This article is devoted to the analysis of intertextual relations between Leo Tolstoy's novel "Anna Karenina" and contemporary songwriting, referring to him. The author of the article, using the example of four songs, shows how references to the novel are built in them, considering it in three important aspects: firstly, as a dialogue between two different types of art - literature and song; secondly, in the context of differences between elite and mass culture; thirdly, taking into account the difference in the time of creation of the works is the second half of the XIX century and the end of the XX-XXI centuries. Since there is an intermediate quotation in this context, the researcher pays attention not only to the lyrics (which is a literary component), but also to the song composition and musical means of expression. The article talks about communication at different levels: the author of the song is a novel, the author of the song is the author of the novel, the author of the song is the listeners, the lyrical heroine of the song is the main heroine of the novel. Analyzing approaches to the interpretation of the novel, the author of the article draws attention to such categories as mass character, stereotyping, postmodern irony. The problem of interpreting the image of Anna Karenina is considered, which arose due to the peculiarity of Tolstoy's creative method, which consists in presenting the character in a multifaceted and contradictory way, which creates opportunities for different attitudes to the hero. This is confirmed by the songs chosen for analysis, which present four different interpretations of Karenina's image. During the analysis, four different types of intertextual relationships were identified, built in songs referring to this novel by Tolstoy: partial quoting and symbolization of the heroine's image; open dialogue with the character; an ironic retelling and an unexpected playful interpretation of the meaning of the novel; interference in the denouement of the action and a change in the ending.
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