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ANTON CHEKHOV
(1860-1904) |
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BACKGROUND
- Russian
- father of the modern short
story
- father of the modern play
- grandfather = serf, bought his freedom & his
sons’
- mother = Yevgeniya, excellent storyteller
- --> gift of narrative
- --> learned to read & write
- father = Pavel, grocer, religious zealot,
tyrant (at least to older children)
- Anton = 3rd of 6 children
- terrorized by his father
- 1868-76: 8+, sent to local grammar school
- average student, mischievous
- attended provincial theater
- wrote short comedic stories
- wrote serious play (Fatherless)
- 1875/6: 16, father goes bankrupt,
threatened w/debtor’s prison, moves to Moscow to find work
- mother, younger children, Anton = left behind; loses
home to local bureaucrat posing as
a family friend (major theme)
- 1876: she & children leave for Moscow
- Anton remains to finish grammar school
- supports himself through tutoring
- 1879: passed final exams, moved to Moscow,
med. school scholarship (Moscow University Medical School)
- supports self & family by writing short comical
pieces for sub-literary magazines
- Peterburskaia gazeta (from 1885) &
Novoe vremia (from 1886)
- 2 full-length novels during this time (The Shooting
Party, 1884)
- mostly trash, some gems
- BUT development of common themes
Russian Low-Brow Comic Magazines |
- comic weeklies
- low-brow, low literary quality
- “tired jokes & farcical trivia” (C.A.)
- Russian period of
political repression
- Imperial Russia
- bureaucracy
- to criticize the government =
- sent to penal colony, Sakhalin Island
- (see below)
- short pieces (restricted to 2 ½ pages)
- affects his
writing style
- no politics
- short,
economical style
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BACKGROUND
- 1880-83: 1st published pieces, under
various pseudonyms
- Medicine = #1, Literature = #2
- literature = “my mistress”
- planned to use his real name for future medical
publications
- 1882: meets & begins to write for the
owner (Nicolas Leykin) of the best St. Petersburg comic
weekly
- (Fragments) -->Chekhov’s better work
- 1884: was graduated from medical school
- 1884-92: practiced medicine
- 1885+: better, more serious writing
- The Petersburg Gazette & New Times
- publishes under his own name
- regular contributor to St. Petersburg respectable daily
newspaper (Novoe vremya)
- material = better
- that which was rejected by other comic weeklies
- no restrictions in length OR tone
- 1886-87: most
productive years of career
- 1887: needs vacation (Steppes & city of
youth) b/c of increasing family debt (brothers’, which he
covered), bad health (TB), the effort of writing to keep
pace with family expenses; returns refreshed, inspired
- marks artistic maturity
- Ivanov
- 1888: Pushkin
Prize, for In the Twilight (collection of
stories)
- 1888-90: more plays
- flop = The Wood Demon (1889)
- popular successes = four one-act farces, The Bear,
The Proposal, A Tragic Role, The Wedding
- 1889: elected a member of the Society of
Lovers of Russian Literature (same year brother died of TB)
- 1889-92: surveyed 10K prisoners on
Sakhalin Island penal colony (north of Siberia) & traveled
Asia, Middle East, India
- 1892:
full-time writer
- his better, more memorable stories
- “Neighbors” (1892), “Ward Number Six” (1892), “The Black
Monk” (1894), “The Murder” (1895), and “Ariadne” (1895)
- so-called "trilogy" of stories
- “A Hard Case” (1898)
- “Gooseberries”
(1898)
- “Concerning Love” (1898)
- theme: a failure to grasp the essential
joys of life by not taking advantage of opportunities that
come only once in a lifetime, for fear of making a mistake
(CA)
- The Seagull (1895 play)
- too much symbolism (dead gull = hopes betrayed; too much
Henrik Ibsen)
- flouts literary conventions
- --> no starring role, no increasing (but decreasing)
action, no climax, no intense emotions
- 1897: tuberculosis (TB)
begun in 1884
- moved to Yalta
- wrote his more famous stories
- “The Man in a Shell,” “Gooseberries,” “About
Love,” “Lady with the Dog,” & “In the Ravine”
- 1900: The Three
Sisters
- 1901: marries Olga Knipper, actress who
had performed in his plays
- 1902: The Cherry
Orchard = “represents the perfect embodiment of
that exquisite balance of
tragedy and farce with which Chekhov so
skillfully imbued his mature plays” (CA)
- 1904: dead
3 years after marriage
- * unknown internationally
during his lifetime
- post-WWI, when his works were translated in to English
- 1920’s: big on English stage (Chekhov,
Ibsen, Shakespeare)
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THEMES
-
b/c of
personal experience
-
-->
the loss of a home to a
conniving middle-class upstart
-
-->“Late-blooming Flowers” (1882 short story)
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& The
Cherry Orchard: A Comedy in Four Acts (1904, last play)
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the
obsequiousness and petty tyranny of government officials
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the
sufferings of the poor as well as their coarseness and
vulgarity
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the
vagaries and unpredictability of feeling
-
the
ironical misunderstandings, disillusionments, and
cross-purposes that make up the human comedy in general
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(more
serious themes of mature works)
-
starvation (“Oysters”)
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abandonment (“The Huntsman” 1885)
-
remorse
(in “The Misfortune” 1885)
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THEMES
later
works:
-
life’s meaninglessness
& a healthy skepticism
-
Chekhov =
doctor in A Dreary Story?? (denied by AC)
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in AC’s
works: “a rare occasion in his
fictive universe when expectations of happiness--especially
in matters of the heart--are fulfilled” (CA)
-
AC’s
least likeable characters:
-
pragmatist, scientist/doctor:
-
the
major themes of Chekhov's career placed in unresolvable
but organic tension:
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STYLE
- Tolstoy influence:
- occasional experimentation with the Tolstoyan philosophy
of pacifistic resistance to evil
- ironically comic vein (earlier work)
- early plays =
histrionics and verbosity
- later plays =
understatement, anticlimax, and implied feeling
- b/c of his grandfather’s serfdom, b/c of the
hardships of his youth
- --> "Chekhov was well-acquainted with
the realities of nineteenth- century
lower-middle-class and peasant life,
- an acquaintance that was reflected
objectively and
unsentimentally in his mature writings”
(online-literature.com)
- realistic portrayal
of poorer classes’ conditions
- b/c of his medical school training
- --> APATHY
(“the apathy many of his characters show towards tragic
events” -- ibid)
- medical influence on plays:
- “clinical study”:
stories drawing on Chekhov's medical expertise and depicting
psychosomatic illness
or the psychological effects
of physical disease or distress
- Oysters, Typhus (not fully developed until
later)
- The Name-Day Party (woman’s miscarriage)
- --> medical accuracy
of his characters’ conditions (such as the
woman’s labor pains, above)
- --> objectiveness
- *dispassionate,
non-judgmental, objective, unsentimental author
- strict authorial detachment
- “his refusal to pass judgment on even his most
despicable characters” (CA)
- this objectivity = violation of the canons of Russian
literary taste
- should represent bad people as bad (not
w/o commentary, as AC does)
- should show good people as good (not
self-righteous, as AC does)
- AC’s response to criticism @this:
- “‘To think that it is the duty
of literature to pluck the pearl from the heap of villains
is to deny literature itself. Literature is called artistic
when it depicts life as it actually is.... A writer
should be as objective as a chemist’” (CA)
- “As for trying to instruct his
readers, which was the principle task of any great writer
according to contemporary critics of Russian culture, he
later wrote to Suvorin in a letter printed by Yarmolinsky,
‘You are confusing two concepts: the solution of a problem
and the correct posing of a question. Only the second
is obligatory for an artist.’” (CA)
- lack of social commentary
- no politics
- * wrote quite quickly (short story in an hour or less)
- * several 100 stories
- b/c of comic weeklies experience (?)
- --> “first modern master of a
spare and economical prose style in
fiction” (CA)
- * “‘biography of a mood’”
(CA):
- show more atmosphere/mood by evoking through concrete
details the emotions at work in a character's mind
- esp. in “The Huntsman”:
- “One of the earliest examples of what D. S. Mirsky in
his Modern Russian Literature essay labeled "biography of a
mood" appears in "The Huntsman," which presents a roving
peasant who refuses to go home with his wife because he
prefers the freedom of a sporting life--as a "shooter" for
the local landowner--and cohabitation with another woman.
Here, as so often in Chekhov's mature stories, there is no
real plot, no dramatic emotional flare-up, only a moment of
confrontation which radically condenses the life histories
of both husband and wife. In this moment nothing changes in
their relationship or promises to change. Details of the
scene--the heat and stillness, the road stretched "taut as a
thong"--reflect both the hopeless stagnation of the couple's
marriage and the tension of this encounter.” (CA)
- “to render life from
within the minds of his characters
through the registration of significant details and
to portray experience without preaching or
attitudinizing” (CA)
- “his use of atmosphere as ‘an ambiguous
mixture of both external details and psychic
projection.’”
- influence on Western writers:
“In all these regards Chekhov had an immediate and direct
impact on such Western writers as
James Joyce, Katherine Mansfield, and Sherwood Anderson;
indirectly, most major authors of short stories in the
twentieth century, including
Katherine Anne Porter, Franz Kafka, Ernest Hemingway,
Bernard Malamud, and Raymond Carver, are in his
debt” (CA)
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STYLE
- dramatic influence:
- “With respect to twentieth-century drama, few
playwrights with so small an oeuvre have wielded such vast
influence over the course of literary history. With Ibsen
and Strindberg, Chekhov pioneered what Magarshack in Chekhov
the Dramatist called the
"indirect action" play:
- he used understatement
and broken conversation, off-stage events and absent
characters as catalysts of tension, but retained a strict
impression of realism.
- He went further than his contemporaries in his
rejection of the classical
Aristotelian plot-line, in which rising and
falling action comprise an immediately recognizable climax,
catastrophe, and denouement.
- In Chekhov's mature plays,
realism extended to the strict coincidence of
stage time with real time, so that it was the elapsed time
between acts, sometimes extending over months or years, that
showed the changes taking place in characters. Thus, as
Martin Esslin pointed out in an essay appearing in A
Chekhov Companion, "the relentless forward
pressure of the traditional dramatic form was replaced by a
method of narration in which it was the discontinuity of the
images that told the story, by implying what had happened in
the gaps between episodes."
- At the same time, Chekhov's
realism was not a
simple transcription of life but a highly
structured portrait subtly held together by complex networks
of verbal imagery, repeated
sounds and phrases, ambiguously suggestive or simply
enigmatic props--all of which made up what
has come to be known as the "subtext"
of a Chekhov play. (CA)
- MORE dramatic influence:
- George Bernard Shaw, Harold
Pinter
- (subtext on) Tennessee
Williams, Arthur Miller, Clifford Odets, William Inge
- (looks forward to)
Bertolt Brecht’s “estrangement technique” &
Samuel Beckett’s
dramatic stasis and derealization (Th. of the Absurd)
- Chekhov the conundrum:
- 4 different Anton Chekhovs:
- “‘optimist, pessimist, decadent, [and] scientific
impressionist’” (CA)
- master ironist
- “lyricist & realist, comedian & tragedian, ironist &
progressive” (CA)
- “MISERY”:
- “biography of a mood”:
- vivid description
- geographic landscape = emotional landscape
- character = numbed by grief, dead emotionally
(reborn as tries to tell grief)
- clinical study
of misery, grief, Depression, loneliness
- opposition: desperate need to tell
story/share grief BUT futility, foolishness of doing so
- pessimism, meaninglessness
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LINKS
LINKS
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