Anton Chekhov
Anton Chekhov Антон Чехов | |
---|---|
First Moscow State Medical University | |
Genres | |
Literary movement | Realism |
Years active | 1876-1904 |
Notable works | |
Notable awards | Pushkin Prize |
Spouse | |
Relatives | Alexander Chekhov (brother) Maria Chekhova (sister) Nikolai Chekhov (brother) Michael Chekhov (nephew) Lev Knipper (nephew) Olga Chekhova (niece) Ada Tschechowa (great-niece) Marina Ried (great-niece) Vera Tschechowa (great-great niece) |
Signature | |
Anton Pavlovich Chekhov[a] (Russian: Антон Павлович Чехов[b], IPA: [ɐnˈton ˈpavləvʲɪtɕ ˈtɕexəf]; 29 January 1860[c] – 15 July 1904[d]) was a Russian playwright and physician. His career as a playwright produced four classics, and his best short stories are held in high esteem by writers and critics.[e][5][6] Along with Henrik Ibsen and August Strindberg, Chekhov is often referred to as one of the three seminal figures in the birth of early modernism in the theatre.[7] Chekhov was a physician by profession. "Medicine is my lawful wife", he once said, "and literature is my mistress."[8][9]
Chekhov renounced the theatre after the reception of The Seagull in 1896, but the play was revived to acclaim in 1898 by Konstantin Stanislavski's Moscow Art Theatre, which subsequently also produced Chekhov's Uncle Vanya and premiered his last two plays, Three Sisters and The Cherry Orchard. These four works present a challenge to the acting ensemble[f] as well as to audiences, because in place of conventional action Chekhov offers a "theatre of mood" and a "submerged life in the text".[g][12] The plays that Chekhov wrote were not complex, but easy to follow, and created a somewhat haunting atmosphere for the audience.[3]
Chekhov at first wrote stories to earn money, but as his artistic ambition grew, he made formal innovations that influenced the evolution of the modern short story.[13][h][15] He made no apologies for the difficulties this posed to readers, insisting that the role of an artist was to ask questions, not to answer them.[16]
Biography
Childhood
Anton Chekhov was born into a
In adulthood, Chekhov criticised his brother Alexander's treatment of his wife and children by reminding him of Pavel's tyranny: "Let me ask you to recall that it was despotism and lying that ruined your mother's youth. Despotism and lying so mutilated our childhood that it's sickening and frightening to think about it. Remember the horror and disgust we felt in those times when Father threw a tantrum at dinner over too much salt in the soup and called Mother a fool."[25][i]
Chekhov attended the Greek School in Taganrog and the Taganrog Gymnasium (since renamed the Chekhov Gymnasium), where he was held back for a year at fifteen for failing an examination in Ancient Greek.[27] He sang at the Greek Orthodox monastery in Taganrog and in his father's choirs. In a letter of 1892, he used the word "suffering" to describe his childhood and recalled:
When my brothers and I used to stand in the middle of the church and sing the trio "May my prayer be exalted", or "The Archangel's Voice", everyone looked at us with emotion and envied our parents, but we at that moment felt like little convicts.[28]
In 1876, Chekhov's father was declared bankrupt after overextending his finances building a new house, having been cheated by a contractor named Mironov.
Chekhov was left behind to sell the family's possessions and finish his education. He remained in Taganrog for three more years, boarding with a man by the name of Selivanov who, like Lopakhin in The Cherry Orchard, had bailed out the family for the price of their house.
During this time, he read widely and analytically, including the works of
Early writings
Chekhov then assumed responsibility for the whole family.[37] To support them and to pay his tuition fees, he wrote daily short, humorous sketches and vignettes of contemporary Russian life, many under pseudonyms such as "Antosha Chekhonte" (Антоша Чехонте) and "Man Without Spleen" (Человек без селезенки). His prodigious output gradually earned him a reputation as a satirical chronicler of Russian street life, and by 1882 he was writing for Oskolki (Fragments), owned by Nikolai Leykin, one of the leading publishers of the time.[38] Chekhov's tone at this stage was harsher than that familiar from his mature fiction.[39][40]
In 1884, Chekhov qualified as a physician, which he considered his principal profession though he made little money from it and treated the poor free of charge.[41]
In 1884 and 1885, Chekhov found himself coughing blood, and in 1886 the attacks worsened, but he would not admit his tuberculosis to his family or his friends.[24] He confessed to Leykin, "I am afraid to submit myself to be sounded by my colleagues."[42] He continued writing for weekly periodicals, earning enough money to move the family into progressively better accommodations.
Early in 1886 he was invited to write for one of the most popular papers in
Before long, Chekhov was attracting literary as well as popular attention. The sixty-four-year-old Dmitry Grigorovich, a celebrated Russian writer of the day, wrote to Chekhov after reading his short story "The Huntsman" that[46] "You have real talent, a talent that places you in the front rank among writers in the new generation." He went on to advise Chekhov to slow down, write less, and concentrate on literary quality.
Chekhov replied that the letter had struck him "like a thunderbolt" and confessed, "I have written my stories the way reporters write up their notes about fires—mechanically, half-consciously, caring nothing about either the reader or myself."[47] The admission may have done Chekhov a disservice, since early manuscripts reveal that he often wrote with extreme care, continually revising.[48] Grigorovich's advice nevertheless inspired a more serious, artistic ambition in the twenty-six-year-old. In 1888, with a little string-pulling by Grigorovich, the short story collection At Dusk (V Sumerkakh) won Chekhov the coveted Pushkin Prize "for the best literary production distinguished by high artistic worth".[49]
Turning points
In 1887, exhausted from overwork and ill health, Chekhov took a trip to Ukraine, which reawakened him to the beauty of the steppe.[50] On his return, he began the novella-length short story "The Steppe", which he called "something rather odd and much too original", and which was eventually published in Severny Vestnik (The Northern Herald).[51] In a narrative that drifts with the thought processes of the characters, Chekhov evokes a chaise journey across the steppe through the eyes of a young boy sent to live away from home, and his companions, a priest and a merchant. "The Steppe" has been called a "dictionary of Chekhov's poetics", and it represented a significant advance for Chekhov, exhibiting much of the quality of his mature fiction and winning him publication in a literary journal rather than a newspaper.[52]
In autumn 1887, a theatre manager named Korsh commissioned Chekhov to write a play, the result being Ivanov, written in a fortnight and produced that November.[53] Though Chekhov found the experience "sickening" and painted a comic portrait of the chaotic production in a letter to his brother Alexander, the play was a hit and was praised, to Chekhov's bemusement, as a work of originality.[54]
Although Chekhov did not fully realise it at the time, Chekhov's plays, such as The Seagull (written in 1895), Uncle Vanya (written in 1897), The Three Sisters (written in 1900), and The Cherry Orchard (written in 1903) served as a revolutionary backbone to what is common sense to the medium of acting to this day: an effort to recreate and express the realism of how people truly act and speak with each other. This realistic manifestation of the human condition may engender in audiences reflection upon what it means to be human.
This philosophy of approaching the art of acting has stood not only steadfast, but as the cornerstone of acting for much of the 20th century to this day. Mikhail Chekhov considered Ivanov a key moment in his brother's intellectual development and literary career.[24] From this period comes an observation of Chekhov's that has become known as Chekhov's gun, a dramatic principle that requires that every element in a narrative be necessary and irreplaceable, and that everything else be removed.[55][56][57]
Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it's not going to be fired, it shouldn't be hanging there.
The death of Chekhov's brother Nikolai from tuberculosis in 1889 influenced A Dreary Story, finished that September, about a man who confronts the end of a life that he realises has been without purpose.[59][60] Mikhail Chekhov recorded his brother's depression and restlessness after Nikolai's death. Mikhail was researching prisons at that time as part of his law studies. Anton Chekhov, in a search for purpose in his own life, himself soon became obsessed with the issue of prison reform.[24]
Sakhalin
In 1890, Chekhov undertook an arduous journey by train, horse-drawn carriage, and river steamer to the Russian Far East and the
Tomsk is a very dull town. To judge from the drunkards whose acquaintance I have made, and from the intellectual people who have come to the hotel to pay their respects to me, the inhabitants are very dull, too.[64]
Chekhov witnessed much on Sakhalin that shocked and angered him, including floggings, embezzlement of supplies, and forced prostitution of women. He wrote, "There were times I felt that I saw before me the extreme limits of man's degradation."[65][66] He was particularly moved by the plight of the children living in the penal colony with their parents. For example:
On the
Amur steamer going to Sakhalin, there was a convict who had murdered his wife and wore fetters on his legs. His daughter, a little girl of six, was with him. I noticed wherever the convict moved the little girl scrambled after him, holding on to his fetters. At night the child slept with the convicts and soldiers all in a heap together.[67]
Chekhov later concluded that charity was not the answer, but that the government had a duty to finance humane treatment of the convicts. His findings were published in 1893 and 1894 as Ostrov Sakhalin (
Melikhovo
Mikhail Chekhov, a member of the household at Melikhovo, described the extent of his brother's medical commitments:
From the first day that Chekhov moved to Melikhovo, the sick began flocking to him from twenty miles around. They came on foot or were brought in carts, and often he was fetched to patients at a distance. Sometimes from early in the morning peasant women and children were standing before his door waiting.[74]
Chekhov's expenditure on drugs was considerable, but the greatest cost was making journeys of several hours to visit the sick, which reduced his time for writing.[75] However, Chekhov's work as a doctor enriched his writing by bringing him into intimate contact with all sections of Russian society: for example, he witnessed at first hand the peasants' unhealthy and cramped living conditions, which he recalled in his short story "Peasants". Chekhov visited the upper classes as well, recording in his notebook: "Aristocrats? The same ugly bodies and physical uncleanliness, the same toothless old age and disgusting death, as with market-women."[76] In 1893/1894 he worked as a Zemstvo doctor in Zvenigorod, which has numerous sanatoriums and rest homes. A local hospital is named after him.
In 1894, Chekhov began writing his play The Seagull in a lodge he had built in the orchard at Melikhovo. In the two years since he had moved to the estate, he had refurbished the house, taken up agriculture and horticulture, tended the orchard and the pond, and planted many trees, which, according to Mikhail, he "looked after ... as though they were his children. Like Colonel Vershinin in his Three Sisters, as he looked at them he dreamed of what they would be like in three or four hundred years."[24]
The first night of The Seagull, at the
Yalta
In March 1897, Chekhov suffered a major haemorrhage of the lungs while on a visit to Moscow. With great difficulty he was persuaded to enter a clinic, where doctors diagnosed tuberculosis on the upper part of his lungs and ordered a change in his manner of life.[84]
After his father's death in 1898, Chekhov bought a plot of land on the outskirts of Yalta and built a villa (The White Dacha), into which he moved with his mother and sister the following year. Though he planted trees and flowers, kept dogs and tame cranes, and received guests such as Leo Tolstoy and Maxim Gorky, Chekhov was always relieved to leave his "hot Siberia" for Moscow or travels abroad. He vowed to move to Taganrog as soon as a water supply was installed there.[85][86] In Yalta he completed two more plays for the Art Theatre, composing with greater difficulty than in the days when he "wrote serenely, the way I eat pancakes now". He took a year each over Three Sisters and The Cherry Orchard.[87]
On 25 May 1901, Chekhov married Olga Knipper quietly, owing to his horror of weddings. She was a former protégée and sometime lover of Vladimir Nemirovich-Danchenko whom he had first met at rehearsals for The Seagull.[88][89][90] Up to that point, Chekhov, known as "Russia's most elusive literary bachelor",[91] had preferred passing liaisons and visits to brothels over commitment.[92] He had once written to Suvorin:
By all means I will be married if you wish it. But on these conditions: everything must be as it has been hitherto—that is, she must live in Moscow while I live in the country, and I will come and see her.... I promise to be an excellent husband, but give me a wife who, like the moon, won't appear in my sky every day.[93]
The letter proved prophetic of Chekhov's marital arrangements with Olga: he lived largely at Yalta, she in Moscow, pursuing her acting career. In 1902, Olga suffered a miscarriage; and
In Yalta, Chekhov wrote one of his most famous stories,
Death
In May 1903, Chekhov visited Moscow; the prominent lawyer Vasily Maklakov visited him almost every day. Maklakov signed Chekhov's will. By May 1904, Chekhov was terminally ill with tuberculosis. Mikhail Chekhov recalled that "everyone who saw him secretly thought the end was not far off, but the nearer [he] was to the end, the less he seemed to realise it".[24] On 3 June, he set off with Olga for the German spa town of Badenweiler in the Black Forest in Germany, from where he wrote outwardly jovial letters to his sister Masha, describing the food and surroundings, and assuring her and his mother that he was getting better. In his last letter, he complained about the way German women dressed.[101] Chekhov died on 15 July 1904 at the age of 44 after a long fight with tuberculosis, the same disease that killed his brother.[102]
Chekhov's death has become one of "the great set pieces of literary history"[103]—retold, embroidered, and fictionalized many times since, notably in the 1987 short story "Errand" by Raymond Carver. In 1908, Olga wrote this account of her husband's last moments:
Anton sat up unusually straight and said loudly and clearly (although he knew almost no German): Ich sterbe ('I'm dying'). The doctor calmed him, took a syringe, gave him an injection of camphor, and ordered champagne. Anton took a full glass, examined it, smiled at me and said: 'It's a long time since I drank champagne.' He drained it and lay quietly on his left side, and I just had time to run to him and lean across the bed and call to him, but he had stopped breathing and was sleeping peacefully as a child ...[104]
Chekhov's body was transported to Moscow in a refrigerated railway-car meant for
Legacy
A few months before he died, Chekhov told the writer Ivan Bunin that he thought people might go on reading his writings for seven years. "Why seven?", asked Bunin. "Well, seven and a half", Chekhov replied. "That's not bad. I've got six years to live."[109]
Chekhov's posthumous reputation greatly exceeded his expectations. The ovations for the play
Chekhov's work also found praise from several of Russia's most influential radical political thinkers. If anyone doubted the gloom and miserable poverty of Russia in the 1880s, the anarchist theorist Peter Kropotkin responded, "read only Chekhov's novels!"[111] Raymond Tallis further recounts that Vladimir Lenin believed his reading of the short story Ward No. 6 "made him a revolutionary".[112] Upon finishing the story, Lenin is said to have remarked: "I absolutely had the feeling that I was shut up in Ward 6 myself!"[113]
In Chekhov's lifetime, British and Irish critics generally did not find his work pleasing;
Despite Chekhov's reputation as a playwright, William Boyd asserts that his short stories represent the greater achievement.[119] Raymond Carver, who wrote the short story "Errand" about Chekhov's death, believed that Chekhov was the greatest of all short story writers:
Chekhov's stories are as wonderful (and necessary) now as when they first appeared. It is not only the immense number of stories he wrote—for few, if any, writers have ever done more—it is the awesome frequency with which he produced masterpieces, stories that shrive us as well as delight and move us, that lay bare our emotions in ways only true art can accomplish.[120]
Style
One of the first non-Russians to praise Chekhov's plays was George Bernard Shaw, who subtitled his Heartbreak House "A Fantasia in the Russian Manner on English Themes", and pointed out similarities between the predicament of the British landed class and that of their Russian counterparts as depicted by Chekhov: "the same nice people, the same utter futility".[121]
Ernest Hemingway, another writer influenced by Chekhov, was more grudging: "Chekhov wrote about six good stories. But he was an amateur writer."[122] And Vladimir Nabokov criticised Chekhov's "medley of dreadful prosaisms, ready-made epithets, repetitions".[123][124] But he also declared "yet it is his works which I would take on a trip to another planet"[125] and called "The Lady with the Dog" "one of the greatest stories ever written" in its depiction of a problematic relationship, and described Chekhov as writing "the way one person relates to another the most important things in his life, slowly and yet without a break, in a slightly subdued voice".[126]
For the writer William Boyd, Chekhov's historical accomplishment was to abandon what William Gerhardie called the "event plot" for something more "blurred, interrupted, mauled or otherwise tampered with by life".[127]
Virginia Woolf mused on the unique quality of a Chekhov story in The Common Reader (1925):
But is it the end, we ask? We have rather the feeling that we have overrun our signals; or it is as if a tune had stopped short without the expected chords to close it. These stories are inconclusive, we say, and proceed to frame a criticism based upon the assumption that stories ought to conclude in a way that we recognise. In so doing we raise the question of our own fitness as readers. Where the tune is familiar and the end emphatic—lovers united, villains discomfited, intrigues exposed—as it is in most Victorian fiction, we can scarcely go wrong, but where the tune is unfamiliar and the end a note of interrogation or merely the information that they went on talking, as it is in Tchekov, we need a very daring and alert sense of literature to make us hear the tune, and in particular those last notes which complete the harmony.[128]
Michael Goldman has said of the elusive quality of Chekhov's comedies: "Having learned that Chekhov is comic ... Chekhov is comic in a very special, paradoxical way. His plays depend, as comedy does, on the vitality of the actors to make pleasurable what would otherwise be painfully awkward—inappropriate speeches, missed connections, faux pas, stumbles, childishness—but as part of a deeper pathos; the stumbles are not pratfalls but an energized, graceful dissolution of purpose."[129]
Influence on dramatic arts
In the United States, Chekhov's reputation began its rise slightly later, partly through the influence of
Alan Twigg, the chief editor and publisher of the Canadian book review magazine B.C. BookWorld wrote:
One can argue Anton Chekhov is the second-most popular writer on the planet. Only Shakespeare outranks Chekhov in terms of movie adaptations of their work, according to the movie database IMDb. ... We generally know less about Chekhov than we know about mysterious Shakespeare.[133]
Chekhov has also influenced the work of Japanese playwrights including
Chekhov's works have been adapted for the screen, including
Several of Chekhov's short stories were adapted as episodes of the 1986 Indian anthology television series Katha Sagar. Another Indian television series titled Chekhov Ki Duniya aired on DD National in the 1990s, adapting different works of Chekhov.[136]
Nuri Bilge Ceylan's Palme d'Or winner Winter Sleep was adapted from the short story "The Wife" by Anton Chekhov.[137]
Publications
See also
- Chekhov Library
- Chekhov Monument in Rostov-on-Don
- Ann Dunnigan, English-language translator
- Jean-Claude van Itallie, English-language translator
Explanatory notes
- ^ In this name that follows Eastern Slavic naming customs, the patronymic is Pavlovich and the family name is Chekhov.
- ^ In Chekhov's day, his name was written Антонъ Павловичъ Чеховъ. See, for instance, Антонъ Павловичъ Чеховъ. 1898. Мужики и Моя жизнь.
- ^ Old Style date 17 January.
- ^ Old Style date 2 July.
- ^ "Greatest short story writer who ever lived." – Raymond Carver[4]
- ^ "Actors climb up Chekhov like a mountain, roped together, sharing the glory if they ever make it to the summit." – Ian McKellen[10]
- ^ "Chekhov's art demands a theatre of mood." – Vsevolod Meyerhold[11]
- ^ "He brought something new into literature." – James Joyce[14]
- ^ Another insight into Chekhov's childhood came in a letter to his publisher and friend Alexei Suvorin: "From my childhood I have believed in progress, and I could not help believing in it since the difference between the time when I used to be thrashed and when they gave up thrashing me was tremendous."[26]
Citations
- ^ Chekhov & Garnett 2004, TO G. I. ROSSOLIMO.YALTA, October 11, 1899.
- ^ Rayfield 1997, p. 595.
- ^ a b Hingley, Ronald Francis (25 January 2022). "Anton Chekhov – Biography, Plays, Short Stories, & Facts". Encyclopedia Britannica. Retrieved 26 April 2022.
- ^ Chekhov & Bartlett 2004, p. xx.
- ^ Boyd, William (3 July 2004). "A Chekhov lexicon". the Guardian. Retrieved 31 October 2023.
Quite probably. the best short-story writer ever.
- ^ Steiner, George (13 May 2001). "Observer review: The Undiscovered Chekov by Anton Chekov". the Guardian. Retrieved 31 October 2023.
Stories ... which are among the supreme achievements in prose narrative.
- ^ Bloom 2002, p. [page needed].
- ^ Chekhov & Garnett 2004, Letter to Alexei Suvorin, 11 September 1888.
- ^ Also on Wikiquote.
- ^ Miles 1993, p. 9.
- ^ Allen 2002, p. 13.
- ^ Styan 1981, p. 84; "A richer submerged life in the text is characteristic of a more profound drama of realism, one which depends less on the externals of presentation."
- ^ Malcolm 2004, p. 87; "Chekhov is said to be the father of the modern short story".
- ^ Power & Joyce 1974, p. 57.
- ^ "Tchehov's breach with the classical tradition is the most significant event in modern literature", John Middleton Murry, in Athenaeum, 8 April 1922, cited in Bartlett's introduction to About Love.
- ^ "You are right in demanding that an artist should take an intelligent attitude to his work, but you confuse two things: solving a problem and stating a problem correctly. It is only the second that is obligatory for the artist." Letter to Suvorin, 27 October 1888. Letters of Anton Chekhov.
- ^ Rayfield 1997, pp. 3–4: Egor Mikhailovich Chekhov and Efrosinia Emelianovna
- ^ Wood 2000, p. 78
- ^ "The Anton Chekhov Foundation".
- ^ Abdulaziz, Sanaa (19 May 2022). "The Chekhov museum in Ukraine under fire from Russian missiles". The Independent.
- ^ Payne 1991, p. XVII.
- ^ Simmons 1970, p. 18.
- ^ Chekhov and Taganrog, Taganrog city website.
- ^ a b c d e f From the biographical sketch, adapted from a memoir by Chekhov's brother Mihail, which prefaces Constance Garnett's translation of Chekhov's letters, 1920.
- ^ Malcolm 2004, p. 102; Letter to brother Alexander, 2 January 1889
- ^ Chekhov & Garnett 2004, YALTA, March 27, 1894.
- incomplete short citation]
- ^ Letter to I.L. Shcheglov, 9 March 1892. Letters of Anton Chekhov.
- ^ Rayfield 1997, p. 31.
- ^ Letter to cousin Mihail, 10 May 1877. Letters of Anton Chekhov.
- ^ Malcolm 2004, p. 25.
- ^ a b Payne 1991, p. XX.
- ^ Letter to brother Mihail, 1 July 1876. Letters of Anton Chekhov.
- ^ Simmons 1970, p. 26.
- ^ Simmons 1970, p. 33.
- ^ Rayfield 1997, p. 69.
- ^ Wood 2000, p. 79.
- ^ Rayfield 1997, p. 91.
- ^ "There is in these miniatures an arresting potion of cruelty ... The wonderfully compassionate Chekhov was yet to mature." "Vodka Miniatures, Belching and Angry Cats", George Steiner's review of The Undiscovered Chekhov in The Observer, 13 May 2001. Retrieved 16 February 2007.
- ^ Willis, Louis (27 January 2013). "Chekhov's Crime Stories". Literary and Genre. Knoxville: SleuthSayers.
- ^ Malcolm 2004, p. 26.
- ^ Letter to N.A.Leykin, 6 April 1886. Letters of Anton Chekhov.
- ^ Rayfield 1997, p. 128.
- ^ Rayfield 1997, pp. 448–450: They only ever fell out once, when Chekhov objected to the anti-Semitic attacks in New Times against Dreyfus and Zola in 1898.
- ^ In many ways, the right-wing Suvorin, whom Lenin later called "The running dog of the Tzar" (Payne, XXXV), was Chekhov's opposite; "Chekhov had to function like Suvorin's kidney, extracting the businessman's poisons."Wood 2000, p. 79
- ^ The Huntsman.. Retrieved 16 February 2007.
- ^ Malcolm 2004, pp. 32–33.
- ^ Payne 1991, p. XXIV.
- ^ Simmons 1970, p. 160.
- ^ "There is a scent of the steppe and one hears the birds sing. I see my old friends the ravens flying over the steppe." Letter to sister Masha, 2 April 1887. Letters of Anton Chekhov.
- ^ Letter to Grigorovich, 12 January 1888. Quoted by Malcolm 2004, p. 137.
- ^ "'The Steppe,' as Michael Finke suggests, is 'a sort of dictionary of Chekhov's poetics,' a kind of sample case of the concealed literary weapons Chekhov would deploy in his work to come." Malcolm 2004, p. 147.
- ^ From the biographical sketch, adapted from a memoir by Chekhov's brother Mikhail, which prefaces Constance Garnett's translation of Chekhov's letters, 1920.
- ^ Letter to brother Alexander, 20 November 1887. Letters of Anton Chekhov.
- ^ Petr Mikhaĭlovich Bit︠s︡illi (1983), Chekhov's Art: A Stylistic Analysis, Ardis, p. x
- ^ Daniel S. Burt (2008), The Literature 100: A Ranking of the Most Influential Novelists, Playwrights, and Poets of All Time, Infobase Publishing
- ^ a b Valentine T. Bill (1987), Chekhov: The Silent Voice of Freedom, Philosophical Library
- ^ S. Shchukin, Memoirs (1911)
- ^ "A Dreary Story.". Retrieved 16 February 2007.
- ^ Simmons 1970, pp. 186–191.
- ^ Malcolm 2004, p. 129.
- ^ Simmons 1970, p. 223.
- ^ Rayfield 1997, p. 224.
- ^ Chekhov & Garnett 2004, (TO HIS SISTER.) TOMSK, May 20 (1890).
- ^ Wood 2000, p. 85.
- ^ Rayfield 1997, p. 230.
- ^ Chekhov & Garnett 2004, TO A. F. KONI. PETERSBURG, January 16, 1891..
- ^ Malcolm 2004, p. 125.
- ^ Simmons 1970, p. 229: Such is the general critical view of the work, but Simmons calls it a "valuable and intensely human document."
- ^ "The Murder". Retrieved 16 February 2007.
- ^ Murakami, Haruki. 1Q84. Alfred A. Knopf: New York, 2011.
- ^ Heaney, Seamus. Station Island Farrar Straus Giroux: New York, 1985.
- S2CID 165401623.
- ^ From the biographical sketch, adapted from a memoir by Chekhov's brother Mikhail, which prefaces Constance Garnett's translation of Chekhov's letters, 1920.
- ^ From the biographical sketch, adapted from a memoir by Chekhov's brother Mihail, which prefaces Constance Garnett's translation of Chekhov's letters, 1920.
- ^ Note-Book.. Retrieved 16 February 2007.
- ^ Rayfield 1997, pp. 394–398.
- ^ Benedetti, Stanislavski: An Introduction, 25.
- ^ Chekhov and the Art Theatre, in Stanislavski's words, were united in a common desire "to achieve artistic simplicity and truth on the stage."Allen 2002, p. 11
- ^ Rayfield 1997, pp. 390–391: Rayfield draws from his critical study Chekhov's "Uncle Vanya" and the "Wood Demon" (1995), which anatomised the evolution of the Wood Demon into Uncle Vanya—"one of Chekhov's most furtive achievements."
- ISBN 978-1-84331-841-5.
For Rozanov, Chekhov represents a concluding stage of classical Russian literature at the turn of the 19th and 20th centuries, caused by the fading of the thousand-year-old Christian tradition that had sustained much of this literature. On the one hand, Rozanov regards Chekhov's positivism and atheism as his shortcomings, naming them among the reasons for Chekhov's popularity in society.
- ISBN 978-0-8101-1460-9.
While Anton did not turn into the kind of militant atheist that his older brother Alexander eventually became, there is no doubt that he was a non-believer in the last decades of his life.
- ISBN 978-0-307-56828-1.
According to Leonid Grossman, 'In his revelation of those evangelical elements, the atheist Chekhov is unquestionably one of the most Christian poets of world literature.'
- ^ Letter to Suvorin, 1 April 1897. Letters of Anton Chekhov.
- ^ Olga Knipper, "Memoir", in Benedetti 1997, pp. 37, 270
- incomplete short citation]
- ^ Malcolm 2004, pp. 170–171.
- ^ "I have a horror of weddings, the congratulations and the champagne, standing around, glass in hand with an endless grin on your face." Letter to Olga Knipper, 19 April 1901.
- ^ Benedetti 1997, p. 125.
- ^ Rayfield 1997, p. 500"Olga's relations with Vladimir Nemirovich-Danchenko were more than professional."
- ^ Harvey Pitcher in Chekhov's Leading Lady, quoted in Malcolm 2004, p. 59.
- ^ "Chekhov had the temperament of a philanderer. Sexually, he preferred brothels or swift liaisons."Wood 2000, p. 78
- ^ Letter to Suvorin, 23 March 1895. Letters of Anton Chekhov.
- ^ Rayfield 1997, pp. 556–557Rayfield also tentatively suggests, drawing on obstetric clues, that Olga suffered an ectopic pregnancy rather than a miscarriage.
- ^ There was certainly tension between the couple after the miscarriage, though Simmons 1970, p. 569, and Benedetti 1997, p. 241, put this down to Chekhov's mother and sister blaming the miscarriage on Olga's late-night socialising with her actor friends.
- ^ Benedetti 1997.
- ^ Chekhov, Anton. "Lady with lapdog". Short Stories.
- ^ Rosamund, Bartlett (2 February 2010). "The House That Chekhov Built". London Evening Standard. p. 31.
- ^ Greenberg, Yael. "The Presentation of the Unconscious in Chekhov's Lady With Lapdog." Modern Language Review 86.1 (1991): 126–130. Academic Search Premier. Web. 3 November 2011.
- ^ "Overview: 'The Lady with the Dog'." Characters in 20th-Century Literature. Laurie Lanzen Harris. Detroit: Gale Research, 1990. Literature Resource Center. Web. 3 November 2011.
- ^ Letter to sister Masha, 28 June 1904. Letters of Anton Chekhov.
- ^ "Anton Chekhov | Biography, Plays, Short Stories, & Facts | Britannica". 27 October 2023.
- ^ Malcolm 2004, p. 62.
- ^ Olga Knipper, Memoir, in Benedetti 1997, p. 284
- ^ "Banality revenged itself upon him by a nasty prank, for it saw that his corpse, the corpse of a poet, was put into a railway truck 'For the Conveyance of Oysters'." Maxim Gorky in Reminiscences of Anton Chekhov.. Retrieved 16 February 2007.
- ^ Chekhov's Funeral. M. Marcus.The Antioch Review, 1995
- ^ Malcolm 2004, p. 91; Alexander Kuprin in Reminiscences of Anton Chekhov. Retrieved 16 February 2007.
- ^ "Novodevichy Cemetery". Passport Magazine. April 2008. Retrieved 12 September 2013.
- ^ Payne 1991, p. XXXVI.
- ^ Simmons 1970, p. 595.
- ^ Peter Kropotkin (1 January 1905). "The Constitutional Movement in Russia". revoltlib.com. The Nineteenth Century. Archived from the original on 3 November 2019. Retrieved 5 November 2019.
- ISBN 9781317547402.
- ^ Edmund Wilson (1940). "To The Finland Station". archive.org. Doubleday.
When Vladimir finished reading this story, he was seized with such a horror that he could not bear to stay in his room. He went out to find someone to talk to, but it was late: they had all gone to bed. 'I absolutely had the feeling,' he told his sister next day,'that I was shut up in Ward 6 myself!'
- JSTOR 3004259.
- ISBN 978-0-7735-1791-2.
- ^ Wood 2000, p. 77.
- ^ Allen 2002, p. 88.
- ^ "They won't allow a play which is seen to lament the lost estates of the gentry." Letter of Vladimir Nemirovich-Danchenko, quoted by Anatoly Smeliansky in "Chekhov at the Moscow Art Theatre", from The Cambridge Companion to Chekhov, 31–32.
- ^ "The plays lack the seamless authority of the fiction: there are great characters, wonderful scenes, tremendous passages, moments of acute melancholy and sagacity, but the parts appear greater than the whole." A Chekhov Lexicon, by William Boyd, The Guardian, 3 July 2004. Retrieved 16 February 2007.
- ^ Bartlett, "From Russia, with Love", The Guardian, 15 July 2004. Retrieved 17 February 2007.
- ^ Anna Obraztsova in "Bernard Shaw's Dialogue with Chekhov", from Miles, 43–44.
- ISBN 978-0-684-18119-6, 101.
- ^ Wood 2000, p. 82.
- ^ Wikiquote quotes about Chekhov
- ^ Karlinsky, Simon (13 June 2008). "Nabokov and Chekhov: Affinities, parallels, structures". Cycno. 10 (1 NABOKOV : Autobiography, Biography and Fiction). Retrieved 10 September 2018.
- ^ From Vladimir Nabokov's Lectures on Russian Literature, quoted by Francine Prose in Learning from Chekhov, 231.
- ^ "For the first time in literature the fluidity and randomness of life was made the form of the fiction. Before Chekhov, the event-plot drove all fictions." William Boyd, referring to the novelist William Gerhardie's analysis in Anton Chekhov: A Critical Study, 1923. "A Chekhov Lexicon" by William Boyd, The Guardian, 3 July 2004. Retrieved 16 February 2007.
- ISBN 0-15-602778-X, 172.
- ^ Michael Goldman, The Actor's Freedom: Towards a Theory of Drama, p72.
- ISBN 978-0-87830-127-0, 81, 83.
- ISBN 978-0-271-01324-4, 200.
- JSTOR 1144419.
Lee Strasberg became in my opinion a victim of the traditional idea of Chekhovian theatre ... [he left] no room for Chekhov's imagery.
- ISBN 978-0-7864-5871-4.
- ISBN 978-90-04-12011-2.
- ^ ISBN 978-0-415-50969-5.
- ^ "Chekhov Ki Duniya". nettv4u.
- ISSN 2150-9301.
General and cited sources
- Allen, David (2002). Performing Chekhov. London: Routledge. OCLC 559297281– via Internet Archive.
- OCLC 1131582937.
- OCLC 632112773– via Internet ARchive.
- OCLC 891822370– via Internet Archive.
- Benedetti, Jean, Stanislavski: An Introduction, Methuen Drama, 1989 edition, ISBN 978-0-413-50030-4
- OCLC 1285554573.
- Borny, Geoffrey, Interpreting Chekhov, ANU Press, 2006, ISBN 1-920942-68-8, free download
- Chekhov, Anton (2004). About Love and Other Stories. Translated by OCLC 252643218– via Internet Archive.
- Chekhov, Anton, The Undiscovered Chekhov: Fifty New Stories, translated by ISBN 978-0-7156-3106-5
- Chekhov, Anton Pavlovich (2004) [1920]. Letters of Anton Chekhov. Translated by Garnett, Constance. Project Gutenberg.
- Chekhov, Anton, Easter Week, translated by Michael Henry Heim, engravings by Barry Moser, Shackman Press, 2010
- Chekhov, Anton (1991). Forty Stories. Translated by ISBN 978-0-679-73375-1.
- Chekhov, Anton, Letters of Anton Chekhov to His Family and Friends with Biographical Sketch, translated by Constance Garnett, Macmillan, 1920. Full text at Gutenberg.. Retrieved 16 February 2007.
- Chekhov, Anton, Note-Book of Anton Chekhov, translated by S. S. Koteliansky and Leonard Woolf, B.W. Huebsch, 1921. Full text at Gutenberg.. Retrieved 16 February 2007.
- Chekhov, Anton, The Other Chekhov, edited by Okla Elliott and ISBN 978-0-9729679-8-3
- Chekhov, Anton, Seven Short Novels, translated by Barbara Makanowitzky, W. W. Norton & Company, 2003 edition, ISBN 978-0-393-00552-3
- Clyman, T. W. (Ed.). A Chekhov companion. Westport, Ct: Greenwood Press, (1985). ISBN 9780313234231
- Finke, Michael C., Chekhov's 'Steppe': A Metapoetic Journey, an essay in Anton Chekhov Rediscovered, ed Savely Senderovich and Munir Sendich, Michigan Russian Language Journal, 1988, OCLC 17003357
- Finke, Michael C., Seeing Chekhov: Life and Art, Cornell UP, 2005, ISBN 978-0-8014-4315-2
- Gerhardie, William, Anton Chekhov, Macdonald, (1923) 1974 edition, ISBN 978-0-356-04609-9
- Gorky, Maksim, Alexander Kuprin, and I.A. Bunin, Reminiscences of Anton Chekhov, translated by S. S. Koteliansky and Leonard Woolf, B.W.Huebsch, 1921. Read at eldritchpress.. Retrieved 16 February 2007.
- Gottlieb, Vera, and Paul Allain (eds), The Cambridge Companion to Chekhov, Cambridge University Press, 2000, ISBN 978-0-521-58917-8
- Jackson, Robert Louis, Dostoevsky in Chekhov's Garden of Eden – 'Because of Little Apples', in Dialogues with Dostoevsky, Stanford University Press, 1993, ISBN 978-0-8047-2120-2
- ISBN 1-888799-12-9. About the challenges of combining writing with the medical life.
- OCLC 224119811.
- OCLC 26363574– via Internet Archive.
- Nabokov, Vladimir, Anton Chekhov, in Lectures on Russian Literature, Harvest/HBJ Books, [1981] 2002 edition, ISBN 978-0-15-602776-2.
- Pitcher, Harvey, Chekhov's Leading Lady: Portrait of the Actress Olga Knipper, J Murray, 1979, ISBN 978-0-7195-3681-6
- Power, Arthur; Joyce, James (1974). Conversations with James Joyce. London: Millington. OCLC 817895885
- Prose, Francine, Learning from Chekhov, in Writers on Writing, ed. Robert Pack and Jay Parini, UPNE, 1991, ISBN 978-0-87451-560-2
- .
- Sekirin, Peter. "Memories of Chekhov: Accounts of the Writer from His Family, Friends and Contemporaries," MacFarland Publishers, 2011, ISBN 978-0-7864-5871-4
- Simmons, Ernest Joseph (1970) [1962]. Chekhov: A Biography. Chicago: University of Chicago Press. OCLC 682992.
- Speirs, L. Tolstoy and Chekhov. Cambridge, England: University Press, (1971), ISBN 0521079500
- Stanislavski, Constantin, My Life in Art, Methuen Drama, 1980 edition, ISBN 978-0-413-46200-8
- Styan, John Louis (1981). Modern Drama in Theory and Practice. Cambridge: Cambridge University Press. OCLC 752009093– via Internet Archive.
- ISBN 978-0-33344-141-1
- OCLC 863217943.
- Zeiger, Arthur, The Plays of Anton Chekhov, Claxton House, Inc., New York, NY, 1945.
- Tufarulo, G, M., La Luna è morta e lo specchio infranto. Miti letterari del Novecento, vol.1 – G. Laterza, Bari, 2009– ISBN 978-88-8231-491-0.
External links
- Biographical
- Petri Liukkonen. "Anton Chekhov". Books and Writers.
- Biography at The Literature Network
- "Chekhov's Legacy" by NPR, 2004
- The International competition of philological, culture and film studies works dedicated to Anton Chekhov's life and creative work (in Russian)
- Documentary
- 2010: Tschechow lieben (Tschechow and Women) – Director: Marina Rumjanzewa – Language: German
- Works
- Works by Anton Chekhov in eBook form at Standard Ebooks
- Works by Anton Pavlovich Chekhov at Project Gutenberg. All Constance Garnett's translations of the short stories and letters are available, plus the edition of the Note-book translated by S. S. Koteliansky and Leonard Woolf – see the "References" section for print publication details of all of these. Site also has translations of all the plays.
- Works by or about Anton Chekhov at Internet Archive
- Works by Anton Chekhov at LibriVox (public domain audiobooks)
- 201 Stories by Anton Chekhov, translated by Constance Garnett presented in chronological order of Russian publication with annotations.
- Антон Павлович Чехов. Указатель Texts of Chekhov's works in the original Russian, listed in chronological order, and also alphabetically by title. Retrieved June 2013. (in Russian)
- Антон Павлович Чехов Texts of Chekhov's works in the original Russian. Retrieved 16 February 2007. (in Russian)
- Works by Anton Chekhov at Open Library