow and bond instantly. The older woman talks a lot about her son and is very eager to meet Anna. As for Natasha, her father accompanies her to the opera and pushes her to interact with Anatole. We don't really know what he's getting his daughter into, but he certainly has a major influence on her behavior. similarities, the falls of Anna and Natasha are undeniably similar. The difference between the two lies in the consequences. Anna and Natasha's lives end differently because of the elements surrounding these women. One of these essential components is the presence or absence of family. In Anna's case, it is the absence of family that is notable. Indeed, when she returns to St. Petersburg and reunites with her husband, she “meets his fixed, tired gaze, her heart contracting painfully with a sort of unpleasant sensation, as if she expected to find him different. She was particularly struck by the feeling of discontent” (Anna Karenina 124). She is also baffled by the reality that is her son. Although she misses him a lot during her stay in Moscow, she feels very strange towards him when he returns home. He is not as she remembered him and she “had imagined him kinder than he really was” (Anna Karenina 128). Towards the end, her son also claims that he can no longer recognize his mother, creating an even greater distance between them. It seems that Anna misses the presence of close family. At first, Vronsky's new presence in his life remedies this. However, this also diminishes over time, as she feels that since her appearance is compromised by age, Vronsky must like her less and less. Furthermore, when Anna decides to commit suicide, she visits her brother Stiva and his wife Dolly, to "tell him frankly, I'm unhappy, I deserve it, it's all my fault, but I'm unhappy all the same" . , please help me” (Anna Karenina 871). But when she arrives, Kitty is there too. Vronsky was originally supposed to marry Kitty and she fears he regrets not pursuing the relationship. Anna is afraid to face him and,feeling even more threatened and alone, decides not to say anything to Dolly. If Kitty hadn't been at Dolly's house at that time, Anna probably would have told Dolly everything and her fate might have been different. It is this lack of family communication and this feeling of loneliness that brings her closer to suicide. On the other hand, Natasha's family is essential in helping her recover from her fall. One of the most important characters in this sense is Sonia. Sonia does not want to let the Rostov family be dishonored by Natasha's actions and therefore stays by her side until Natasha forgives herself. This action is contrary to the wishes of Natasha, who begs Sonia to leave her alone: ​​“Go away! Go away!" (War and Peace 628). When Natasha attempts suicide by taking poison, she wakes up in the morning to find Sonia at her bedside, ready to comfort and help her. Natasha's mother is also important in her recovery: this older woman is very close to her throughout the book and her attitude does not change, even though Natasha feels she has shamed the family. This stable presence is essential to help. Natasha to feel better and not feel like she has done something unforgivable The presence and support of family is therefore a factor that helps Natasha cope with her fall, while their absence has. pushed Anna to suicide. Another important element to note is the presence of God in life Dostoyevsky, in A Writer's Diary, wrote that "suicide touched directly on the question of the existence of God" and it seems that Tolstoy. grappled with this same idea The question of God and religious faith comes up extensively in both novels, but especially in the questions of death and suicide. In Anna's case, a lack of spirituality and relationship with God drives her to commit suicide. Without any family support, she has nothing bigger than life to help her. Anna realizes that she needs God to help her with her situation, but this realization comes too late. It was while she was on the rails and preparing for her fate that “she tried to get up, to throw herself back, but something huge and relentless hit her in the head and dragged her onto her back. “Lord, forgive me everything! "she cried" (Anna Karenina 884). If she had sought God's help earlier, or had religious beliefs throughout her life, she potentially could have saved herself and found a better way to deal with her downfall. This saving action of God can be seen in Natasha's story. case. Although Natasha already had the support of her family, it wasn't until she sought God and went to church that she truly felt better. When she goes to church, she has “the feeling of the possibility of correcting her faults, of the possibility of a new, clean life and happiness” (War and Peace 704). Tolstoy also adds that “it seemed to him that God heard his prayer” (War and Peace, 709). So, the presence of God and religious belief seems to be another element that can help with recovery after a fall. Three other characters in particular help put these elements into perspective. These individuals are more complex cases, but each in their own way fits into this argument that family support and religious faith can prevent a person from committing suicide. The first of these characters is Helene in War and Peace. It is not explicitly stated whether Hélène commits suicide or not, but her fate (death by drug overdose following an attempted abortion) is linked to her absence of faith and family. Hélène is less present than the two major characters mentioned previously, but she is sufficiently represented for both characteristics to appear through her actions and thoughts.Towards the middle of the book, Hélène marries Pierre, although she does not particularly love him and is not very attracted to him. Given these inclinations, she repeatedly cheats on him with various people, such as Dolokhov and Boris. She also does not act like what would be considered a "good" wife, as she tells Pierre early on that she does not want to have his children. Thus, she receives no support from Pierre, who does not show her much affection either. He challenges Dolokhov to a duel, but he does so to prove himself, rather than out of jealousy or love for Helene. Additionally, Helene is very close to her brothers, but given the potential incest that has occurred between them, their relationship is extremely ambiguous and not based on care or protection. Additionally, none of the family members are religious or believe in God. Towards the end of her life, Hélène converted to Catholicism, attended church and also made donations to the church. However, she does not do it for the "right" reasons, but rather because she hopes that the Pope will annul her union with Peter, thus allowing her to remarry. Helene led a life far from God and family values, and his fate in the book reflects this lifestyle. Another useful character is Levin in Anna Karenina. Although Levin never attempts suicide, it is important to consider when thinking about suicide and the meaning of life in many cases. Levin is a character who, like Natasha, finds peace and meaning in life through family and spirituality. Levin begins to think about suicide especially towards the end of the novel. Paradoxically, it was at this moment that he had everything he wanted: a wife, a son and a happy life in general. Although his thoughts are serious, suicide itself is not a real option because his family is extremely important to him. Indeed, he loves Kitty and, even though they argue a lot, he is deeply grateful to her and is happy to have her in his life. This feeling is amplified when Kitty gives birth to their son. Levin is also constantly searching for the meaning of life and his place in the world. Although at first he is not religious and in fact considers himself an unbeliever, Levin still wonders what is the best way for him to be a good man. He tries various options, like farming or studying, but none seem to work for him. He has many interactions with spirituality, including at his wedding, at his brother's deathbed, and at the birth of his son, but it is not until the end of the book that Levin accepts it. It is through an old peasant that Levin understands the place and role of God, and that “we must live for justice, for God” (Anna Karenina 915). It therefore seems that his search for spirituality and his discovery of God help him to accept his life. Through such investigation and with the help of his family, Levin is able to deal with problems that could have led to suicide. The last character to deal with suicide and its related issues is Vronsky in Anna Karenina. Vronksy is an interesting character because his situation involves some family support, but in relation to an absence of faith. Vronsky commits suicide while Anna is giving birth to her second child and dreamed that she would die in childbirth. During childbirth, Vronsky meets Anna's husband, Karenin, who informs him that he has forgiven Anna. This news, along with the prospect of Anna's death, leads Vronsky to a state of stress and despair, leading him to point and fire a gun at himself. He simply gets injured and his attempt is quickly overtaken. However, even this incident can be linked to the characteristics of family and faith. In the absence of faith, it seems that Vronsky has no choice but to.