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Russian dramatist and author (1860–1904)

Anton Chekhov
Chekhov seated at a desk

Chekhov in 1889
Built-in Anton Pavlovich Chekhov
(1860-01-29)29 January 1860[i]
Taganrog, Ekaterinoslav Governorate, Russian Empire
Died xv July 1904(1904-07-xv) (aged 44)[2]
Badenweiler, 1000 Duchy of Baden, German Empire
Resting identify Novodevichy Cemetery, Moscow
Occupation Physician, short story writer, playwright
Linguistic communication Russian
Nationality Russian
Alma mater Beginning Moscow Land Medical Academy
Notable awards Pushkin Prize
Spouse

Olga Knipper

​

(m. 1901)​
Relatives Alexander Chekhov (brother)
Maria Chekhova (sister)
Nikolai Chekhov (brother)
Michael Chekhov (nephew)
Lev Knipper (nephew)
Olga Chekhova (niece)
Ada Tschechowa (smashing-niece)
Marina Ried (slap-up-niece)
Vera Tschechowa (smashing-great niece)
Signature

Anton Pavlovich Chekhov (Russian: Антон Павлович Чехов[note i] , IPA: [ɐnˈton ˈpavɫəvʲɪtɕ ˈtɕɛxəf]; 29 January 1860[annotation 2] – 15 July 1904[note 3]) was a Russian playwright and short-story writer who is considered to be 1 of the greatest writers in the world. His career as a playwright produced four classics, and his best short stories are held in high esteem by writers and critics.[3] [4] 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.[five] Chekhov was a md past profession. "Medicine is my lawful married woman", he once said, "and literature is my mistress."[vi]

Chekhov renounced the theatre afterwards the reception of The Seagull in 1896, merely 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 concluding two plays, Three Sisters and The Cherry Orchard. These four works nowadays a challenge to the acting ensemble[7] too as to audiences, because in identify of conventional activity Chekhov offers a "theatre of mood" and a "submerged life in the text".[8]

Chekhov at beginning wrote stories to earn money, merely as his creative appetite grew, he made formal innovations that influenced the evolution of the modern short story.[9] He made no apologies for the difficulties this posed to readers, insisting that the function of an artist was to ask questions, not to respond them.[10]

Biography [edit]

Babyhood [edit]

Portrait of young Chekhov in country clothes

Immature Chekhov (left) with brother Nikolai in 1882

Anton Chekhov was born on the feast twenty-four hours of St. Anthony the Slap-up (17 January Old Style) 29 January 1860 in Taganrog, a port on the Body of water of Azov in southern Russia. He was the 3rd of six surviving children. His father, Pavel Yegorovich Chekhov, the son of a sometime serf and his married woman,[11] was from the village Olkhovatka (Voronezh Governorate) and ran a grocery store. A director of the parish choir, devout Orthodox Christian, and physically calumniating father, Pavel Chekhov has been seen by some historians every bit the model for his son's many portraits of hypocrisy.[12] Chekhov'southward mother, Yevgeniya (Morozova), was an excellent storyteller who entertained the children with tales of her travels with her cloth-merchant father all over Russia.[13] [xiv] [15] "Our talents we got from our male parent," Chekhov remembered, "but our soul from our mother."[16] In machismo, Chekhov criticised his brother Alexander's treatment of his married woman and children by reminding him of Pavel's tyranny: "Permit 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. Recollect the horror and disgust nosotros felt in those times when Father threw a tantrum at dinner over as well much salt in the soup and called Mother a fool."[17] [18]

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 test in Ancient Greek.[xix] He sang at the Greek Orthodox monastery in Taganrog and in his father's choirs. In a alphabetic character of 1892, he used the word "suffering" to depict 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 Vox", everyone looked at usa with emotion and envied our parents, but we at that moment felt like lilliputian convicts.[20]

In 1876, Chekhov's father was declared broke after overextending his finances building a new firm, having been cheated by a contractor named Mironov.[21] To avoid debtor'south prison he fled to Moscow, where his 2 eldest sons, Alexander and Nikolai, were attending university. The family lived in poverty in Moscow. Chekhov'due south mother was physically and emotionally broken by the experience.[22] Chekhov was left behind to sell the family's possessions and finish his education.

Chekhov 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 toll of their business firm.[23] Chekhov had to pay for his own instruction, which he managed by individual tutoring, communicable and selling goldfinches, and selling short sketches to the newspapers, among other jobs.[24] He sent every ruble he could spare to his family in Moscow, along with humorous letters to cheer them upward.[24] During this time, he read widely and analytically, including the works of Cervantes, Turgenev, Goncharov, and Schopenhauer,[25] [26] and wrote a full-length comic drama, Fatherless, which his brother Alexander dismissed as "an inexcusable though innocent fabrication."[27] Chekhov also experienced a series of honey affairs, 1 with the married woman of a teacher.[24]

In 1879, Chekhov completed his schooling and joined his family in Moscow, having gained admission to the medical school at I.M. Sechenov First Moscow State Medical University.[28]

Early writings [edit]

Chekhov then causeless responsibility for the whole family unit.[29] To support them and to pay his tuition fees, he wrote daily short, humorous sketches and vignettes of contemporary Russian life, many nether pseudonyms such as "Antosha Chekhonte" (Антоша Чехонте) and "Homo without a Spleen" (Человек без селезенки). His biggy 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.[30] Chekhov'due south tone at this stage was harsher than that familiar from his mature fiction.[31] [32]

In 1884, Chekhov qualified equally a physician, which he considered his master profession though he made niggling coin from information technology and treated the poor free of charge.[33]

In 1884 and 1885, Chekhov found himself cough blood, and in 1886 the attacks worsened, simply he would not admit his tuberculosis to his family unit or his friends.[16] He confessed to Leykin, "I am afraid to submit myself to be sounded by my colleagues."[34] He continued writing for weekly periodicals, earning enough money to move the family into progressively better accommodations.

Early on in 1886 he was invited to write for one of the most popular papers in Leningrad, Novoye Vremya (New Times), owned and edited by the millionaire magnate Alexey Suvorin, who paid a rate per line double Leykin'south and allowed Chekhov three times the space.[35] Suvorin was to go a lifelong friend, perhaps Chekhov's closest.[36] [37]

Before long, Chekhov was attracting literary as well as popular attention. The sixty-four-year-sometime Dmitry Grigorovich, a celebrated Russian writer of the day, wrote to Chekhov after reading his short story "The Huntsman" that[38] "You have existent talent, a talent that places you in the front end rank among writers in the new generation." He went on to advise Chekhov to deadening downward, write less, and concentrate on literary quality.

Chekhov replied that the letter had struck him "similar a thunderbolt" and confessed, "I have written my stories the mode reporters write up their notes about fires—mechanically, half-consciously, caring nothing about either the reader or myself."[39]" The admission may have done Chekhov a disservice, since early manuscripts reveal that he frequently wrote with extreme care, continually revising.[forty] Grigorovich'southward advice nevertheless inspired a more serious, artistic ambition in the xx-six-year-erstwhile. In 1888, with a little cord-pulling by Grigorovich, the short story drove At Dusk (5 Sumerkakh) won Chekhov the coveted Pushkin Prize "for the best literary production distinguished by high artistic worth."[41]

Turning points [edit]

Chekhov's family unit and friends in 1890 (Top row, left to right) Ivan, Alexander, Male parent; (2nd row) Mariya Korniyeeva, Lika Mizinova, Masha, Mother, Seryozha Kiselev; (bottom row) Misha, Anton

In 1887, exhausted from overwork and ill health, Chekhov took a trip to Ukraine, which reawakened him to the beauty of the steppe.[42] On his return, he began the novella-length curt story "The Steppe," which he called "something rather odd and much likewise original," and which was eventually published in Severny Vestnik (The Northern Herald).[43] In a narrative that drifts with the thought processes of the characters, Chekhov evokes a chaise journey across the steppe through the optics of a immature boy sent to alive away from home, and his companions, a priest and a merchant. "The Steppe" has been called a "lexicon 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.[44]

In autumn 1887, a theatre managing director named Korsh deputed Chekhov to write a play, the effect being Ivanov, written in a fortnight and produced that November.[45] Though Chekhov plant the experience "sickening" and painted a comic portrait of the chaotic product in a letter to his brother Alexander, the play was a hitting and was praised, to Chekhov'south bemusement, every bit a work of originality.[46] 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 3 Sisters (written in 1900), and The Cherry-red Orchard (written in 1903) served as a revolutionary courage to what is common sense to the medium of interim to this day: an effort to recreate and express the realism of how people truly human activity and speak with each other. This realistic manifestation of the homo condition may engender in audiences reflection upon what it ways to be human.

This philosophy of approaching the art of acting has stood not only steadfast, but every bit the cornerstone of acting for much of the 20th century to this day. Mikhail Chekhov considered Ivanov a primal moment in his brother's intellectual development and literary career.[16] From this period comes an observation of Chekhov's that has become known equally Chekhov's gun, a dramatic principle that requires that every element in a narrative be necessary and irreplaceable, and that everything else exist removed.[47] [48] [49]

Remove everything that has no relevance to the story. If y'all say in the first affiliate that there is a rifle hanging on the wall, in the second or third affiliate information technology absolutely must go off. If it's not going to be fired, it shouldn't be hanging there.

—Anton Chekhov[49] [50]

The expiry of Chekhov's brother Nikolai from tuberculosis in 1889 influenced A Dreary Story, finished that September, about a human who confronts the finish of a life that he realises has been without purpose.[51] [52] Mikhail Chekhov, who recorded his blood brother's low and restlessness later Nikolai'south death, was researching prisons at the time equally role of his law studies, and Anton Chekhov, in a search for purpose in his own life, himself soon became obsessed with the outcome of prison house reform.[16]

Saghalien [edit]

In 1890, Chekhov undertook an backbreaking journeying past train, horse-drawn carriage, and river steamer to the Russian Far East and the katorga, or penal colony, on Sakhalin Isle, north of Nihon, where he spent 3 months interviewing thousands of convicts and settlers for a census. The letters Chekhov wrote during the two-and-a-half-month journey to Sakhalin are considered to be among his best.[53] His remarks to his sister about Tomsk were to become notorious.[54] [55]

Tomsk is a very slow town. To guess from the drunkards whose acquaintance I take fabricated, and from the intellectual people who have come to the hotel to pay their respects to me, the inhabitants are very dull, too.[56]

Chekhov witnessed much on Sakhalin that shocked and angered him, including floggings, embezzlement of supplies, and forced prostitution of women. He wrote, "At that place were times I felt that I saw before me the extreme limits of man's degradation."[57] [58] He was particularly moved past the plight of the children living in the penal colony with their parents. For case:

On the Amur steamer going to Sakhalin, in that location was a captive who had murdered his wife and wore fetters on his legs. His daughter, a trivial girl of six, was with him. I noticed wherever the convict moved the little girl scrambled subsequently him, belongings on to his fetters. At night the kid slept with the convicts and soldiers all in a heap together.[59]

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 (The Island of Sakhalin), a work of social science, not literature.[60] [61] Chekhov found literary expression for the "Hell of Saghalien" in his long short story "The Murder,"[62] the last section of which is set on Sakhalin, where the murderer Yakov loads coal in the night while longing for home. Chekhov's writing on Saghalien, especially the traditions and habits of the Gilyak people, is the subject field of a sustained meditation and analysis in Haruki Murakami'south novel 1Q84.[63] It is too the discipline of a poem past the Nobel Prize winner Seamus Heaney, "Chekhov on Sakhalin" (collected in the volume Station Island).[64] Rebecca Gould has compared Chekhov's book on Sakhalin to Katherine Mansfield'south Urewera Notebook (1907).[65] In 2013, the Wellcome Trust-funded play 'A Russian Physician', performed by Andrew Dawson and researched by Professor Jonathan Cole, explored Chekhov's experiences on Saghalien Island.

Melikhovo [edit]

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 altitude. Sometimes from early in the morn peasant women and children were standing earlier his door waiting.[66]

Chekhov's expenditure on drugs was considerable, merely the greatest price was making journeys of several hours to visit the sick, which reduced his time for writing.[67] However, Chekhov's work as a medico enriched his writing by bringing him into intimate contact with all sections of Russian society: for case, he witnessed at get-go hand the peasants' unhealthy and cramped living conditions, which he recalled in his brusque story "Peasants". Chekhov visited the upper classes as well, recording in his notebook: "Aristocrats? The aforementioned ugly bodies and concrete uncleanliness, the same toothless erstwhile age and disgusting death, every bit with market-women."[68] In 1893/1894 he worked as a Zemstvo doctor in Zvenigorod, which has are numerous sanatoriums and residual 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 manor, he had refurbished the house, taken upwardly agronomics and horticulture, tended the orchard and the swimming, and planted many trees, which, according to Mikhail, he "looked afterwards ... 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 iii or four hundred years."[16]

The beginning nighttime of The Seagull, at the Alexandrinsky Theatre in St. Petersburg on 17 October 1896, was a fiasco, as the play was booed by the audience, stinging Chekhov into renouncing the theatre.[69] But the play and so impressed the theatre director Vladimir Nemirovich-Danchenko that he convinced his colleague Konstantin Stanislavski to direct a new production for the innovative Moscow Fine art Theatre in 1898.[70] Stanislavski's attention to psychological realism and ensemble playing coaxed the buried subtleties from the text, and restored Chekhov's interest in playwriting.[71] The Art Theatre commissioned more plays from Chekhov and the following yr staged Uncle Vanya, which Chekhov had completed in 1896.[72] In the last decades of his life he became an atheist.[73] [74] [75]

Yalta [edit]

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 dispensary, where the doctors diagnosed tuberculosis on the upper function of his lungs and ordered a change in his fashion of life.[76]

After his father'southward death in 1898, Chekhov bought a plot of state on the outskirts of Yalta and built a villa (The White Dacha), into which he moved with his mother and sis the following yr. Though he planted trees and flowers, kept dogs and tame cranes, and received guests such equally Leo Tolstoy and Maxim Gorky, Chekhov was always relieved to go out his "hot Siberia" for Moscow or travels abroad. He vowed to move to Taganrog as soon every bit a water supply was installed there.[77] [78] 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.[79]

On 25 May 1901, Chekhov married Olga Knipper quietly, attributable to his horror of weddings. She was a former protégée and sometime lover of Nemirovich-Danchenko whom he had showtime met at rehearsals for The Seagull.[80] [81] [82] Up to that bespeak, Chekhov, known as "Russia'due south well-nigh elusive literary bachelor,"[83] had preferred passing liaisons and visits to brothels over commitment.[84] He had in one case written to Suvorin:

Past all means I volition be married if you wish it. But on these conditions: everything must be equally it has been hitherto—that is, she must live in Moscow while I alive in the country, and I will come and see her ... I promise to exist an excellent husband, merely give me a wife who, like the moon, won't announced in my heaven every mean solar day.[85]

Chekhov and Olga, 1901, on their honeymoon

The letter proved prophetic of Chekhov'south marital arrangements with Olga: he lived largely at Yalta, she in Moscow, pursuing her acting career. In 1902, Olga suffered a miscarriage; and Donald Rayfield has offered show, based on the couple'southward letters, that conception may have occurred when Chekhov and Olga were apart, although Russian scholars take rejected that claim.[86] [87] The literary legacy of this long-altitude wedlock is a correspondence that preserves gems of theatre history, including shared complaints about Stanislavski'southward directing methods and Chekhov's communication to Olga about performing in his plays.[88]

In Yalta, Chekhov wrote one of his nigh famous stories,[89] "The Lady with the Dog"[90] (besides translated from the Russian as "Lady with Lapdog"),[91] which depicts what at outset seems a casual liaison between a cynical husband and an unhappy married woman who see while holidaying in Yalta. Neither expects anything lasting from the encounter. Unexpectedly though, they gradually fall securely in dear and stop up risking scandal and the security of their family unit lives. The story masterfully captures their feelings for each other, the inner transformation undergone past the disillusioned male protagonist as a result of falling securely in dearest, and their inability to resolve the matter by either letting go of their families or of each other.[92]

Death [edit]

In May 1903 Chekhov visited Moscow; the prominent lawyer Vasily Maklakov visited him almost every day. Maklakov signed Chekhov's will. Past May 1904 Chekhov was terminally ill with tuberculosis. Mikhail Chekhov recalled that "everyone who saw him secretly thought the end was non far off, but the nearer [he] was to the terminate, the less he seemed to realise it".[16] On 3 June he ready off with Olga for the High 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 female parent that he was getting meliorate. In his last alphabetic character he complained about the way German women dressed.[93]

Chekhov'southward decease has go one of "the great set up pieces of literary history",[94] retold, embroidered, and fictionalised many times since, notably in the 1987 short story "Errand" past Raymond Carver. In 1908 Olga wrote this business relationship of her husband's last moments:

Anton saturday upwards unusually straight and said loudly and clearly (although he knew almost no German): Ich sterbe ('I'one thousand 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'southward a long fourth dimension since I drank champagne.' He tuckered information technology and lay quietly on his left side, and I but had time to run to him and lean across the bed and phone call to him, but he had stopped breathing and was sleeping peacefully every bit a child ...[95]

Chekhov's body was transported[ by whom? ] to Moscow in a refrigerated railway-auto meant for oysters, a particular that offended Gorky.[96] Some of the thousands of mourners followed the funeral procession of a Full general Keller by error, to the accompaniment of a armed forces band.[97] Chekhov was cached next to his father at the Novodevichy Cemetery.[98] [99]

Legacy [edit]

A few months before he died, Chekhov told the writer Ivan Bunin that he idea people might continue reading his writings for seven years. "Why 7?" asked Bunin. "Well, seven and a one-half," Chekhov replied. "That'south non bad. I've got six years to alive."[100] Chekhov's posthumous reputation profoundly exceeded his expectations. The ovations for the play The Cherry Orchard in the year of his expiry served to demonstrate the Russian public's acclaim for the author, which placed him second in literary celebrity but to Tolstoy, who outlived him by six years. Tolstoy was an early on admirer of Chekhov'due south short stories and had a series that he deemed "get-go quality" and "2nd quality" bound into a book. In the showtime category were: Children, The Chorus Girl, A Play, Home, Misery, The Runaway, In Court, Vanka, Ladies, A Malefactor, The Boys, Darkness, Sleepy, The Helpmate, and The Darling; in the second: A Transgression, Sorrow, The Witch, Verochka, In a Strange Land, The Cook'south Hymeneals, A Tedious Business, An Upheaval, Oh! The Public!, The Mask, A Woman'southward Luck, Nerves, The Nuptials, A Defenceless Creature, and Peasant Wives. [101]

Chekhov'south work likewise found praise from several of Russian federation's most influential radical political thinkers. If anyone doubted the gloom and miserable poverty of Russia in the 1880s, the agitator theorist Peter Kropotkin responded, "read only Chekhov'south novels!"[102] Raymond Tallis farther recounts that Vladimir Lenin believed his reading of the brusque story Ward No. 6 "made him a revolutionary."[103] Upon finishing the story, Lenin is said to take remarked: "I absolutely had the feeling that I was shut upwardly in Ward half-dozen myself!"[104]

In Chekhov'southward lifetime, British and Irish critics generally did non notice his work pleasing; E. J. Dillon thought "the upshot on the reader of Chekhov's tales was repulsion at the gallery of human waste represented by his fickle, spineless, drifting people" and R. East. C. Long said "Chekhov'southward characters were repugnant, and that Chekhov revelled in stripping the last rags of nobility from the human soul".[105] Afterward his death, Chekhov was reappraised. Constance Garnett'due south translations won him an English-language readership and the admiration of writers such every bit James Joyce, Virginia Woolf, and Katherine Mansfield, whose story "The Kid Who Was Tired" is like to Chekhov'due south "Sleepy".[106] The Russian critic D. S. Mirsky, who lived in England, explained Chekhov's popularity in that land by his "unusually complete rejection of what nosotros may call the heroic values."[107] In Russia itself, Chekhov'south drama fell out of fashion after the revolution, but it was subsequently incorporated into the Soviet catechism. The grapheme of Lopakhin, for instance, was reinvented as a hero of the new guild, rising from a small background then as eventually to possess the gentry'south estates.[108] [109]

Despite Chekhov'south reputation equally a playwright, William Boyd asserts that his curt stories stand for the greater achievement.[110] Raymond Carver, who wrote the short story "Errand" about Chekhov's death, believed that Chekhov was the greatest of all brusk 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 whatever, writers have ever washed more—information technology is the crawly frequency with which he produced masterpieces, stories that shrive usa as well as delight and move u.s.a., that lay bare our emotions in ways only true art can accomplish.[111]

Style [edit]

Ane 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 equally depicted past Chekhov: "the aforementioned nice people, the same utter futility."[112]

Ernest Hemingway, some other writer influenced past Chekhov, was more grudging: "Chekhov wrote well-nigh six good stories. But he was an amateur writer."[113] And Vladimir Nabokov criticised Chekhov's "medley of dreadful prosaisms, ready-made epithets, repetitions."[114] [115] But he also declared "nonetheless it is his works which I would take on a trip to some other planet"[116] and chosen "The Lady with the Dog" "one of the greatest stories ever written" in its depiction of a problematic human relationship, and described Chekhov as writing "the way ane person relates to another the nearly important things in his life, slowly and even so without a interruption, in a slightly subdued voice."[117]

For the writer William Boyd, Chekhov'south historical achievement was to carelessness what William Gerhardie called the "upshot plot" for something more than "blurred, interrupted, mauled or otherwise tampered with by life."[118]

Virginia Woolf mused on the unique quality of a Chekhov story in The Mutual Reader (1925):

But is information technology the end, we ask? We have rather the feeling that we have overrun our signals; or information technology is every bit if a melody 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 equally readers. Where the melody is familiar and the cease emphatic—lovers united, villains discomfited, intrigues exposed—as information technology is in most Victorian fiction, we can scarcely get incorrect, only where the tune is unfamiliar and the terminate a annotation of interrogation or simply the information that they went on talking, as it is in Tchekov, we need a very daring and alarm sense of literature to make the states hear the melody, and in particular those last notes which consummate the harmony.[119]

While a Professor of Comparative Literature at Princeton University, Michael Goldman presented his view on defining the elusive quality of Chekhov's comedies stating: "Having learned that Chekhov is comic ... Chekhov is comic in a very special, paradoxical way. His plays depend, every bit one-act does, on the vitality of the actors to make pleasurable what would otherwise be painfully awkward—inappropriate speeches, missed connections, simulated pas, stumbles, childishness—only as office of a deeper desolation; the stumbles are not pratfalls but an energized, graceful dissolution of purpose."[120]

Influence on dramatic arts [edit]

In the The states, Chekhov's reputation began its rise slightly afterwards, partly through the influence of Stanislavski's system of acting, with its notion of subtext: "Chekhov often expressed his thought not in speeches," wrote Stanislavski, "but in pauses or between the lines or in replies consisting of a single word ... the characters oftentimes feel and think things not expressed in the lines they speak."[121] [122] The Grouping Theatre, in item, developed the subtextual approach to drama, influencing generations of American playwrights, screenwriters, and actors, including Clifford Odets, Elia Kazan and, in particular, Lee Strasberg. In plough, Strasberg's Actors Studio and the "Method" acting arroyo influenced many actors, including Marlon Brando and Robert De Niro, though past and then the Chekhov tradition may accept been distorted past a preoccupation with realism.[123] In 1981, the playwright Tennessee Williams adapted The Seagull as The Notebook of Trigorin. One of Anton's nephews, Michael Chekhov would likewise contribute heavily to mod theatre, particularly through his unique acting methods which developed Stanislavski's ideas further.


Alan Twigg, the chief editor and publisher of the Canadian book review magazine B.C. BookWorld wrote,

I tin argue Anton Chekhov is the 2nd-most popular writer on the planet. Only Shakespeare outranks Chekhov in terms of picture show adaptations of their piece of work, according to the film database IMDb. ... We more often than not know less about Chekhov than we know about mysterious Shakespeare.[124]

Chekhov has also influenced the piece of work of Japanese playwrights including Shimizu Kunio, Yōji Sakate, and Ai Nagai. Critics take noted similarities in how Chekhov and Shimizu utilize a mixture of light humor as well as an intense depictions of longing.[125] Sakate adapted several of Chekhov's plays and transformed them in the general style of nō.[126] Nagai also adapted Chekhov's plays, including Three Sisters, and transformed his dramatic style into Nagai's style of satirical realism while emphasising the social issues depicted on the play.[126]

Chekhov's works have been adapted for the screen, including Sidney Lumet'south Sea Dupe and Louis Malle's Vanya on 42nd Street. Laurence Olivier's final effort as a film manager was a 1970 adaption of Three Sisters in which he too played a supporting role. His work has also served as inspiration or been referenced in numerous films. In Andrei Tarkovsky'south 1975 picture show The Mirror, characters discuss his short story "Ward No. 6". Woody Allen has been influenced by Chekhov and reference to his works are present in many of his films including Love and Death (1975), Interiors (1978) and Hannah and Her Sisters (1986). Plays by Chekhov are also referenced in François Truffaut'southward 1980 drama film The Terminal Metro, which is fix in a theatre. The Cherry Orchard has a role in the comedy film Henry's Crime (2011). A portion of a stage production of Iii Sisters appears in the 2014 drama picture show Nonetheless Alice.

Several of Chekhov's brusque 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 dissimilar works of Chekhov.[127]

Nuri Bilge Ceylan's Palme d'Or winner Wintertime Slumber was adapted from the short story "The Wife" by Anton Chekhov.[128]

Publications [edit]

See also [edit]

  • Chekhov Library
  • Chekhov Monument in Rostov-on-Don
  • Maria Chekhova
  • Ann Dunnigan, English-linguistic communication translator
  • Jean-Claude van Itallie, English-language translator

Explanatory notes [edit]

  1. ^ In Chekhov's twenty-four hour period, his name was written Антонъ Павловичъ Чеховъ. See, for example, Антонъ Павловичъ Чеховъ. 1898. Мужики и Моя жизнь.
  2. ^ Old Manner appointment 17 January.
  3. ^ Old Style date two July.

Citations [edit]

  1. ^ Letter to G. I. Rossolimo, 11 Oct 1899. Letters of Anton Chekhov
  2. ^ Rayfield 1997, p. 595.
  3. ^ "Greatest short story writer who ever lived." Raymond Carver (in Rosamund Bartlett's introduction to About Love and Other Stories, Xx); "Quite probably. the best short-story writer ever." A Chekhov Lexicon, by William Boyd, The Guardian, 3 July 2004. Retrieved 16 Feb 2007.
  4. ^ "Stories ... which are among the supreme achievements in prose narrative." Vodka miniatures, belching and angry cats, George Steiner's review of The Undiscovered Chekhov, in The Observer, xiii May 2001. Retrieved 16 Feb 2007.
  5. ^ Harold Bloom, Genius: A Study of One Hundred Exemplary Authors.
  6. ^ Letter to Alexei Suvorin, 11 September 1888. Messages of Anton Chekhov. On Wikiquote.
  7. ^ "Actors climb up Chekhov similar a mountain, roped together, sharing the celebrity if they ever make it to the top". Actor Ian McKellen, quoted in Miles, ix.
  8. ^ "Chekhov's art demands a theatre of mood." Vsevolod Meyerhold, quoted in Allen, 13; "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." Styan, 84.
  9. ^ "Chekhov is said to be the begetter of the modern brusque story". Malcolm 2004, p. 87; "He brought something new into literature." James Joyce, in Arthur Power, Conversations with James Joyce, Usborne Publishing Ltd, 1974, ISBN 978-0-86000-006-eight, 57; "Tchehov'southward breach with the classical tradition is the most meaning event in modern literature", John Middleton Murry, in Athenaeum, 8 April 1922, cited in Bartlett'due south introduction to About Love.
  10. ^ "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 2d that is obligatory for the artist." Letter to Suvorin, 27 Oct 1888. Letters of Anton Chekhov.
  11. ^ Rayfield 1997, pp. 3–4: Egor Mikhailovich Chekhov and Efrosinia Emelianovna
  12. ^ Wood 2000, p. 78
  13. ^ Payne 1991, p. XVII.
  14. ^ Simmons 1970, p. 18.
  15. ^ Chekhov and Taganrog, Taganrog city website.
  16. ^ a b c d e f From the biographical sketch, adapted from a memoir by Chekhov'due south brother Mihail, which prefaces Constance Garnett's translation of Chekhov's messages, 1920.
  17. ^ Letter to blood brother Alexander, 2 January 1889, in Malcolm 2004, p. 102.
  18. ^ Another insight into Chekhov's childhood came in a letter of the alphabet to his publisher and friend Alexei Suvorin: "From my childhood I have believed in progress, and I could not assist assertive in it since the difference between the time when I used to be thrashed and when they gave up thrashing me was tremendous." Letter to Suvorin, 27 March 1894. Letters of Anton Chekhov.
  19. ^ Bartlett, 4–five.
  20. ^ Letter to I.L. Shcheglov, 9 March 1892. Letters of Anton Chekhov.
  21. ^ Rayfield 1997, p. 31.
  22. ^ Letter of the alphabet to cousin Mihail, ten May 1877. Letters of Anton Chekhov.
  23. ^ Malcolm 2004, p. 25.
  24. ^ a b c Payne 1991, p. XX.
  25. ^ Letter to brother Mihail, ane July 1876. Messages of Anton Chekhov.
  26. ^ Simmons 1970, p. 26.
  27. ^ Simmons 1970, p. 33.
  28. ^ Rayfield 1997, p. 69.
  29. ^ Forest 2000, p. 79.
  30. ^ Rayfield 1997, p. 91.
  31. ^ "There is in these miniatures an arresting potion of cruelty ... The wonderfully empathetic Chekhov was yet to mature." "Vodka Miniatures, Belching and Angry Cats", George Steiner'due south review of The Undiscovered Chekhov in The Observer, thirteen May 2001. Retrieved 16 Feb 2007.
  32. ^ Willis, Louis (27 Jan 2013). "Chekhov's Criminal offense Stories". Literary and Genre. Knoxville: SleuthSayers.
  33. ^ Malcolm 2004, p. 26.
  34. ^ Letter to N.A.Leykin, 6 April 1886. Letters of Anton Chekhov.
  35. ^ Rayfield 1997, p. 128.
  36. ^ Rayfield 1997, pp. 448–450: They only always brutal out once, when Chekhov objected to the anti-Semitic attacks in New Times against Dreyfus and Zola in 1898.
  37. ^ In many ways, the right-wing Suvorin, whom Lenin afterwards called "The running domestic dog of the Tzar" (Payne, XXXV), was Chekhov'southward reverse; "Chekhov had to role like Suvorin'southward kidney, extracting the man of affairs's poisons."Wood 2000, p. 79
  38. ^ The Huntsman.. Retrieved xvi February 2007.
  39. ^ Malcolm 2004, pp. 32–33.
  40. ^ Payne 1991, p. XXIV.
  41. ^ Simmons 1970, p. 160.
  42. ^ "There is a olfactory property of the steppe and one hears the birds sing. I meet my one-time friends the ravens flight over the steppe." Letter of the alphabet to sister Masha, ii April 1887. Letters of Anton Chekhov.
  43. ^ Letter to Grigorovich, 12 January 1888. Quoted by Malcolm 2004, p. 137.
  44. ^ "'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.
  45. ^ From the biographical sketch, adjusted from a memoir by Chekhov's brother Mikhail, which prefaces Constance Garnett's translation of Chekhov's letters, 1920.
  46. ^ Letter to brother Alexander, 20 November 1887. Messages of Anton Chekhov.
  47. ^ Petr Mikhaĭlovich Bit︠s︡illi (1983), Chekhov's Art: A Stylistic Analysis, Ardis, p. ten
  48. ^ Daniel S. Burt (2008), The Literature 100: A Ranking of the Virtually Influential Novelists, Playwrights, and Poets of All Time, Infobase Publishing
  49. ^ a b Valentine T. Bill (1987), Chekhov: The Silent Voice of Freedom, Philosophical Library
  50. ^ S. Shchukin, Memoirs (1911)
  51. ^ "A Dreary Story.". Retrieved 16 February 2007.
  52. ^ Simmons 1970, pp. 186–191.
  53. ^ Malcolm 2004, p. 129.
  54. ^ Simmons 1970, p. 223.
  55. ^ Rayfield 1997, p. 224.
  56. ^ Letter to sis, Masha, twenty May 1890. Letters of Anton Chekhov.
  57. ^ Woods 2000, p. 85.
  58. ^ Rayfield 1997, p. 230.
  59. ^ Letter to A.F.Koni, 16 January 1891. Letters of Anton Chekhov.
  60. ^ Malcolm 2004, p. 125.
  61. ^ Simmons 1970, p. 229: Such is the general critical view of the piece of work, but Simmons calls it a "valuable and intensely human document."
  62. ^ "The Murder". Retrieved 16 Feb 2007.
  63. ^ Murakami, Haruki. 1Q84. Alfred A. Knopf: New York, 2011.
  64. ^ Heaney, Seamus. Station Isle Farrar Straus Giroux: New York, 1985.
  65. ^ Gould, Rebecca Ruth (2018). "The aesthetic terrain of settler colonialism: Katherine Mansfield and Anton Chekhov's natives". Periodical of Postcolonial Writing. 55: 48–65. doi:10.1080/17449855.2018.1511242. S2CID 165401623.
  66. ^ From the biographical sketch, adapted from a memoir past Chekhov's blood brother Mikhail, which prefaces Constance Garnett's translation of Chekhov'southward messages, 1920.
  67. ^ From the biographical sketch, adapted from a memoir by Chekhov'due south brother Mihail, which prefaces Constance Garnett'due south translation of Chekhov'due south letters, 1920.
  68. ^ Note-Book.. Retrieved xvi February 2007.
  69. ^ Rayfield 1997, pp. 394–398.
  70. ^ Benedetti, Stanislavski: An Introduction, 25.
  71. ^ Chekhov and the Art Theatre, in Stanislavski's words, were united in a mutual want "to achieve artistic simplicity and truth on the phase." Allen, xi.
  72. ^ Rayfield 1997, pp. 390–391: Rayfield draws from his disquisitional report Chekhov's "Uncle Vanya" and the "Wood Demon" (1995), which anatomised the evolution of the Wood Demon into Uncle Vanya—"i of Chekhov's almost furtive achievements."
  73. ^ Tabachnikova, Olga (2010). Anton Chekhov Through the Eyes of Russian Thinkers: Vasilii Rozanov, Dmitrii Merezhkovskii and Lev Shestov. Anthem Press. p. 26. ISBN978-1-84331-841-5. For Rozanov, Chekhov represents a concluding stage of classical Russian literature at the plow of the 19th and 20th centuries, caused by the fading of the yard-year-old Christian tradition that had sustained much of this literature. On the one hand, Rozanov regards Chekhov'southward positivism and atheism as his shortcomings, naming them amongst the reasons for Chekhov'southward popularity in society.
  74. ^ Chekhov, Anton Pavlovich (1997). Karlinsky, Simon; Heim, Michael Henry (eds.). Anton Chekhov'due south Life and Idea: Selected Messages and Commentary. Northwestern University Press. p. 13. ISBN978-0-8101-1460-9. While Anton did not turn into the kind of militant atheist that his older brother Alexander eventually became, there is no doubtfulness that he was a non-believer in the last decades of his life.
  75. ^ Richard Pevear (2009). Selected Stories of Anton Chekhov. Random Business firm Digital, Inc. pp. xxii. ISBN978-0-307-56828-1. Co-ordinate to Leonid Grossman, 'In his revelation of those evangelical elements, the atheist Chekhov is unquestionably one of the near Christian poets of world literature.'
  76. ^ Letter to Suvorin, 1 April 1897. Letters of Anton Chekhov.
  77. ^ Olga Knipper, "Memoir", in Benedetti, Dear Writer, Dear Extra, 37, 270.
  78. ^ Bartlett, 2.
  79. ^ Malcolm 2004, pp. 170–171.
  80. ^ "I take a horror of weddings, the congratulations and the champagne, standing around, drinking glass in paw with an endless grin on your face." Letter to Olga Knipper, 19 Apr 1901.
  81. ^ Benedetti, Dear Writer, Dear Actress, 125.
  82. ^ Rayfield 1997, p. 500"Olga's relations with Vladimir Nemirovich-Danchenko were more professional."
  83. ^ Harvey Pitcher in Chekhov'southward Leading Lady, quoted in Malcolm 2004, p. 59.
  84. ^ "Chekhov had the temperament of a philanderer. Sexually, he preferred brothels or swift liaisons."Forest 2000, p. 78
  85. ^ Letter to Suvorin, 23 March 1895. Letters of Anton Chekhov.
  86. ^ Rayfield 1997, pp. 556–557Rayfield likewise tentatively suggests, drawing on obstetric clues, that Olga suffered an ectopic pregnancy rather than a miscarriage.
  87. ^ There was certainly tension between the couple later on the miscarriage, though Simmons 1970, p. 569, and Benedetti, Dear Writer, Dear Actress, 241, put this downwards to Chekhov's female parent and sis blaming the miscarriage on Olga'due south late-night socialising with her actor friends.
  88. ^ Benedetti, Dear Writer, Beloved Actress: The Honey Messages of Olga Knipper and Anton Chekhov.
  89. ^ Chekhov, Anton. "Lady with lapdog". Brusk Stories.
  90. ^ Rosamund, Bartlett (2 February 2010). "The Firm That Chekhov Built". London Evening Standard. p. 31.
  91. ^ Greenberg, Yael. "The Presentation of the Unconscious in Chekhov'south Lady With Lapdog." Modern Language Review 86.ane (1991): 126–130. Academic Search Premier. Spider web. iii November 2011.
  92. ^ "Overview: 'The Lady with the Dog'." Characters in 20th-Century Literature. Laurie Lanzen Harris. Detroit: Gale Research, 1990. Literature Resource Center. Spider web. 3 Nov 2011.
  93. ^ Letter of the alphabet to sister Masha, 28 June 1904. Letters of Anton Chekhov.
  94. ^ Malcolm 2004, p. 62.
  95. ^ Olga Knipper, Memoir, in Benedetti, Dear Writer, Beloved Actress, 284.
  96. ^ "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 sixteen Feb 2007.
  97. ^ Chekhov'southward Funeral. 1000. Marcus.The Antioch Review, 1995
  98. ^ Malcolm 2004, p. 91; Alexander Kuprin in Reminiscences of Anton Chekhov. Retrieved 16 February 2007.
  99. ^ "Novodevichy Cemetery". Passport Magazine. April 2008. Retrieved 12 September 2013.
  100. ^ Payne 1991, p. XXXVI.
  101. ^ Simmons 1970, p. 595.
  102. ^ Peter Kropotkin (1 Jan 1905). "The Ramble Motion in Russia". revoltlib.com. The Nineteenth Century.
  103. ^ Raymond Tallis (3 September 2014). In Defence of Wonder and Other Philosophical Reflections. Routledge. ISBN9781317547402.
  104. ^ 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 observe someone to talk to, just it was late: they had all gone to bed. 'I absolutely had the feeling,' he told his sis next day,'that I was close upwards in Ward half-dozen myself!'
  105. ^ Meister, Charles Westward. (1953). "Chekhov's Reception in England and America". American Slavic and East European Review. 12 (1): 109–121. doi:10.2307/3004259. JSTOR 3004259.
  106. ^ William H. New (1999). Reading Mansfield and Metaphors of Reform. McGill-Queen'due south Press. pp. xv–17. ISBN978-0-7735-1791-2.
  107. ^ Forest 2000, p. 77.
  108. ^ Allen, 88.
  109. ^ "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.
  110. ^ "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 announced greater than the whole." A Chekhov Lexicon, by William Boyd, The Guardian, 3 July 2004. Retrieved sixteen February 2007.
  111. ^ Bartlett, "From Russia, with Love", The Guardian, fifteen July 2004. Retrieved 17 Feb 2007.
  112. ^ Anna Obraztsova in "Bernard Shaw's Dialogue with Chekhov", from Miles, 43–44.
  113. ^ Letter from Ernest Hemingway to Archibald MacLeish, 1925 (from Selected Messages, p. 179), in Ernest Hemingway on Writing, Ed Larry Westward. Phillips, Touchstone, (1984) 1999, ISBN 978-0-684-18119-vi, 101.
  114. ^ Wood 2000, p. 82.
  115. ^ Wikiquote quotes well-nigh Chekhov
  116. ^ Karlinsky, Simon (13 June 2008). "Nabokov and Chekhov: Affinities, parallels, structures". Cycno. 10 (northward°one NABOKOV : Autobiography, Biography and Fiction). Retrieved ten September 2018.
  117. ^ From Vladimir Nabokov's Lectures on Russian Literature, quoted by Francine Prose in Learning from Chekhov, 231.
  118. ^ "For the first time in literature the fluidity and randomness of life was made the form of the fiction. Before Chekhov, the result-plot drove all fictions." William Boyd, referring to the novelist William Gerhardie'south analysis in Anton Chekhov: A Critical Report, 1923. "A Chekhov Lexicon" past William Boyd, The Guardian, 3 July 2004. Retrieved 16 February 2007.
  119. ^ Woolf, Virginia, The Common Reader: First Series, Annotated Edition, Harvest/HBJ Volume, 2002, ISBN 0-xv-602778-Ten, 172.
  120. ^ Michael Goldman, The Actor'southward Freedom: Towards a Theory of Drama, p72.
  121. ^ Reynolds, Elizabeth (ed), Stanislavski'southward Legacy, Theatre Arts Books, 1987, ISBN 978-0-87830-127-0, 81, 83.
  122. ^ "It was Chekhov who showtime deliberately wrote dialogue in which the mainstream of emotional activeness ran underneath the surface. It was he who articulated the notion that man beings hardly ever speak in explicit terms amongst each other near their deepest emotions, that the great, tragic, climactic moments are ofttimes happening below outwardly lilliputian conversation." Martin Esslin, from Text and Subtext in Shavian Drama, in 1922: Shaw and the last Hundred Years, ed. Bernard. F. Dukore, Penn State Printing, 1994, ISBN 978-0-271-01324-iv, 200.
  123. ^ "Lee Strasberg became in my opinion a victim of the traditional idea of Chekhovian theatre ... [he left] no room for Chekhov's imagery." Georgii Tostonogov on Strasberg's production of 3 Sisters in The Drama Review (winter 1968), quoted by Styan, 121.
  124. ^ Sekirin, Peter (2011). Memories of Chekhov: Accounts of the Writer from His Family, Friends and Contemporaries. Foreword by Alan Twigg. Jefferson, NC: MacFarland Publishers. p. 1. ISBN978-0-7864-5871-4.
  125. ^ Rimer, J. (2001). Japanese Theatre and the International Stage. Leiden, The netherlands: Koninklijke Brill NV. pp. 299–311. ISBN978-xc-04-12011-2.
  126. ^ a b Clayton, J. Douglas (2013). Adapting Chekhov: The Text and Its Mutations. Routledge. pp. 269–270. ISBN978-0-415-50969-5.
  127. ^ "Chekhov Ki Duniya". nettv4u.
  128. ^ Diken, Bülent (1 September 2017). "Money, Religion, and Symbolic Exchange in Wintertime Sleep". Faith and Society. 8 (1): 94–108. doi:x.3167/arrs.2017.080106. ISSN 2150-9301.

General sources [edit]

  • Allen, David, Performing Chekhov, Routledge (UK), 2001, ISBN 978-0-415-18934-7
  • Bartlett, Rosamund, and Anthony Phillips (translators), Chekhov: A Life in Letters, Penguin Books, 2004, ISBN 978-0-14-044922-8
  • Bartlett, Rosamund, Chekhov: Scenes from a Life, Gratis Printing, 2004, ISBN 978-0-7432-3074-2
  • Benedetti, Jean (editor and translator), Dear Writer, Dear Actress: The Dearest Letters of Olga Knipper and Anton Chekhov, Methuen Publishing Ltd, 1998 edition, ISBN 978-0-413-72390-1
  • Benedetti, Jean, Stanislavski: An Introduction, Methuen Drama, 1989 edition, ISBN 978-0-413-50030-4
  • Borny, Geoffrey, Interpreting Chekhov, ANU Press, 2006, ISBN 1-920942-68-viii, free download
  • Chekhov, Anton, Nigh Love and Other Stories, translated by Rosamund Bartlett, Oxford University Press, 2004, ISBN 978-0-19-280260-6
  • Chekhov, Anton, The Undiscovered Chekhov: Fifty New Stories, translated by Peter Constantine, Duck Editions, 2001, ISBN 978-0-7156-3106-5
  • Chekhov, Anton, Easter Week, translated past Michael Henry Heim, engravings by Barry Moser, Shackman Press, 2010
  • Chekhov, Anton (1991). Forty Stories. Translated by Payne, Robert. New York City: Vintage Classics. ISBN978-0-679-73375-i.
  • 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.Due west. Huebsch, 1921. Total text at Gutenberg.. Retrieved 16 February 2007.
  • Chekhov, Anton, The Other Chekhov, edited past Okla Elliott and Kyle Pocket-size, with story introductions past Pinckney Benedict, Fred Chappell, Christopher Coake, Paul Crenshaw, Dorothy Gambrell, Steven Gillis, Michelle Herman, Jeff Parker, Benjamin Percy, and David R. Slavitt. New American Press, 2008 edition, ISBN 978-0-9729679-8-iii
  • Chekhov, Anton, Seven Brusk Novels, translated past Barbara Makanowitzky, W. Due west. Norton & Company, 2003 edition, ISBN 978-0-393-00552-3
  • Clyman, T. W. (Ed.). A Chekhov companion. Westport, Ct: Greenwood Printing, (1985). ISBN 9780313234231
  • Finke, Michael C., Chekhov'south 'Steppe': A Metapoetic Journeying, 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 Feb 2007.
  • Gottlieb, Vera, and Paul Allain (eds), The Cambridge Companion to Chekhov, Cambridge Academy Press, 2000, ISBN 978-0-521-58917-8
  • Jackson, Robert Louis, Dostoevsky in Chekhov'south Garden of Eden – 'Because of Little Apples', in Dialogues with Dostoevsky, Stanford University Press, 1993, ISBN 978-0-8047-2120-two
  • Klawans, Harold 50., Chekhov'due south Prevarication, 1997, ISBN 1-888799-12-nine. About the challenges of combining writing with the medical life.
  • Malcolm, Janet (2004) [2001]. Reading Chekhov, a Critical Journey. London: Granta Publications. ISBN9781862076358. OCLC 224119811.
  • Miles, Patrick (ed), Chekhov on the British Stage, Cambridge University Press, 1993, ISBN 978-0-521-38467-4
  • Nabokov, Vladimir, Anton Chekhov, in Lectures on Russian Literature, Harvest/HBJ Books, [1981] 2002 edition, ISBN 978-0-xv-602776-2.
  • Pitcher, Harvey, Chekhov's Leading Lady: Portrait of the Extra Olga Knipper, J Murray, 1979, ISBN 978-0-7195-3681-6
  • Prose, Francine, Learning from Chekhov, in Writers on Writing, ed. Robert Pack and Jay Parini, UPNE, 1991, ISBN 978-0-87451-560-2
  • Rayfield, Donald (1997). Anton Chekhov: A Life . London: HarperCollins. ISBN9780805057478. OCLC 654644946, 229213309.
  • 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. ISBN9780226758053. OCLC 682992.
  • Speirs, 50. 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-eight
  • Styan, John Louis, Modern Drama in Theory and Practice, Cambridge University Press, 1981, ISBN 978-0-521-29628-i
  • Forest, James (2000) [1999]. "What Chekhov Meant by Life". The Broken Estate: Essays in Literature and Belief. New York, NY: Modernistic Library. ISBN9780804151900. OCLC 863217943.
  • Zeiger, Arthur, The Plays of Anton Chekhov, Claxton House, Inc., New York, NY, 1945.
  • Tufarulo, G, Grand., La Luna è morta e lo specchio infranto. Miti letterari del Novecento, vol.1 – Chiliad. Laterza, Bari, 2009– ISBN 978-88-8231-491-0.

External links [edit]

Spoken Wikipedia icon

This sound file was created from a revision of this commodity dated 26 July 2012 (2012-07-26), and does non reflect subsequent edits.

Biographical
  • Petri Liukkonen. "Anton Chekhov". Books and Writers
  • Biography at The Literature Network
  • "Chekhov'south Legacy" past Cornel Due west at NPR, 2004
  • The International contest of philological, culture and motion-picture show studies works dedicated to Anton Chekhov'south life and creative piece of work (in Russian)
Documentary
  • 2010: Tschechow lieben (Tschechow and Women) – Manager: Marina Rumjanzewa – Language: German language
Works
  • Works past Anton Chekhov in eBook course at Standard Ebooks
  • Works by Anton Pavlovich Chekhov at Project Gutenberg. All Constance Garnett's translations of the short stories and messages are bachelor, plus the edition of the Note-volume translated by S. S. Koteliansky and Leonard Woolf – run into the "References" section for print publication details of all of these. Site also has translations of all the plays.
  • Works by or most 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 guild 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'southward works in the original Russian. Retrieved sixteen February 2007. (in Russian)
  • Works by Anton Chekhov at Open Library

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Source: https://en.wikipedia.org/wiki/Anton_Chekhov

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