Study Guide to Ivanov and Other Works by Anton Chekhov

Intelligent Education

• Publisher: Influence Publishers
• Year: 2020
• ISBN:
  9781645424239
• Edition: 1
• Topic: Study Aids
• Subtopic: Study Guides

A comprehensive study guide offering in-depth explanation, essay, and test prep for selected works by Anton Chekhov, who wrote as many as 600 to 800 tales in his lifetime. Titles in this study guide include Uncle Vanya, The Three Sisters, The Seagull, The Cherry Orchard, and Ivanov.As a collection of the late-nineteenth and early-twentieth-century fiction, Chekhov's work communicates a strict sense of realism he adamantly believed fiction should portray. Moreover, his tales inquired into the fulfillment of human potential and what happens when characters fail to reach that potential. This Bright Notes Study Guide explores the context and history of Chekhov's classic work, helping students to thoroughly explore the reasons they have stood the literary test of time. Each Bright Notes Study Guide contains: - Introductions to the Author and the Work
- Character Summaries
- Plot Guides
- Section and Chapter Overviews
- Test Essay and Study Q&AsThe Bright Notes Study Guide series offers an in-depth tour of more than 275 classic works of literature, exploring characters, critical commentary, historical background, plots, and themes. This set of study guides encourages readers to dig deeper in their understanding by including essay questions and answers as well as topics for further research.

INTRODUCTION TO ANTON CHEKHOV

FAMILY AND EARLY LIFE

Anton Chekhov had a curious life. Neither his inner existence (his philosophy, morality, and genius) nor his public biography followed a consistent, predictable pattern.

He was born in 1860, in Taganrog - a nasty little seaport town in the south of Russia. His grandfather was a serf who through great toil purchased the family’s freedom. His father rose to the lower middle classes through the acquisition of a general store - his profits came mostly from short-changing and short-weighting.

Chekhov’s early life was marked by despotism and hardship. His father was a brutal disciplinarian who fanatically believed in rigid religious instruction for his children. Chekhov once wrote to his brother: “It is sickening and dreadful to recall the extent to which despotism and lying mutilated our childhood.”

YOUTH

Young Anton’s schooling was a series of miserable experiences. At the age of eight, he was sent to a one-room parish school run by the Greek merchants of Taganrog for the children of the poor. The ignorant and brutal schoolmaster so oppressed the young boy that he could not or would not learn even the alphabet. The following year he was sent to the local gymnaziya, a combined grammar and high school. Between chores at home and at the grocery store he had little time for studies, and his school record was abysmal. When Anton was sixteen, his father’s store went bankrupt, and to escape debtor’s prison the family fled to Moscow, leaving Anton behind. To sustain himself, the young Chekhov took on tutoring and managed to complete school with reasonable success.

STUDENT DAYS

In 1879, he joined the family in Moscow and enrolled in the University medical school. But family life in Moscow was no better than it had been in Taganrog, and to keep them all alive he began to write “trash” (as he later called it) for cheap local publications. Comic stories, recipes, legends, jokes, vaudevilles, and farces were all in his repertoire during his medical student years.

In 1884, Chekhov received his medical diploma and set up practice in Moscow. But his patients were poor and his practice provided little livelihood. He continued to write for his income. Said Chekhov later of this dual life: “Medicine is my lawful wife and literature is my mistress. When I get fed up with one, I spend the night with the other. Though it is irregular, it is less boring this way, and besides, neither of them loses anything through my infidelity.”

AS YOUNG WRITER

The humor, brilliance and sheer volume of Chekhov’s output (in all he wrote 600 to 800 tales, novellas and plays) eventually gained for him public recognition. By 1886, he had become a popular writer with two published books of collected stories and a regular feature in a prestigious newspaper. Despite a theatrical fiasco (the production of Ivanov) his reputation as a brilliant young writer grew and in 1888, at the age of 28, he was awarded the Pushkin Prize for distinguished literary achievement (although he himself felt he was “a lilliputian like everybody else” in his accomplishments.)

UNPREDICTABLE ADULT

In 1890, with no apparent motive, Chekhov took off for a 6,000 mile trip by train, boat, sledge, and coach to a penal colony on the island of Sakhalin, near Japan. He stayed three months, collecting statistics, history, geography, and anecdotes for a book, which he eventually published in Moscow - it was a majestic failure. All the while he was writing farces, mood pieces, and realistic short stories and gaining a large and faithful following.

But he was still a doctor. Throughout his life, Chekhov periodically embarked on public-spirited health projects (organizing famine relief, supervising cholera centers, educating peasants), all the while claiming his total indifference to the people he was helping. This detached sympathy (the mark of a good doctor) is reflected in his creative efforts in a tender, compassionate objectivity.

FAILING HEALTH

Chekhov had been in poor health ever since his student days, but by 1892 his condition became alarming. On the urging of his doctor, he took his parents and siblings to a country estate in Melikhovo, near Moscow, in the hopes of leading a quieter, cleaner, calmer life in the country, He resumed his medical practice, Again the peasants were too poor to pay and again he was forced to write at a feverish rate in order to support the family.

The consumption worsened, but Chekhov disregarded all advice. He continued to travel all over Europe and to work at a frantic pace. Finally, in 1898, he was forced to abandon his practice of medicine and with much reluctance settled in the warm climate of Yalta, on the Black Sea.

MARRIAGE

Exiled from Moscow and the hubbub of city life, Chekhov continued with difficulty to turn out stories and plays. Late in 1898, when the newly formed Moscow Art Theater revived The Seagull (which had failed dismally two years earlier), his life took a new turn. He met the young actress, Olga Knipper, and after a lengthy courtship, mostly by mail, he married her in 1901. They passed their honeymoon at a health spa. The Chekhovs’ married life was a weird one. Olga spent her time performing in Moscow, Anton spent his staying alive in Yalta.

LAST YEARS

By 1900, Chekhov was, after Tolstoy, the foremost figure in Russian literature. But his frequent travels to Moscow and the excitement attached to each production of his plays were taking their final, fatal toll. On the night The Cherry Orchard opened (January 17, 1904) Chekhov scarcely had the strength to stand through the ovation given him. On July 2 of the year he died in a German health resort and his body was shipped to Moscow in a refrigerated car used for transporting oysters (a touch he would have enjoyed).

Chekhov once bitterly summed up his own life in advice given to a young fellow author: “Write a story of how a young man, the son of a serf, a former grocery boy, chorister, high school lad and university student, who was brought up to respect rank, to kiss priests’ hands, to revere other people’s ideas, to give thanks for every morsel of bread, who was whipped many times, who without rubbers traipsed from pupil to pupil, who used his fists and tormented animals, who was fond of dining with rich relatives, who was hypocritical in his dealings with God and men gratuitously, out of the mere consciousness of his insignificance - write how this youth squeezed the slave out of himself drop by drop, and how, waking up one fine morning, he feels that in his veins flows no longer the blood of a slave but that of a real man.”

AS DRAMATIST

It is a common error to think of Chekhov as a short-story writer who late in his career began experimenting with the drama. As a very young man Chekhov was fascinated by the dramatic form, but the conditions prevailing in the Russian theater were so discouraging (poor acting, uninspired direction, adherence to conventional melodrama and contrived realism) that an imaginative playwright would have little chance of staying alive, and no chance of supporting a family.

While still in high school, Chekhov wrote a full-length play (which has not survived). And during his second year in medical school he composed a very long, four-act play which was not published until 1923 and is known in English as That Worthless Fellow Platonov. It is not a very good play, but it contains rudiments of some of his later themes, devices, and characterizations. During his early medical-school days, Chekhov wrote at least one more full-length and a one-act play, neither of which has ever turned up in his papers.

FIRST PRODUCTION

In 1887, when Chekhov, at twenty-seven already had some reputation for his short stories and vaudeville plays, the manager of a Moscow theater requested him to write a full-length play. The result of this request was Ivanov. Although it did not make much of a stir in Moscow, when it was performed later that year in St. Petersburg it met with great acclaim.

The success of Ivanov encouraged Chekhov to try his hand again at a full-length play. And in 1889, he submitted The Wood Demon to the Petersburg Dramatic and Literary Committee. It was rejected peremptorily. After much revision, Chekhov found a Moscow producer for the play and when it was performed in December, 1889, it was a total flop.

From then until 1895, Chekhov’s disdain for the popular theater of his time triumphed over his urge to see his plays produced. Although he did churn out his delightful one-act farces (The Bear, The Proposal, The Wedding, The Anniversary) he publicly eschewed serious, full-length dramas.

THE SEAGULL

Then, in 1895, he suddenly wrote his friend, the publisher Suvorin: “Just imagine, I’m writing a play.” This play was The Seagull. Chekhov had been quietly taking it up and putting it aside for three years. As early as March, 1892, he wrote to Suvorin about a new play he envisioned, and in June of that year he wrote: “I have an interesting subject for a comedy, but I haven’t thought of its ending so far. He who can invent new endings for a play, will start a new era. I can’t get those endings right! The hero has either to get married or shoot himself.”

The Seagull, too, when it was performed in 1896, was a major disaster. And this time Chekhov swore: “Never will I write these plays or try to produce them, not if I live to be 700 years old.”

But fortunately, at that moment a new force entered the theatre scene - the Moscow Art Theatre. Formed for the very purpose of producing “misunderstood” plays like Chekhov’s, the Art Theater provided the playwright a “home” for his dramatic talents.

FULL-FLEDGED DRAMATIST

From then on, starting with the brilliant revival of The Seagull, in 1898, Chekhov was a bonafide playwright. In October, 1899, the revised version of the miserably received Wood Demon, renamed Uncle Vanya, was produced with great success.

This was followed a year later (January, 1901) with a moving production of The Three Sisters. And finally, in 1904 (the hiatus was due to ill health and creative difficulties, not to abstinence from the theater), the masterpiece - The Cherry Orchard.

From his teens, Chekhov was alternately fascinated and repelled by the theater (he once called fiction his “legal wife” and the stage “a noisy, impudent and tiresome mistress”). And it was the conditions of the theater not Chekhov’s unawakened interest which made him an “end-of-life” dramatist.

MOSCOW ART THEATER

John Gassner, the modern critic, writes that: “On June 21, 1897, there occurred a historic eighteen-hour conversation between two lovers of the theater who wanted to reform it. These were the critic and playwright Nemirovitch-Dantchenko and the amateur actor Constantin Stanislavsky.” These two determined to form a theater group that rehearsed meticulously, that encouraged the actor to create his role as if it were at one with his personality, and that fostered an inner realism beyond the hackneyed, photographic, external attempts which were popular.

The Theater’s first two productions, in 1898, almost ruined the enterprise. Then Dantchenko persuaded Chekhov to exhume The Seagull, and from near collapse a flourishing theater was born. For the rest of his life Chekhov worked closely with the Theater, and his plays have remained a stable part of its repertoire.

In deference to the wild success of The Seagull when it opened on October 17, 1898, and to the importance of Chekhov’s plays for the continuation of the group, the Moscow Art Theater adopted the seagull as its permanent emblem.

THE NEW METHOD

Stanislavsky and Dantchenko rebelled successfully against the deathgrip of the stultified Russian theater. Under their new system, leading actors could no longer lay down the law and hog the entire limelight. Productions must be unified in respect to acting, dress, scenery, properties, music, and acting styles. And most of all, actors must not declaim but perform naturally and sincerely. These new rules were so perfectly suited to Chekhov’s original dramatic style that, although the directors and playwright did not always agree on interpretation, the overall accord was so great as to foster at once a brilliant dramatist and a brilliant theater.

CHEKHOV’S RUSSIA

In 1861, the year after Chekhov was born, Tsar Alexander II bowed to the pressure of the liberals and authorized the emancipation of the serfs. In a decade of reform, the old autocratic system, with its police censorship, gave way to a reorganization of justice, a large measure of self-government, and the emancipation. But the new measures had not been prepared for - there was little accumulated capital, a tiny educated middle class, little experience in industry, commerce, and self-administration, and a lack of technical skills and resources.

With an attempt on the emperor’s life in 1866, the government grew more and more reactionary and as a result the revolutionary movement spread wider and wider. By the late 1870s terrorist movements had sprung up everywhere. In 1881, when Chekhov was at medical school, Alexander II was finally assassinated.

Alexander III ruled in the 80s with extreme reaction and a vigorous police rule, ...

Table of contents

• Front Cover
• Title Page
• Copyright Page
• Contents
• 1) Introduction To Anton Chekhov
• 2) Ivanov
• 3) The Seagull
• 4) Uncle Vanya
• 5) The Three Sisters
• 6) The Cherry Orchard
• 7) Critical Commentary
• 8) Bibliography