Pdf: 6 Feet Apart

Total Page:16

File Type:pdf, Size:1020Kb

Pdf: 6 Feet Apart Message-Based Study Guide for Small Groups and Individuals Six Feet Apart - As You Wish Ephesians 5:21-28; Philippians 2:3-8 October 4-10, 2020 All happy families are alike; each unhappy family is unhappy in its own way. --First sentence of Leo Tolstoy’s Anna Karenina ​ In the line above, Tolstoy was conveying the point that happy families exhibit or practice some common critical behaviors and attitudes. Unhappy families, on the other hand, practice any number of negative behaviors or attitudes that lead to discontentment and unhappiness. This line has become commonly known as “the Anna Karenina principle” and has been applied to circumstances outside of families. Based on the Anna Karenina principal, for example, a couple must exhibit certain critical behaviors or attitudes for a marriage to be successful, a scientific process must contain certain critical elements to work, an employee must practice certain critical behaviors to be successful at the job, etc. Answer and discuss the following question with your group 1. Do you think a happy marriage just works or do you think it depends on certain fundamental behaviors and attitudes? What critical behaviors and attitudes are needed for a marriage to be happy? What kinds of behaviors or attitudes can lead to an unhappy marriage? Read the following excerpt out loud or watch message segment #1. An excerpt from the StoneBridge message, “As You Wish”. Today is an ingredient that if we will put into practice just might be the secret sauce. We don’t like this ingredient; we think that the secret sauce is a great body and a great paycheck. But if that was true, then Hollywood would be the picture of success when it comes to marriages. Richard Halverson, who was the Chaplin to the US Senate, said that in all his years in ministry he had come to the conclusion that 90% of marriage problems stemmed from the husband’s failure to love his wife as Christ loved the church. Marriage is about serving, not controlling. Read Ephesians 5:21-28 and answer/discuss the following questions. 2. Based on Ephesians 5:21-28, explain (1) what wives are commanded to do in a marriage and (2) what a husband’s critical responsibilities are in a marriage. Why are these commands not conditioned on whether the other spouse upholds his or her end of the bargain? Six Feet Apart – Lesson 4, page 1 Message-Based Study Guide for Small Groups and Individuals 3. While a husband may want to emphasize the wife’s obligations in Ephesians 5:22-24, explain how these obligations are designed to work in unity with the husband’s critical role in Ephesians 5:25-28. Explain how submission can be easy with a husband who truly sacrifices for his wife and whose primary goal is the happiness of his wife. 4. Is Ephesians 5:21-28 about control or about mutual sacrifice? Explain. 5. Which role in Ephesians 5:21-28 is more difficult, the wife’s role or the husband’s? Why? Read the following excerpt out loud or watch message segment #2. An excerpt from the StoneBridge message, "As You Wish”. To love and to cherish; that means I put her first. I say this a lot at weddings I do. As the bride and groom are standing up there, not really listening (but I hope they are), I say, “At this very moment you are laying down your rights. You are giving them up. Marriage is not about rights. It is about serving.” Servants don’t have any rights. When I make it about rights, I am making my marriage about me. Marriage is selfless. “Well then, I will never get to do anything.” I am not sure if I can come up with too many things that I didn’t get to do. OK guys – how can you do this? Number one, teach your kids to respect their mom. Honor father and mother is a commandment, but it is learned from the parents. Read Philippians 2:3-8 and answer/discuss the following questions. 6. Explain how the command in Philippians 2:3-4, and putting the interests of your spouse before your own, can be one of the critical behaviors that leads to a happy marriage. 7. Explain how building up your wife and emphasizing her value to your children, friends, and family can lead to strength and unity in a marriage. Can criticizing your spouse to friends or family be one of those practices that fails “the Anna Karenina principle” and leads to an unhappy marriage? Explain. Six Feet Apart – Lesson 4, page 2 Message-Based Study Guide for Small Groups and Individuals Reflection and Wrap-up 8. The phrase “As you wish” is something spoken by a servant. What sacrificial behaviors or attitudes do you (not your spouse) need to adopt in your marriage? ​ ​ Explain how sacrificial behaviors, as opposed to allowing your spouse to feel second to friends, family, hobbies, job, etc., can promote a healthy and loving marriage. 9. Does Ephesians 5:21-28 mean that women cannot assume strong, critically important, and leading roles in a marriage, the workplace, society and even the church? Explain. Pray Together as a Group Additional Study If you have time during your Small Group or you want to study more about the message topic, read and consider the following passages: ● Luke 10:25-37 ● Ephesians 4:2-3 ● Song of Solomon 6:3 Just Thinking ● Marriage is about sacrifice and service, not self-interest. ● How did Christ love the church? Loving my wife like that is a high bar. ● Little things in a marriage mean a lot, big things mean more. ● The Anna Karenina Principle is alive and well, I will adopt important attitudes and actions to emphasize and serve my spouse and strengthen my marriage. Six Feet Apart – Lesson 4, page 3 .
Recommended publications
  • The Art of Statistics – Anna Karenina Principle - 2 BS3033 Data Science for Biologists
    The Art of Statistics – Anna Karenina Principle - 2 BS3033 Data Science for Biologists Dr Wilson Goh School of Biological Sciences By the end of this topic, you should be able to: • Describe non-averaging statistics. 2 Nonaveraging Statistics BS3033 Data Science for Biologists Dr Wilson Goh School of Biological Sciences Many test statistics include a component of centrality (averaging) as a means of summarising data; this includes the mean and median in the t- and U-tests respectively. These components of centrality are used, assuming that the average (mean, median, mode) makes informative summarisations. But there are situations when averages are not informative. 4 Correlation measures the extent of information in one variable about another, independent of the absolute or average difference between two variables and allows prediction of one variable from another. Averaging is not necessarily related to correlation. Indeed, their real-life data examples suggested that by removing one sample as the holdout, and computing the minimum/ maximum/ mean/ variance over all variables with remaining samples, the maximum and variance often conveys more information on correlation than the mean. Mitra and Shugan, When and Why Nonaveraging Statistics Work, 2009 5 It is common in biology for relative changes to be more germane than incremental ones. There are two principal reasons for this. One is that certain biological phenomena can only be properly described and understood through relative changes. If we were to count the number of bacterial cells in a specified volume of liquid culture every hour, we might derive the following numbers: 1,000, 2,000, 4,000, 8,000, 16,000.
    [Show full text]
  • 'Anna Karenina Principle' to Better Understand and Operate Family Offices
    Using the ‘Anna Karenina principle’ to better understand and operate family offices FAMILY OFFICE AND HIGH NET WORTH “If you’ve seen one family office, you’ve seen one family office.” This is a common refrain in the family office space. are predictable and sometimes preventable. In other But this dogma does the family office world a major words, like the happy families in Anna Karenina, the disservice. The sentiment behind the notion points to most successful family offices tend to adopt similar the individuality of every family. However, taking the pathways to solve problems, as well as optimize their phrase at face value can be counterproductive and operations and service delivery. lead to suboptimal advice and outcomes for families. The purpose of this article is to propose a universal, While family offices often spend an inordinate amount working definition of “family office,” a term whose of time and resources maintaining their privacy, they are ambiguity has led to inefficient communication across neither unique (nor uniquely incomprehensible) entities generations, between families and family offices, and that defy evaluation. While each family office is designed between family offices and their advisors. Sometimes around the needs of its principals, best practices do just hearing “family office” will start to generate exist and can be “fitted” to unique circumstances. So, associations for individuals affiliated with a family it is actually quite possible for families to leverage best office. But if those associations don’t come close practices and proven methods to optimize their family to matching an individual’s experience with family office and produce superior results.
    [Show full text]
  • Anna Karenina the Truth of Stories “ How Glorious Fall the Valiant, Sword [Mallet] in Hand, in Front of Battle for Their Native Land.” —Tyrtaeus, Spartan Poet the St
    The CollegeSUMMER 2014 • ST. JOHN’S COLLEGE • ANNAPOLIS • SANTA FE Anna Karenina The Truth of Stories “ How glorious fall the valiant, sword [mallet] in hand, in front of battle for their native land.” —Tyrtaeus, Spartan poet The St. John’s croquet team greets the cheering crowd in Annapolis. ii | The College | st. john’s college | summer 2014 from the editor The College is published by St. John’s College, Annapolis, MD, Why Stories? and Santa Fe, NM [email protected] “ He stepped down, trying not to is not just the suspense, but the connection made Known office of publication: through storytelling that matters: “Storytelling Communications Office look long at her, as if she were ought to be done by people who want to make St. John’s College the sun, yet he saw her, like the other people feel a little bit less alone.” 60 College Avenue In this issue we meet Johnnies who are story- Annapolis, MD 21401 sun, even without looking.” tellers in modern and ancient forms, filmmakers, Periodicals postage paid Leo Tolstoy, ANNA KARENINA poets, even a fabric artist. N. Scott Momaday, at Annapolis, MD Pulitzer Prize winner and artist-in-residence on Postmaster: Send address “Emotions are what pull us in—the character’s the Santa Fe campus, says, “Poetry is the high- changes to The College vulnerabilities, desires, and fears,” says screen- est expression of language.” Along with student Magazine, Communications writer Jeremy Leven (A64); he is one of several poets, he shares insights on this elegant form Office, St. John’s College, 60 College Avenue, alumni profiled in this issue of The College who and how it touches our spirits and hearts.
    [Show full text]
  • Dictionary of Scientific Principles
    DICTIONARY OF SCIENTIFIC PRINCIPLES DICTIONARY OF SCIENTIFIC PRINCIPLES Stephen Marvin West Chester University »WILEY JOHN WILEY & SONS, INC., PUBLICATION Copyright © 2011 by John Wiley & Sons, Inc. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 750-4470, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., Ill River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at http://www.wiley.com/go/permission. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor author shall be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages.
    [Show full text]
  • The Mariinsky Ballet & Orchestra
    Thursday, October 1, 2015, 8pm Friday, October 2, 2015, 8pm Saturday, October 3, 2015, 2pm & 8pm Sunday, October 4, 2015, 3pm Zellerbach Hall The Mariinsky Ballet & Orchestra Gavriel Heine, Conductor The Company Diana Vishneva, Nadezhda Batoeva, Anastasia Matvienko, Sofia Gumerova, Ekaterina Chebykina, Kristina Shapran, Elena Bazhenova Vladimir Shklyarov, Konstantin Zverev, Yury Smekalov, Filipp Stepin, Islom Baimuradov, Andrey Yakovlev, Soslan Kulaev, Dmitry Pukhachov Alexandra Somova, Ekaterina Ivannikova, Tamara Gimadieva, Sofia Ivanova-Soblikova, Irina Prokofieva, Anastasia Zaklinskaya, Yuliana Chereshkevich, Lubov Kozharskaya, Yulia Kobzar, Viktoria Brileva, Alisa Krasovskaya, Marina Teterina, Darina Zarubskaya, Olga Gromova, Margarita Frolova, Anna Tolmacheva, Anastasiya Sogrina, Yana Yaschenko, Maria Lebedeva, Alisa Petrenko, Elizaveta Antonova, Alisa Boyarko, Daria Ustyuzhanina, Alexandra Dementieva, Olga Belik, Anastasia Petushkova, Anastasia Mikheikina, Olga Minina, Ksenia Tagunova, Yana Tikhonova, Elena Androsova, Svetlana Ivanova, Ksenia Dubrovina, Ksenia Ostreikovskaya, Diana Smirnova, Renata Shakirova, Alisa Rusina, Ekaterina Krasyuk, Svetlana Russkikh, Irina Tolchilschikova Alexey Popov, Maxim Petrov, Roman Belyakov, Vasily Tkachenko, Andrey Soloviev, Konstantin Ivkin, Alexander Beloborodov, Viktor Litvinenko, Andrey Arseniev, Alexey Atamanov, Nail Enikeev, Vitaly Amelishko, Nikita Lyaschenko, Daniil Lopatin, Yaroslav Baibordin, Evgeny Konovalov, Dmitry Sharapov, Vadim Belyaev, Oleg Demchenko, Alexey Kuzmin, Anatoly Marchenko,
    [Show full text]
  • Jared Diamond
    mimmmmmamsmm^ : : ;: ; : ;f;'Si V J;U-M |fl*5,;: ui ; ; i^Rir:: 4;, 'i V| ;>:;, '• THE FATES OF HUMAN SOCIETIES Jared Diamond W. W. Norton & Company New York London CONTENTS Preface to the Paperback Edition 9 PROLOGUE YALI'S QUESTION The regionally differing courses of history 1 3 PART ONE FROM EDEN TO CAJAMARCA 3 3 CHAPTER 1 UP TO THE STARTING LINE What happened on all the continents before 11,000 B.C.? 3 5 CHAPTER 2 A NATURAL EXPERIMENT OF HISTORY How geography molded societies on Polynesian islands 5 3 CHAPTER 3 COLLISION AT CAJAMARCA Why the Inca emperor Atahuallpa did not capture King Charles I of Spain 6 7 PART TWO THE RISE AND SPREAD OF FOOD PRODUCTION 8 3 CHAPTER 4 FARMER POWER The roots of guns, germs, and steel 8 5 6 • CONTENTS CHAPTER 5 HISTORY'S HAVES AND HAVE-NOTS Geographic differences in the onset of food production 9 3 CHAPTER 6 TO FARM OR NOT TO FARM Causes of the spread of food production 104 CHAPTER? HOW TO MAKE AN ALMOND The unconscious development of ancient crops 1 1 4 CHAPTERS APPLES OR INDIANS Why did peoples of some regions fail to domesticate plants? 131 CHAPTER 9 ZEBRAS, UNHAPPY MARRIAGES, AND THE ANNA KARENINA PRINCIPLE Why were most big wild mammal species never domesticated? 1 5 7 CHAPTER 10 SPACIOUS SKIES AND TILTED AXES Why did food production spread at different rates on different continents? 1 76 PART THREE FROM FOOD TO GUNS, GERMS, AND STEEL I 9 3 CHAPTER 11 LETHAL GIFT OF LIVESTOCK The evolution of germs 1 9 5 CHAPTER 12 BLUEPRINTS AND BORROWED LETTERS The evolution of writing 2 1 5 CHAPTER 13 NECESSITY'S
    [Show full text]
  • Take the FUN out of Process Safety
    Safety Take the FUN Out of Process Safety Peter Lodal, P.E. Process safety can be approached in many different Eastman Chemical Co. ways. This article provides an unconventional way of looking at process safety that ties together wide-ranging ideas from seemingly disparate fields. s chemical engineers, we often think of process has all the other ingredients needed for happiness.” safety in terms of process hazard analyses, risk I believe this principle can be extended to understand Aassessments, layers of protection, personal pro­ many other things, among them, process safety. To para­ tective equipment, and the like. This discussion of process phrase Tolstoy: Successful chemical processes are all alike; safety borrows concepts from a wide range of areas, some of every unsuccessful chemical process fails in its own way. which have nothing to do with chemicals, chemical engi­ This statement implies that a successful chemical process neering, or process safety. Ideas from Leo Tolstoy, clinical must succeed at multiple things simultaneously — that is, psychologist Aubrey Daniels, and the German economist all successful chemical processes look alike in the sense E. F. Schumacher, among others, are tied together in this that they all succeed at the same things. This suggests some unconventional exploration of process safety. essential elements of a successful chemical process — things that all must go right for a process to succeed in the Leo Tolstoy and Anna Karenina long term: An unusual character for an article on process safety, Leo • the process must be thermodynamically possible Tolstoy sets the stage for this discussion. Although Tolstoy • the process must be sustainable, in that it: died in 1910, just two years after the founding of AIChE, w meets a market need he articulated a concept in his novel Anna Karenina that we w meets some minimum financial criterion will consider as we begin our journey.
    [Show full text]
  • Music Man Meredith Willson
    The Music Man Meredith Willson THEATER 16/17 FOR YOUR INFORMATION Do you want more information about upcoming events at the Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through music.indiana.edu/publicity. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. Musical Arts Center The Musical Arts Center (MAC) Box Office is open Monday – Friday, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times. Other permit holders: Free access if entering after 5 p.m. any day of the week.
    [Show full text]
  • Emily Pierce. Full Honors Thesis Draft. FINAL. 6.9.14.Pdf (326.6Kb)
    Pierce 1 Emily Pierce Alys Weinbaum English 496 9 June 2014 Latent Love or Lust? Liberating Female Sexuality in Joe Wright’s 2012 filmic adaptation of Anna Karenina Introduction “Happy families are all alike; every unhappy family is unhappy in its own way,” opens Leo Tolstoy’s Anna Karenina. Although this novel focuses on the dysfunction, consequences, and repercussions of family, I will turn my focus onto how women are represented in this novel, and more importantly in the 2012 Joe Wright film adaptation of Anna Karenina. I’ll be examining mis-en-scene, which is “what the viewers notice most of all film techniques” (Bordwell & Thompson, 112), and this category often encompasses setting, costuming, makeup, staging, and for my purposes, score. Within my interpretation of the film, the mis-en-scene switches the spotlight from families, onto the female characters. Within this classic novel, Anna Karenina, the married “belle of St. Petersburg society” (film), has a passionate affair with a young Cavalry officer, Count Vronsky. The two other main female protagonists are: Kitty, a young girl just beginning her coming out into society at a grand ball, and Dolly, her sister, who is married with ten children to Anna’s brother, Oblonsky. Levin, Oblonsky’s friend, falls in love with Kitty and proposes, keeping in mind that he must compete with Count Vronsky for Kitty’s affections. Meanwhile, Levin and Kitty, follow the traditional love story, and Oblonsky and Dolly struggle through issues created by his affair. It is an understatement to say that both the film and novel focus on families, but I’d like to center around the female protagonists: Anna, Dolly and Kitty.
    [Show full text]
  • Intersemiotic Translation of Russian Classics for Foreign Audiences
    Russian Journal of Linguistics 2019 Vol. 23 No. 2 399—414 Вестник РУДН. Серия: ЛИНГВИСТИКА http://journals.rudn.ru/linguistics DOI: 10.22363/2312-9182-2019-23-2-399-414 ∗ “A Sensible Image of the Infinite” : Intersemiotic Translation of Russian Classics for Foreign Audiences Olga Leontovich Volgograd State Socio-Pedagogical University 27 Lenin Prospect, Volgograd, 400066, Russia Tianjin Foreign Studies University No. 117, Machang Road, Hexi Disctrict, Tianjin, China Abstract The article is a continuation of the author’s cycle of works devoted to foreign cinematographic and stage adaptations of Russian classical literature for foreign audiences. The research material includes 17 American, European, Chinese, Indian, Japanese fiction films and TV series, one Broadway musical and 9 Russian films and TV series used for comparison. The paper analyses different theoretical approaches to intersemiotic translation, ‘de-centering of language’ as a modern tendency and intersemiotic translation of literary works in the context of intercultural communication. Key decisions about the interpretation of original texts are made by directors and their teams guided by at least three goals: commercial, creative and ideological. Intersemiotic translation makes use of such strategies as foreignization, domestication and universalization. The resignifying of a literary text by means of the cinematographic semiotic system is connected with such transformations as: a) reduction — omission of parts of the original; b) extension — addition, filling in the blanks, and signifying the unsaid; c) reinterpretation — modification or remodeling of the original in accordance with the director’s creative ideas. A challenge and at the same time one of the key points of intersemiotic translation is a difficult choice between the loyalty to the original, comprehensibility for the target audience and freedom of creativity.
    [Show full text]
  • What to Expect from Lucia Di Lammermoor
    WHAT to EXpect From Lucia di Lammermoor The MetropoLitAN OperA’s production OF Lucia di Lammermoor unfurls a tight tapestry of family honor, forbidden love, heart- THE WORK LUCIA DI LAMMERMOOR break, madness, and death. Mary Zimmerman’s exploration of Sir Walter Composed by Gaetano Donizetti Scott’s shocking 1819 novel The Bride of Lammermoor led her down winding roads in Scotland, where her imagination was fed by the country’s untamed Libretto by Salvadore Cammarano vistas and abandoned castles. That journey shaped her ghost-story-inspired (based on The Bride of Lammermoor by Sir Walter Scott) vision for the production of Donizetti’s Lucia di Lammermoor. The char- First performed on September 26, 1835 acter of Lucia has become an icon in opera and beyond, an archetype of the in Naples, Italy constrained woman asserting herself in society. She reappears as a touchstone for such diverse later characters as Flaubert’s adulterous Madame Bovary THE MET PRODUCTION and the repressed Englishmen in the novels of E.M. Forster. The insanity Marco Armiliato, Conductor that overtakes and destroys Lucia, depicted in opera’s most celebrated mad scene, has especially captured the public imagination. Donizetti’s handling Mary Zimmerman, Production of this fragile woman’s state of mind remains seductively beautiful, thor- Daniel Ostling, Set Designer oughly compelling, and deeply disturbing. Madness as explored in this Mara Blumenfeld, Costume Designer opera is not merely something that happens as a plot function: it is at once a T.J. Gerckens, Lighting Designer personal tragedy, a political statement, and a healing ritual. Daniel Pelzig, Choreographer The tale is set in Scotland, which, to artists of the Romantic era, signi- STARRing fied a wild landscape on the fringe of Europe, with a culture burdened Anna Netrebko (Lucia) by a French-derived code of chivalry and an ancient tribal system.
    [Show full text]
  • Anna Karenina
    ANNA KARENINA A musical in 2 acts and 19 scenes. Music, Daniel Levine; Lyrics & Book, Peter Kellogg; Adapted from the novel by Leo Tolstoy; Previewed from Tuesday, 11th August, 1992; Opened in the Circle in the Square Uptown on Wednesday, 26th August , 1992. Closed 4th October, 1992 (46 perfs & 18 previews) THE STORY Act I Anna Karenina, a handsome woman in her late twenties, is visiting her brother, Stiva. She is travelling alone, without husband or son, for the first time. On the train meets a dashing officer, Count Vronsky. Also on the train is Constantin Levin, a brooding intellectual. Levin runs into Stiva at the station confesses he's come to ask Kitty's sister-in-law, to marry him. Stiva warns Levin he has a rival in Vronsky. Stiva greets Anna and we hear the reason for her visit. Stiva has had an affair and his wife, Dolly, has found out. Anna has come to ask Dolly to forgive him, but first she chastises Stiva. The scene changes to the home of eighteen year-old Kitty, whither Dolly has fled. Anna arrives and tells Kitty about seeing Levin. Kitty suspects the reason for his return. Levin then and proposes. Reluctantly Kitty turns him down. Just then, Stiva arrives with Vronsky. Anna comes downstairs, having smoothed things over with Dolly. She recognises Vronsky as the attentive officer from the train. Stiva goes off to speak to Dolly, leaving the other four. A week later, Anna is returning home. At a small station between Moscow and St. Petersburg, Anna steps outside for some air and is surprised to see Count Vronsky.
    [Show full text]