Chekhov was not destined to write a novel, but the “new drama” became a genre that synthesized all the motifs of his novels and short stories. It was in it that Chekhov’s concept of life, its special feeling and understanding, was most fully realized.
At first glance, Chekhov's dramaturgy represents some kind of historical paradox.
And in fact, at the turn of the century, during the period of a new social upsurge, when a premonition of a “healthy and strong storm” was brewing in society, Chekhov created plays in which there were no bright heroic characters, strong human passions, and people lost interest in mutual conflicts , to a consistent and uncompromising struggle.
Why is this so? I think because, if Gorky writes at this time about active people who, in their opinion, know how and what needs to be done, then Chekhov writes about confused people who feel that the old way of life has been destroyed, and that something new is coming. replaced by something more terrible, like everything unknown.
Yearning, fermentation, restlessness become a fact of people’s daily existence. It is on this historical soil that the “new Chekhovian drama” grows with its own poetic features that violate the canons of classical Russian and Western European drama.
First of all, Chekhov destroys the “through action,” the key event that organizes the plot unity of the classical drama.
However, the drama does not fall apart, but is assembled on the basis of a different, internal unity. The destinies of the heroes, with all their differences, with all their plot independence, “rhyme”, echo each other and merge into a common “orchestral sound”.
With the disappearance of cross-cutting action in Chekhov's plays, the classic single-hero character, the concentration of the dramatic plot around the main thing, is also eliminated.
The themes of Chekhov's plays echo the multifaceted themes of the novel by F.M. Dostoevsky "Crime and Punishment". He wrote about the dominance in life of stupidity, outright selfishness, about “the humiliated and insulted,” about human relationships, about love, about the formation of personality in society, about moral experiences.
Starting with Gogol, “laughter through tears” was established in the literature of the 19th century, sympathetic laughter, quickly giving way to sadness. Chekhov's laughter in his plays is exactly like this.
Striving for truth in life, for naturalness, he created plays that were not purely dramatic or comedic, but of a very complex form. In them, the dramatic is realized in an organic mixture with the comic, and the comic is manifested in an organic interweaving with the dramatic. A convincing example of this is the play “The Cherry Orchard.” “What I came out with was not a drama, but a comedy, sometimes even a farce,” Chekhov himself wrote.
Indeed, we must admit that the basis of the play is not a dramatic, but a comedic beginning. Firstly, positive images, such as Trofimov and Anya, are shown not at all dramatically; in their inner essence they are optimistic. Secondly, the owner of the cherry orchard, Gaev, is also depicted mainly comically. The comic basis of the play is clearly visible, thirdly, in the comic-sotirical depiction of almost all the minor characters: Epikhodov, Charlotte, Yasha, Dunyasha. “The Cherry Orchard” includes obvious Vaudeville motifs, expressed in jokes, tricks, jumping, and dressing up of Charlotte.
But contemporaries perceived Chekhov's new work as a drama.
can not. Something else is important here: the hidden spiritual subtext that the characters put into their words. Therefore, the call of the three sisters “To Moscow! To Moscow!" did not at all mean Moscow with its specific address. These are futile but persistent attempts by the heroines to break into a different life with different relationships between people. The same in The Cherry Orchard.
In the second act of the play, Epikhodov passes in the back of the stage - the living embodiment of clumsiness and misfortune. The following dialogue appears:
Lyubov Andreevna (thoughtfully). Epikhodov is coming...
Anya (thoughtfully). Epikhodov is coming...
Gaev. The sun has set, gentlemen.
Trofimov. Yes.
They talk formally about Epikhodov and the sunset, but essentially about something else. The souls of the heroes, through fragments of words, sing about the unsettledness and absurdity of their entire unfulfilled, doomed life. With external
the diversity and awkwardness of the dialogue is a spiritual inner rapprochement, to which some cosmic sound responds in the drama: “Everyone is sitting, thinking. Silence. You can only hear Firs quietly muttering. Suddenly a distant sound is heard, as if from the sky, the sound of a broken string, dying sad.”
Ostrovsky, to depict the drama of his characters, does not take the smooth flow of ordinary life, but, as it were, breaks an event out of it.
For example, the story of Katerina’s death is an event that shocked the residents of Kalinov, revealing the tragic doom of her situation.
In Chekhov, drama lies not only in events, but also in the ordinary everyday monotony of everyday life. The play “Uncle Vanya” depicts the life of Serebryakov’s village estate in all its everyday life: people drink tea, walk, talk about current affairs, worries, dreams and disappointments, play the guitar... Events - Voinitkov’s fight with Serebryakov, the departure of the Serebryakovs - do not change anything in the lives of Uncle Vanya and Sonya and, therefore, are not decisive for the content of the drama, although a shot was fired on stage. The drama of the characters’ situation is not in these random episodes, but in the monotony and hopeless way of life for them, in the useless waste of their strength and abilities.
Chekhov's dramas are permeated by an atmosphere of general ill-being.
There are no happy people in them. Their heroes, as a rule, are unlucky in either big or small things: they all turn out to be losers to one degree or another. In "The Seagull", for example, there are five stories of unsuccessful love, in "The Cherry Orchard" Epikhodov with his misfortunes is the personification of the general awkwardness of life from which all the heroes suffer.
With rare exceptions, these are people of the most common professions: teachers, officials, doctors, etc. The fact that these people are not distinguished by anything other than the fact that their lives are described by Chekhov allows us to believe that the life that Chekhov’s heroes lead is Most of his contemporaries live.
The connection between the story “Student” and Tolstoy’s novel “War and Peace”
The later stories are dominated by the problem of the meaning of life, its fullness, its restraint. Now we are considering various forms of “deviant” lifestyle, various manifestations of everyday life. The young Chekhov openly laughed at a man with “timid blood,” but now a different tone, a different approach prevails, dictated by the desire to explain losses, to find a connection between causes and effects, to establish the measure of misfortune and the measure of guilt. Chekhov's late stories are both ironic and lyrical, concealing a smile, sadness, and bitterness.
The “little novel,” of course, is not a smaller version of the big novel. The point is that a story, close to a story, realizes its own resources - visual and expressive - with particular persistence and energy. The story reveals its genre specificity in depth. It is not difficult to notice: thanks to the conciseness of the biography, the scheme of the biography, its “blueprint”, emerges in relief; sudden or gradual changes in the appearance, in the fate of the hero, in his condition are sharply indicated.
The ability to create a stepwise, stage-like nature of a biographical plot - with a single glance, will cover a person’s life as a whole and as a process - and will be the privilege of a small genre. Chekhov, in his mature work, gave undeniable evidence of this.
The confusion and absurdity in “Anniversary” reaches its highest point at the moment when the enraged Khirin attacks, without understanding, Shipuchin’s wife (instead of Merchutkina), she squeals, the mistake becomes clear, everyone groans - and the employees enter: the anniversary, carefully prepared by them, begins. The exhausted hero of the day stops saying anything, comes to his senses, interrupts the speech of the deputies, mutters incoherent words, and the action is interrupted: the play is over.
A failed anniversary, actual marking time with the fussy movement of the main people and the flickering of random people (and behind the scenes, as it turned out, there is real action - forgery, embezzlement, etc.) - this is an image of the same life that we know from Chekhov’s stories of 1880 's, but his humor is now more harsh. Because behind the back of the author of “Jubilee” was a load of fresh memories of the Sakhalin “hell” (the trip to Sakhalin took place in 1890).
Irony is characteristic of Chekhov's mature prose, and Chekhov especially values secret, hidden irony - he values what he cannot do without when depicting life that seems to be ordinary, normal, but essentially imaginary, fictitious. In the story, Chekhov carries out an in-depth psychological analysis, revealing the contradiction between the habitual and the desired, between the desired and the feasible, revealing the phenomena of internal lack of freedom. The moods and states that fill the plot of the story from the inside are subtly conveyed. The heroes of such works are overtaken not only by bitter thoughts, he comes not only to sad conclusions, but other generalized thoughts and conclusions of different quality are revealed to him.
After the Jubilee, Chekhov no longer wrote vaudevilles or other funny works. Three “fragmentary” stories of 1892 (there was a five-year break in humor - from 1887) - “excerpt”, “From the notes of an old teacher”, “Fish love” - did not return Chekhov’s prose to its former humorous tone. But there is hardly a work by Chekhov from 1890-1900, including a dramatic one, in which the author’s smile, a funny episode, or a pun would not sparkle.
Behind Chekhov's special form lies a special concept of life and man. “Let everything on stage be as complicated and at the same time as simple as in life,” said Chekhov. “People have lunch, just have lunch, and at this time their happiness is formed and their lives are broken.”
Chekhov the playwright completely abandons external intrigue, the struggle of a group of characters around something. Each episode is not a stepping stone in the unfolding of intrigue; The episodes are filled with ordinary, seemingly incoherent conversations, trifles of everyday life, insignificant details, but at the same time they are colored by a single mood, which then turns into another. The play unfolds not from intrigue to intrigue, but rather from mood to mood, and here an analogy with a plotless piece of music is appropriate.
The event that is most talked about - the sale of an estate at auction - does not take place on stage. Chekhov consistently uses this technique - to take the main “incident” off stage, leaving only reflections of it, echoes in the speeches of the characters. Invisible (by the viewer), off-stage events and characters are important in their own way in the play. But their absence on stage emphasizes that for the author they are only a background, an occasion, an accompanying circumstance of what is main. Despite the apparent absence of traditional external action, Chekhov, as always, has a rich, continuous and intense internal action.
In Ostrovsky's plays, the conflict stems primarily from differences in the class status of the heroes: rich and poor, tyrants and their victims, those in power and those dependent. In this sense, the hero of Ostrovsky's comedies and dramas is a “class” person. Chekhov's heroes cause misfortune to others without wanting it, they do not have a “badly directed will.” For example, Lopakhin does not at all harbor hostile feelings towards Ranevskaya, and he does not wish for her ruin, but, on the contrary, for the cherry orchard to become "happy, rich, luxurious...".
The heroes of “The Cherry Orchard” often contrast themselves with each other, convinced of the absolute opposite of their “truths.” The author each time points out the commonality between them, the hidden similarities that they do not notice or reject with indignation. The conflict itself is new: visible opposition with hidden similarity.
A beautiful garden, against the backdrop of which characters are shown who do not understand the course of things or have a limited understanding of it, is associated with the destinies of several generations - past, present and future. Some see the garden as it was in the irretrievable past, for others, talking about the garden is just a reason for fanabery, others, thinking about saving the garden, are actually destroying it, others welcome the death of this garden... A dying garden and a failed, not even noticed love - two cross-cutting, internally connected themes - give the play a sad and poetic character. However, Chekhov insisted that he created “not a drama, but a comedy, sometimes even a farce.” It is obvious that Chekhov implemented in his “comedy” special principles of combining the dramatic and the comic.
Anton Chekhov spent his childhood and adolescence in Taganrog, where he was born into the family of a merchant. In parallel with his studies at the gymnasium, the young man was forced to constantly help his father in the grocery store. He was disgusted by the sale of sauerkraut and the often drunken customers. But it was they who became the first prototypes of the stories of the future writer. Even during his school years, Anton tried his hand at creating feuilletons, jokes and short satirical stories. And moving to Moscow to study at a medical university became a new stage in the life of a creative person.
The first successes of the writer can be considered the publication of stories in metropolitan magazines. Realizing that his works could be of interest to readers, Chekhov began to work harder. The process of creating feuilletons and stories brought the author not only pleasure, but also income. But Anton Pavlovich’s dreams of healing did not leave him, so his studies continued. The life and work of Chekhov will be briefly discussed in the article.
First confident steps in literature
After receiving his medical degree, Chekhov began collaborating with the capital’s publication “New Time”. It was here that the author first allowed the editors to indicate his name. Before that, he published under various pseudonyms, insanely afraid of being recognized or receiving negative reviews about his work. But all the talented man’s fears turned out to be unfounded. The metropolitan public “received the new word in fiction with a bang,” and critics were forced to recognize the phenomenon of a new genius.
At the same time, Chekhov himself throughout his life was incredibly embarrassed by the increased attention to his own person. This was reflected in his themes of creativity. Chekhov did not believe in the existence of ideal people, believing that life consists of feelings, emotions and experiences hiding behind everyday life. That is why all the heroes of his works are simple, sometimes narrow-minded and unhappy people, devoid of a bright individuality.
A clear understanding of the change of eras, revolutionary sentiments among the masses and the writer’s inner experiences were reflected in his works. The genres of Chekhov's work were unique, since he strongly understood the pettiness of man in comparison with the coming changes, world problems and wars. Therefore, most of his characters are shown as eternally rushing people, lost in search of happiness.
Recognition and demand
In 1887, the first collection of the fruits of Chekhov's work was published - the stories "At Twilight". It received positive reviews from critics, as did the play “Ivanov” staged at the capital’s theater. Anton Pavlovich no longer needed to wander around publishing houses in the hope of cooperation. Since 1890, the writer's popularity began to grow every day. Now his works were published in “Russian Time” and “Severny Vestnik”. Colorful and relatable stories were reprinted many times, selling in large editions throughout the country.
But along with success, the first ill-wishers appeared, accusing the writer of lack of civic position. Critics began to look for pitfalls in Chekhov's works. They openly launched tirades against the author, believing that at a time when the country was approaching an inevitable revolution, creating lampoons and comic stories was the height of cynicism.
Unexpected escape
At the same time, the genius himself paid attention only to the opinions of the people whom he admired. One of these was the lump of Russian literature Lev Nikolaevich Tolstoy. Anton Pavlovich was not only well acquainted with all the works of the meter, but also sought to comprehend his philosophy of life. Not everything in the faithful teacher’s statements seemed correct to him. The wise Chekhov listened to Tolstoy's theories, diluting them with his own feelings and perception of reality.
And when internal protests and events taking place in the country drove Chekhov into a corner, he unexpectedly decided on a kind of escape. The writer’s departure to distant Sakhalin came as a real surprise to everyone. But the writer paused his career, left everyday life and went to observe the life of Siberians.
In the new place, the man did not sit idly by, remembering his profession. Risking his own life, he began to provide medical services to convicts and local residents. It was not so easy for an emotional person to accept the picture he saw on the island. Poverty, illness and early death seemed a natural process, which the capital’s guest could not accept.
In parallel with his work at the local hospital, Chekhov constantly made peculiar notes in his diary. He recorded all the meetings and events of that time, which was reflected in the book “Sakhalin Island,” published in 1895. But in parallel with his creative achievements, the writer caused irreparable harm to his own health. Difficult living and working conditions accelerated the progression of tuberculosis, which he suffered from. In the future, it was this disease that became the reason for the early death of writers.
Return to the capital
After returning to Moscow, Anton Pavlovich revised most of his principles and previous views. Many of Tolstoy's statements now seemed naive and meaningless to him. Having traveled across the country, he saw how people live, realizing the futility of their attempts to change the world.
New thoughts and feelings were immediately reflected in the stories that came out shortly after arriving from Sakhalin. “My Life”, “Ward No. 6”, “My Life”, “In the Ravine” became one of the few works of the updated author. Having seen what problems the unfortunate inhabitants of the country in the outback face every day, the author considered it obligatory to show their life, problems and experiences. A clear understanding of irrevocably passing time did not allow Chekhov to live in peace. A thinking and feeling person understood that soon the country would cease to exist in the format familiar to everyone, not yet knowing what awaited it. Anton Pavlovich understood that the arrogant aristocrats were doomed to quick extinction, and tried to ridicule all their cheap values.
Subtle humor, mastery of words and a masterly ability to see what was inaccessible to everyone else helped Chekhov form his thoughts and feelings. And to the surprise of the writer himself, publishing houses were in no hurry to abandon his works, willingly publishing new works. Perhaps one of the secrets of the author’s phenomenon, why the work of A.P. Chekhov is considered extraordinary, was the ability not only to show the internal conflict of the characters, but also to display their internal monologue. Before Chekhov, no one had used such methods in Russian literature.
Teachers and students
Many researchers of the peculiarities of Chekhov's work call him their teacher and a pioneer in the use of symbolism in literature. But the writer himself never elevated himself to the rank of genius, believing that there are many more talented and successful colleagues in the world. He never hesitated to use their methods of work and study life principles. At the same time, they were all diluted and refined by the thoughts of Anton Pavlovich.
The writer considered Shakespeare and Maupassant to be his indisputable authorities among his Western colleagues. Among domestic authors, he was fond of the works of Dostoevsky and Tolstoy. Their creative heritage had a huge influence on the Russian genius, allowing him to see life from different positions and sides.
After Chekhov's death, Bernard Shaw, Hemingway, Miller, Mann and Garcia Lorca declared themselves to be his followers. And although the style and format of their works are completely different from the work of the writer Chekhov, it was his personality that became an example for aspiring writers looking for their own creative path.
Dramatic works
What belongs to Chekhov's pen? Among the writer’s creative heritage there are many talented dramatic works that are still popular to this day. The plays "Uncle Vanya", "The Cherry Orchard", "The Seagull" and "Three Sisters" were not only positively received by readers, but were also taken into development by famous directors. They are successfully performed on theater stages all over the world, almost without retaining the author's first fears and doubts.
Anton Pavlovich worked on serious works already while living in Yalta. He was forced to move there due to an exacerbation of the disease. He could no longer be on constant trips and travels, which negatively affected his general health. The local climate had a positive effect on Chekhov's condition, although every day he more and more clearly understood the proximity of the tragic ending.
Creativity helped the writer Chekhov to forget heavy thoughts. After finishing the story, he sent it to Moscow, painfully waiting for the reaction of critics from there. Therefore, when Stanislavsky offered to stage one of the author’s works in the theater, he categorically refused the offer. He rarely left Crimea, so he worried about the fate of his works from a distance. And fears about critical comments caused negative worries for their creator.
Premonition of the imminent finale
One of Chekhov's last works was the story "The Bishop", published in 1902. In it, the author showed the last days of the holy Archpriest Peter, who knew about his imminent death. The main character was in a hurry to do all the important things, realizing that no one would continue his path and would not be able to delay the predetermined move.
Being a physician, a reasonable person understood how dangerous and incurable his own illness was. All attempts by modern doctors to alleviate the patient's suffering came down to bleeding and applying ice to the area of already diseased lungs. Therefore, the only thing left for a lonely man was work and communication with interesting people.
The writer’s sister Masha took upon herself all the household chores and devoted almost her entire life to him. She understood and felt her brother so well that she could determine his mood or well-being based on his gait or facial expressions. But even her help could not give relief to Anton, who wanted to work hard, communicate and travel the world.
Personal story
For many years, Anton Pavlovich felt a feeling of love and passion for the sweet and kind Lika Mizinova. It was she who for a long time was the writer’s only muse, becoming the prototype of the main character in the play “The Cherry Orchard.” But the emotional people did not have a beautiful story, and soon they began to be burdened by each other’s company. After Mizinova’s departure, Chekhov wrote letters to her less and less, diligently looking for excuses for himself.
Theater actress Olga Knipper became a true ally and faithful friend of the famous person. They got married shortly before the writer's death. The artist, in love with creativity, spent most of her time in Moscow. She served in the capital's theater under the direction of Stanislavsky, only occasionally visiting her husband in Crimea. Therefore, their relationship was reflected in passionate and long letters.
It was Olga who convinced her husband to stage his first play at the theater. Once she even had to deceitfully lure her husband into the theater, where “The Seagull” was received with delight. True, this happened only on the second attempt, so the writer’s fears were understandable and explainable.
Tragic and difficult departure
In the last years of his life, Chekhov worked little due to illness and depression. He was no longer pleased, as before, by the beauty of Yalta, Olga's letters and his sister's care. His beloved conversations with Maxim Gorky began to add bitterness and oppressive melancholy. Every day he faded away more and more, to the real pain of everyone around him.
Realizing that something urgently needed to be done, the family council decided to send Anton Pavlovich to Europe for treatment. His wife went with him to Germany, but help was too late. Chekhov died during the trip, having said goodbye to his wife.
According to the writer's wishes, he was buried in Moscow at the Novodevichy cemetery. But during the rebellious mood of the first half of the last century, it was decided to liquidate the cemetery, and Chekhov’s body was reburied in another place.
Unknown Chekhov
The life and work of A.P. Chekhov today are of great interest to all connoisseurs of literature. The only successors to the author who passed away early were his works. Chekhov had no children; he left all his property to his younger sister. It was thanks to Maria Pavlovna that it was later possible to create a museum of the writer, in which there was a place for his personal belongings.
All his life, Anton Pavlovich diligently hid his own experiences from those around him. No one knew who he really loved or what he regretted. Even a serious illness did not turn a strong man into a pessimist or whiner. He could tell about all the hardships only in his diaries, of which many were found after Chekhov’s death. It turned out that numerous attacks from critics made him think about voluntarily leaving this life.
A legendary man, innovator and reformer in Russian literature of the twentieth century, he found time for almost everything that truly interested him. He collected stamps, did charity work, and initiated the construction of a monument to Peter the Great in his native Taganrog. In between work, the writer managed to travel, visiting the most remote corners of the world during his short life.
He never looked for love, once running away on the eve of his own wedding with Zinaida Efros. And only Olga Knipper managed to convince the man of the need for a wedding. But this did not turn the genius into a calm and balanced person. He will still continue to rush around, loving to create ambiguous situations. Anton Pavlovich loved to say absurd things, observing the reactions of others to them. The writer never refused the opportunity to give advice or make corrections to the works of other authors, considering it an exercise for the mind. At the same time, he endured critical remarks addressed to himself painfully.
But no matter what the writer was, he managed to create a real revolution in world literature. The works of the writer A.P. Chekhov are studied at school, filmed and staged on theater stages. And while the memory of the famous literary genius continues to live, his creative journey cannot be considered over.
Chekhov's work is a unique phenomenon in the history of Russian literature, because it combines kind and sad humor, the presentation of eternal problems for humanity, gentle pedagogy and sometimes notes of tragedy.
Childhood and youth of A.P. Chekhov. First steps in creativity
The future Russian writer and playwright was born in the city of Taganrog in January 1860. His father was a merchant and kept a small shop where you could buy everything: from food to household items.
The family had many children. Chekhov later admitted that his childhood was difficult: together with his brothers and sisters, he helped his father, so he combined work and study. There was practically no time left for children's games and pranks.
Anton began writing early; his first stories and stories appeared when Chekhov was still a student at the gymnasium. The young man dreamed of literary fame, so he sent his novels and short stories to magazines, but publishers were in no hurry to publish them.
In 1879, an important event occurred in Chekhov’s life: he entered the medical faculty of Moscow University. At the same time, the future doctor’s life in Moscow is not easy: Chekhov is poor and, in order to earn a piece of bread, begins to look for literary work - he writes short humorous stories under the pseudonym “Antoshi Chekhonte” and many other equally funny names. These stories are gradually becoming popular. Later, the writer will collect all his early works into two collections, which he will call “Motley Stories” and “Innocent Speeches.”
Features of Chekhov's early work
Chekhov's early work includes mainly humorous works. These are stories such as “Thick and Thin”, “Death of an Official”, “Chameleon”, “Groom”, etc.
In these works, the author ridicules many human vices and, first of all, hypocrisy, stinginess and servility. Two school friends met in the story “Fat and Thin.” We were sincerely delighted at the meeting and began a dialogue, but in the process it turned out that the fat one occupied a rank much higher than the thin one, and the thin one, having learned about this, immediately began to fawn over his former comrade. And all the joy of their meeting disappears.
Or another hero - “Chameleon”, who in any situation strives to show his best side in front of his superiors and benefit from it. The story “Chameleon” itself takes up a little more than one page and causes laughter, but it is laughter through tears, because readers see in the hero’s behavior a response to their shortcomings.
Or another story, “The Groom.”
It depicts a young man madly in love with his bride, the blond beauty Varya. The groom accompanies Varya to the train, gives her 25 rubles of money with him, however, despite all the bright feelings for his bride, he does not forget to take her receipt. What is this? Stinginess or cynicism. Or maybe hypocrisy? But the fact of the matter is that our groom is truly in love, but still cannot give these “unfortunate” 25 rubles to his bride.
The peculiarities of Chekhov's creativity of this period lie precisely in the creation of such works that tell about the life of different people, ridiculing their vices, but forcing readers to turn to the world of their own soul, seeing the shortcomings of their own behavior.
In the mid-80s of the 19th century, Chekhov (who had already become a professional doctor by that time) entered the “great Russian literature.” His name becomes known to readers, and his stories begin to enjoy incredible popularity.
Chekhov's work in the 90s.
Having already become a famous Russian writer, whose works were published in the leading literary magazines of the time, Chekhov went on a trip to Russia. In 1890, the writer visited Siberia and even reached the island of Sakhalin, which at that time was the most famous place of hard labor and exile in the empire.
The result of his trips is the book “Sakhalin Island,” published in 1895.
The themes of Chekhov's creativity of that period are associated with the study of the human soul, the deepest motives of the individual psyche. During this period, the writer published his most famous works, the stories “Gooseberry”, “Man in a Case”, About Love”, “Ionych”, “Lady with a Dog”, “Ward No. 6”.
The writer thinks a lot about the fate of man, about the meaning of the feeling of love in people's lives. For example, in the story “The Lady with the Dog,” he describes the state into which two people plunge when they accidentally meet at a resort. Gurov and Anna Sergeevna cannot cope with the feeling of love that has gripped them. At the same time, the heroes are deeply unhappy, not only because external circumstances do not give them the opportunity to unite their destinies, but also because the very feeling of their love is deeply tragic.
Another Chekhov story from that period, which caused controversy among his contemporaries, is called “Darling.” It tells about the fate of a woman who lived all her life for others. Once she was lost in the fate of her first husband, after whose death she also devoted herself to all the interests of her second husband. When her second husband also died, Darling found herself a new object of love and care.
Moreover, the writer was so delicate that he did not give the author’s assessment to the heroine’s behavior, leaving this right to the readers. Some readers saw in Darling a heroine who, forgetting herself, was ready to love “her neighbor,” while others saw her as an empty and stupid woman who did not know what to do and therefore gave herself to everyone who was nearby.
In total, during this period of Chekhov’s work, the writer wrote about 150 works, many of which were included in the treasury of Russian literature.
Dramatic works
A.P. Chekhov also entered the history of Russian culture as a talented playwright. He is the author of numerous works. These are the plays “Uncle Vanya”, “The Seagull”, “The Cherry Orchard”, “Three Sisters” and many others. To this day, these works are embodied in the repertoire of leading theaters around the world.
Largely thanks to the work of Chekhov and many of his talented contemporaries, actors and directors, they managed to give birth to a new genre of special psychologically oriented Russian drama.
The main thing in Chekhov's plays is the appeal to the inner world of his characters. It was the writer who wrote the phrase that people can drink tea on stage, and at the same time their fate is being decided. In his plays there are few sharp, bright conflicts, dramatic collisions, murder scenes and frank declarations of love. Everything is hidden, naked and realistic. At the same time, his heroes are vital and humane. Chekhov himself wrote about this: “Let everything on stage be as simple and at the same time as complex as in life.”
Ranevskaya, the main character of the play “The Cherry Orchard,” is looking for happiness in life, but does not find it anywhere, she strives for good, but does not want to make efforts for any specific good deed. Three sisters from another Chekhov play are also looking for another better life in life; they dream of life in Moscow, but they themselves are afraid to take any action to fulfill their dream. Another hero of the writer from the play “Uncle Vanya” creates an idol for himself from his relative, and when he realizes the falsity of his illusion, he falls into the deepest depression.
The last years of the writer's life
At the age of forty, shortly after his wedding to theater actress Olga Knipper, Chekhov learned that he was sick with a disease that was fatal for that time - consumption. The writer is forced to change his place of residence - he moves to Yalta. Here Chekhov's creative path ends with the creation of his last plays and his last stories. The most striking work of that time is the story “The Bride,” which tells the story of the fate of a young girl from the provinces, who, instead of marrying a man she did not love, left her small town to study. This story also caused different assessments among contemporaries, but Chekhov himself considered it one of his favorite works.
In 1904, the writer went to Germany to improve his health. This is where death finds him. Chekhov's body was transported to Russia, where he was buried at the Novodevichy cemetery. Already under Soviet rule in 1933, the cemetery was liquidated and the grave was moved to another place.