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Chekhov Anton Pavlovich - The Cambridge Introduction to Chekhov

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Chekhov Anton Pavlovich The Cambridge Introduction to Chekhov

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Machine generated contents note: Chronology; 1. Life; 2. Chekhov in context; 3. Early stories; 4. Early plays; 5. Later stories; 6. Later plays; 7. Reception; Guide to further reading.

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The Cambridge Introduction to Chekhov
Chekhov is widely acknowledged as one of the most influential literary figures of modern times. Russias preeminent playwright, he played a significant role in revolutionizing the modern theatre. His impact on prose fiction writing is incalculable: he helped define the modern short story. Beginning with an engaging account of Chekhovs life and cultural context in nineteenth-century Russia, this book introduces the reader to this fascinating and complex personality. Unlike much criticism of Chekhov, it includes detailed discussions of both his fiction and his plays. The Introduction traces his concise, impressionistic prose style from early comic sketches to mature works such as Ward No. 6 and In the Ravine. Examining Chekhovs development as a dramatist, the book considers his one-act vaudevilles and early works, while providing a detailed, act-by-act analysis of the masterpieces on which his reputation rests: The Seagull , Uncle Vanya , Three Sisters , and The Cherry Orchard .
JAMES N. LOEHLIN is Shakespeare at Winedale Regents Professor of English at the University of Texas at Austin. He is the author of Chekhov: The Cherry Orchard in the Cambridge Plays in Production series, and the editor of Romeo and Juliet in the Cambridge Shakespeare in Production series. He has also written books on Shakespeares Henry V and Henry IV, Parts I and II . He has directed, acted in, or supervised productions of all Chekhovs major plays, as well as twenty-five of Shakespeares plays.
Cambridge Introductions to...
Authors
Margaret Atwood Heidi Macpherson
Jane Austen Janet Todd
Samuel Beckett Ronan McDonald
Walter Benjamin David Ferris
Chekhov James N. Loehlin
J. M. Coetzee Dominic Head
Samuel Taylor Coleridge John Worthen
Joseph Conrad John Peters
Jacques Derrida Leslie Hill
Charles Dickens Jon Mee
Emily Dickinson Wendy Martin
George Eliot Nancy Henry
T. S. Eliot John Xiros Cooper
William Faulkner Theresa M. Towner
F. Scott Fitzgerald Kirk Curnutt
Michel Foucault Lisa Downing
Robert Frost Robert Faggen
Nathaniel Hawthorne Leland S. Person
Zora Neale Hurston Lovalerie King
James Joyce Eric Bulson
Herman Melville Kevin J. Hayes
Sylvia Plath Jo Gill
Edgar Allen Poe Benjamin F. Fisher
Ezra Pound Ira Nadel
Jean Rhys Elaine Savory
Edward Said Conor McCarthy
Shakespeare Emma Smith
Shakespeares Comedies Penny Gay
Shakespeares History Plays Warren Chernaik
Shakespeares Tragedies Janette Dillon
Harriet Beecher Stowe Sarah Robbins
Mark Twain Peter Messent
Edith Wharton Pamela Knights
Walt Whitman M. Jimmie Killingsworth
Virginia Woolf Jane Goldman
William Wordsworth Emma Mason
W. B. Yeats David Holdeman
Topics
The American Short Story Martin Scofield
Comedy Eric Weitz
Creative Writing David Morley
Early English Theatre Janette Dillon
English Theatre, 16601900 Peter Thomson
Francophone Literature Patrick Corcoran
Literature and the Environment Timothy Clark
Modern British Theatre Simon Shepherd
Modern Irish Poetry Justin Quinn
Modernism Pericles Lewis
Narrative (second edition) H. Porter Abbott
The Nineteenth-Century American Novel Gregg Crane
The Novel Marina MacKay
Old Norse Sagas Margaret Clunies Ross
Postcolonial Literatures C. L. Innes
Postmodern Fiction Bran Nicol
Russian Literature Caryl Emerson
Scenography Joslin McKinney and Philip Butterworth
The Short Story in English Adrian Hunter
Theatre Historiography Thomas Postlewait
Theatre Studies Christopher B. Balme
Tragedy Jennifer Wallace
Victorian Poetry Linda K. Hughes
The Cambridge Introduction to Chekhov
James N. Loehlin
The University of Texas
CAMBRIDGE UNIVERSITY PRESS Cambridge New York Melbourne Madrid Cape Town - photo 1
CAMBRIDGE UNIVERSITY PRESS
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, So Paulo, Delhi, Dubai, Tokyo, Mexico City
Cambridge University Press
The Edinburgh Building, Cambridge CB2 8RU, UK
Published in the United States of America by Cambridge University Press, New York
www.cambridge.org
Information on this title: www.cambridge.org/9780521706889
James N. Loehlin 2010
This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.
First published 2010
Printed in the United Kingdom at the University Press, Cambridge
A catalogue record for this publication is available from the British Library
Library of Congress Cataloguing in Publication data
Loehlin, James N.
The Cambridge introduction to Chekhov / James N. Loehlin.
p. cm. (Cambridge introductions to literature)
ISBN 978-0-521-88077-0 (hardback)
1. Chekhov, Anton Pavlovich, 18601904 Criticism and interpretation. I. Title.
II. Series.
PG3458.Z8L64 2010
891.723dc22
2010022722
ISBN 978-0-521-88077-0 Hardback
ISBN 978-0-521-70688-9 Paperback
Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.
Preface
Shortly before Anton Chekhov died of tuberculosis at the age of forty-four, he went for an evening carriage ride with a young writer, Ivan Bunin, who visited him frequently during his illness. They drove from the Crimean town of Yalta, where Chekhov was convalescing, to the nearby coastal village of Oreanda. A cliff-top prospect in this village is the setting of one of the most famous episodes in Chekhovs fiction: Gurovs seaside epiphany in The Lady with the Little Dog. In Chekhovs story, the timeless, indifferent beauty of the sea leads Gurov to the realization that everything was beautiful in this world, everything except for what we ourselves think and do when we forget the higher goals of being and our human dignity.
Chekhov and Bunin drove the same route that Gurov and Anna, the lady with the dog, take in Chekhovs story. Bunins description of the carriage ride has some of the lyricism and pathos of Chekhovs evocations of nature: We were quiet, looking at the shining, matted-gold valley of the sea. We first passed by a forest that had a springlike air, tender, pensive, and beautiful. Bunins account leads, like Gurovs view of the sea, to a reflection on time, change, and the impermanence of human achievement:
We stopped the carriage and walked quietly under these cypresses, past the ruins of a palace shining bluish-white in the moonlight. Chekhov suddenly turned to me and said, Do you know how long people will continue to read my works? Seven years, that is all.
Startled by this sudden assertion by a dying author whose works he greatly admired, Bunin asked, Why seven?
Well, then, Chekhov responded wryly, seven and a half.
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