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— Anton Chekhov The death of Chekhov's brother Nikolay from tuberculosis in 1889 influenced A Dreary Story, finished that September, about a man who confronts the end of a life that he realises has been without purpose. Mikhail Chekhov, who recorded his brother's depression and restlessness after Nikolay's death, was researching prisons at the time as part of his law studies, and Anton Chekhov, in a search for purpose in his own life, himself soon became obsessed with the issue of prison reform. Sakhalin [ ] In 1890, Chekhov undertook an arduous journey by train, horse-drawn carriage, and river steamer to the Russian Far East and the, or penal colony, on, north of Japan, where he spent three months interviewing thousands of convicts and settlers for a census.

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The letters Chekhov wrote during the two-and-a-half-month journey to Sakhalin are considered to be among his best. His remarks to his sister about were to become notorious. Chekhov biographies Chekhov's posthumous reputation greatly exceeded his expectations.

The ovations for the play in the year of his death served to demonstrate the Russian public's acclaim for the writer, which placed him second in literary celebrity only to, who outlived him by six years. Tolstoy was an early admirer of Chekhov's short stories and had a series that he deemed 'first quality' and 'second quality' bound into a book. In the first 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 '; in the second: A Transgression, Sorrow, The Witch, Verochka, In a Strange Land, The Cook's Wedding, A Tedious Business, An Upheaval, Oh! The Public!, The Mask, A Woman's Luck, Nerves, The Wedding, A Defenseless Creature, and Peasant Wives. In Chekhov's lifetime, British and Irish critics generally did not find his work pleasing; thought 'the effect on the reader of Chekhov's tales was repulsion at the gallery of human waste represented by his fickle, spineless, drifting people' and said 'Chekhov's characters were repugnant, and that Chekhov reveled in stripping the last rags of dignity from the human soul'.

After his death, Chekhov was reappraised. 's translations won him an English-language readership and the admiration of writers such as,, and, whose story 'The Child Who Was Tired' is similar to Chekhov's 'Sleepy'. The Russian critic, who lived in England, explained Chekhov's popularity in that country by his 'unusually complete rejection of what we may call the heroic values.'

In Russia itself, Chekhov's drama fell out of fashion after the, but it was later incorporated into the Soviet canon. The character of Lopakhin, for example, was reinvented as a hero of the new order, rising from a modest background so as eventually to possess the gentry's estates. One of the first non-Russians to praise Chekhov's plays was, who subtitled his 'A Fantasia in the Russian Manner on English Themes,' and pointed out similarities between the predicament of the British landed class and that of their Russian counterparts as depicted by Chekhov: 'the same nice people, the same utter futility.' In the United States, Chekhov's reputation began its rise slightly later, partly through the influence of of acting, with its notion of: '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 often feel and think things not expressed in the lines they speak.' The, in particular, developed the subtextual approach to drama, influencing generations of, screenwriters, and actors, including, and, in particular,.

In turn, Strasberg's and the approach influenced many actors, including and, though by then the Chekhov tradition may have been distorted by a preoccupation with realism. In 1981, the playwright adapted The Seagull as.

One of Anton's nephews, would also contribute heavily to modern theatre, particularly through his unique acting methods which developed Stanislavski's ideas further. Despite Chekhov's reputation as a playwright, asserts that his short stories represent the greater achievement., who wrote the short story 'Errand' about Chekhov's death, believed that Chekhov was the greatest of all short story writers: Chekhov's stories are as wonderful (and necessary) now as when they first appeared.

It is not only the immense number of stories he wrote—for few, if any, writers have ever done more—it is the awesome frequency with which he produced masterpieces, stories that shrive us as well as delight and move us, that lay bare our emotions in ways only true art can accomplish., another writer influenced by Chekhov, was more grudging: 'Chekhov wrote about six good stories. But he was an amateur writer.' And criticised Chekhov's 'medley of dreadful prosaisms, ready-made epithets, repetitions.' But he also declared 'one of the greatest stories ever written' in its depiction of a problematic relationship, and described Chekhov as writing 'the way one person relates to another the most important things in his life, slowly and yet without a break, in a slightly subdued voice.' For the writer, Chekhov's historical accomplishment was to abandon what called the 'event plot' for something more 'blurred, interrupted, mauled or otherwise tampered with by life.' Virginia Woolf mused on the unique quality of a Chekhov story in The Common Reader (1925): But is it the end, we ask? We have rather the feeling that we have overrun our signals; or it is as if a tune had stopped short without the expected chords to close it.

These stories are inconclusive, we say, and proceed to frame a criticism based upon the assumption that stories ought to conclude in a way that we recognise. In so doing we raise the question of our own fitness as readers. Where the tune is familiar and the end emphatic—lovers united, villains discomfited, intrigues exposed—as it is in most, we can scarcely go wrong, but where the tune is unfamiliar and the end a note of interrogation or merely the information that they went on talking, as it is in Tchekov, we need a very daring and alert sense of literature to make us hear the tune, and in particular those last notes which complete the harmony. 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, as comedy does, on the vitality of the actors to make pleasurable what would otherwise be painfully awkward – inappropriate speeches, missed connections, faux pas, stumbles, childishness – but as part of a deeper pathos; the stumbles are not pratfalls but an energized, graceful dissolution of purpose.' , the chief editor and publisher of the Canadian book review magazine wrote, One can argue Anton Chekhov is the second-most popular writer on the planet. Only Shakespeare outranks Chekhov in terms of movie adaptations of their work, according to the movie database IMDb.. We generally know less about Chekhov than we know about mysterious Shakespeare. Chekhov has also influenced the work of Japanese playwrights including,, and. Critics have noted similarities in how Chekhov and Shimizu use a mixture of light humor as well as an intense depictions of longing.

Sakate adapted several of Chekhov's plays and transformed them in the general style of. Nagai also adapted Chekhov's plays, including, and transformed his dramatic style into Nagai's style of satirical realism while emphasising the social issues depicted on the play. Chekhov's works have been adapted for the screen, including 's and 's.

Laurence Olivier's last film as director was an adaptation of the Three Sisters (UK 1970). It was released in the US in 1974. His work has also served as inspiration or been referenced in numerous films. In 's 1975 film, characters discuss his short story '. Woody Allen has been influenced by Chekhov and reference to his works are present in many of his films including (1975), (1978) and (1986).

Plays by Chekhov are also referenced in 's 1980 drama film, which is set in a theatre. A portion of a stage production of Three Sisters appears in the 2014 drama film. See also [ ]. • 17 January. • 'Greatest short story writer who ever lived.' (in 's introduction to About Love and Other Stories, XX); 'Quite probably.

The best short-story writer ever.' , by,, 3 July 2004. Retrieved 16 February 2007. Which are among the supreme achievements in prose narrative.'

's review of The Undiscovered Chekhov, in, 13 May 2001. Retrieved 16 February 2007. • Harold Bloom, Genius: A Study of One Hundred Exemplary Authors. • Letter to Alexei Suvorin, 11 September 1888. • 'Actors climb up Chekhov like a mountain, roped together, sharing the glory if they ever make it to the summit'. Actor, quoted in Miles, 9. • 'Chekhov's art demands a theatre of mood.'

, 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.' • 'Chekhov is said to be the father of the modern short story'., p. 87; 'He brought something new into literature.' , in Arthur Power, Conversations with James Joyce, Usborne Publishing Ltd, 1974,, 57; 'Tchehov's breach with the classical tradition is the most significant event in modern literature',, in Athenaeum, 8 April 1922, cited in Bartlett's introduction to About Love. • 'You are right in demanding that an artist should take an intelligent attitude to his work, but you confuse two things: solving a problem and stating a problem correctly. It is only the second that is obligatory for the artist.' Letter to Suvorin, 27 October 1888.

•, pp. 3–4: Egor Mikhailovich Chekhov and Efrosinia Emelianovna • ^, p. 78 • Payne, XVII. •, Taganrog city website. Download Film Heartstring Subtitle Indonesia. • ^ From the biographical sketch, adapted from a memoir by Chekhov's brother Mihail, which prefaces 's translation of Chekhov's letters, 1920.

• Letter to brother Alexander, 2 January 1889, in, p. 102. • Another insight into Chekhov's childhood came in a letter to his publisher and friend Alexei Suvorin: 'From my childhood I have believed in progress, and I could not help believing in it since the difference between the time when I used to be thrashed and when they gave up thrashing me was tremendous.' Letter to Suvorin, 27 March 1894. • Bartlett, 4–5.

• ^ Letter to I.L. Shcheglov, 9 March 1892. • Tabachnikova, Olga (2010). Anton Chekhov Through the Eyes of Russian Thinkers: Vasilii Rozanov, Dmitrii Merezhkovskii and Lev Shestov. Anthem Press.

For Rozanov, Chekhov represents a concluding stage of classical Russian literature at the turn of the 19th and 20th centuries, caused by the fading of the thousand-year-old Christian tradition that had sustained much of this literature. On the one hand, Rozanov regards Chekhov's positivism and atheism as his shortcomings, naming them among the reasons for Chekhov's popularity in society. • Chekhov, Anton Pavlovich (1997). Karlinsky, Simon; Heim, Michael Henry, eds.

Anton Chekhov's Life and Thought: Selected Letters and Commentary. Northwestern University Press. While Anton did not turn into the kind of militant atheist that his older brother Alexander eventually became, there is no doubt that he was a non-believer in the last decades of his life. • Richard Pevear (2009). Selected Stories of Anton Chekhov.

Random House Digital, Inc. According to Leonid Grossman, 'In his revelation of those evangelical elements, the atheist Chekhov is unquestionably one of the most Christian poets of world literature.' • Letter to cousin Mihail, 10 May 1877. • ^ Payne, XX. • Letter to brother Mihail, 1 July 1876. • 'There is in these miniatures an arresting potion of cruelty.

The wonderfully compassionate Chekhov was yet to mature.' , 's review of The Undiscovered Chekhov in The Observer, 13 May 2001. Retrieved 16 February 2007. • Willis, Louis (27 January 2013).. Literary and Genre. Knoxville: SleuthSayers.

• Letter to N.A.Leykin, 6 April 1886. •, pp. 448–50 • In many ways, the right-wing Suvorin, whom later called 'The running dog of the ' (Payne, XXXV), was Chekhov's opposite; 'Chekhov had to function like Suvorin's kidney, extracting the businessman's poisons.' Retrieved 16 February 2007. • Payne, XXIV. • 'There is a scent of the steppe and one hears the birds sing. I see my old friends the ravens flying over the steppe.' Letter to sister Masha, 2 April 1887.

• Letter to Grigorovich, 12 January 1888. Quoted by, p. 137. • 'The Steppe,' as Michael Finke suggests, is 'a sort of dictionary of Chekhov's poetics,' a kind of sample case of the concealed literary weapons Chekhov would deploy in his work to come.' • From the biographical sketch, adapted from a memoir by Chekhov's brother Mikhail, which prefaces 's translation of Chekhov's letters, 1920. • Letter to brother Alexander, 20 November 1887. • Petr Mikhaĭlovich Bit︠s︡illi (1983), Chekhov's Art: A Stylistic Analysis, Ardis, p. x • Daniel S. Burt (2008), The Literature 100: A Ranking of the Most Influential Novelists, Playwrights, and Poets of All Time, Infobase Publishing • ^ Valentine T.

Bill (1987), Chekhov: The Silent Voice of Freedom, Philosophical Library • S. Shchukin, Memoirs (1911) •. Retrieved 16 February 2007. •, pp. 186–91. • Letter to sister, Masha, 20 May 1890.

• Letter to A.F.Koni, 16 January 1891. •, p. 229: Such is the general critical view of the work, but Simmons calls it a 'valuable and intensely human document.' Retrieved 16 February 2007.

• Murakami, Haruki. Knopf: New York, 2011.

• Heaney, Seamus. Station Island Farrar Straus Giroux: New York, 1985. • Payne, XXXI. • From the biographical sketch, adapted from a memoir by Chekhov's brother Mikhail, which prefaces Constance Garnett's translation of Chekhov's letters, 1920. • From the biographical sketch, adapted from a memoir by Chekhov's brother Mihail, which prefaces Constance Garnett's translation of Chekhov's letters, 1920. The Testament Of Sherlock Holmes Keygen Crack For Idm. Retrieved 16 February 2007.

•, pp. 394–8. • Benedetti, Stanislavski: An Introduction, 25. • Chekhov and the Art Theatre, in Stanislavski's words, were united in a common desire 'to achieve artistic simplicity and truth on the stage.' •, pp. 390–1 • Letter to Suvorin, 1 April 1897. • Olga Knipper, 'Memoir', in Benedetti, Dear Writer, Dear Actress, 37, 270.

• Bartlett, 2. •, pp. 170–71. • 'I have a horror of weddings, the congratulations and the champagne, standing around, glass in hand with an endless grin on your face.' Letter to Olga Knipper, 19 April 1901. • Benedetti, Dear Writer, Dear Actress, 125. •, p. 500 • Harvey Pitcher in Chekhov's Leading Lady, quoted in, p. 59. • 'Chekhov had the temperament of a philanderer.

Sexually, he preferred brothels or swift liaisons.' , p. 78 • Letter to Suvorin, 23 March 1895. •, pp. 556–57 • There was certainly tension between the couple after the miscarriage, though, p. 569, and Benedetti, Dear Writer, Dear Actress, 241, put this down to Chekhov's mother and sister blaming the miscarriage on Olga's late-night socialising with her actor friends.

• Benedetti, Dear Writer, Dear Actress: The Love Letters of Olga Knipper and Anton Chekhov. • Chekhov, Anton.. Short Stories. • Rosamund, Bartlett (2 February 2010).

'The House That Chekhov Built'. London Evening Standard. • Greenberg, Yael. 'The Presentation of the Unconscious in Chekhov's Lady With Lapdog.' Modern Language Review 86.1 (1991): 126–130. Academic Search Premier.

3 November 2011. • 'Overview: 'The Lady with the Dog'.' Characters in 20th-Century Literature.

Laurie Lanzen Harris. Detroit: Gale Research, 1990. Literature Resource Center. 3 November 2011.

• Letter to sister Masha, 28 June 1904. • Olga Knipper, Memoir, in Benedetti, Dear Writer, Dear Actress, 284. • 'Banality revenged itself upon him by a nasty prank, for it saw that his corpse, the corpse of a poet, was put into a railway truck 'For the Conveyance of Oysters'.' Maxim Gorky in. Retrieved 16 February 2007.

• Chekhov's Funeral. The Antioch Review, 1995 •, p. 91; Alexander Kuprin in. Retrieved 16 February 2007 •. Passport Magazine. Retrieved 12 September 2013.

• Payne, XXXVI. • Meister, Charles W.

'Chekhov's Reception in England and America'. American Slavic and East European Review. 12 (1): 109–121... Reading Mansfield and Metaphors of Reform.

McGill-Queen's Press. • 'They won't allow a play which is seen to lament the lost estates of the gentry.' Letter of, quoted by Anatoly Smeliansky in 'Chekhov at the Moscow Art Theatre', from The Cambridge Companion to Chekhov, 31–2. • Anna Obraztsova in 'Bernard Shaw's Dialogue with Chekhov', from Miles, 43–4. • Reynolds, Elizabeth (ed), Stanislavski's Legacy, Theatre Arts Books, 1987,, 81, 83.

• 'It was Chekhov who first deliberately wrote dialogue in which the mainstream of emotional action ran underneath the surface. It was he who articulated the notion that human beings hardly ever speak in explicit terms among each other about their deepest emotions, that the great, tragic, climactic moments are often happening beneath outwardly trivial conversation.'

, from Text and Subtext in Shavian Drama, in 1922: Shaw and the last Hundred Years, ed. Dukore, Penn State Press, 1994,, 200. • '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 Three Sisters in The Drama Review (winter 1968), quoted by Styan, 121. • 'The plays lack the seamless authority of the fiction: there are great characters, wonderful scenes, tremendous passages, moments of acute melancholy and sagacity, but the parts appear greater than the whole.' By, The Guardian, 3 July 2004.

Retrieved 16 February 2007. • Bartlett,, The Guardian, 15 July 2004.

Retrieved 17 February 2007. • Letter from to, 1925 (from Selected Letters, p. 179), in Ernest Hemingway on Writing, Ed Larry W. Phillips, Touchstone, (1984) 1999,, 101. • From 's Lectures on Russian Literature, quoted by in Learning from Chekhov, 231. • 'For the first time in literature the fluidity and randomness of life was made the form of the fiction.

Before Chekhov, the event-plot drove all fictions.' , referring to the novelist 's analysis in Anton Chekhov: A Critical Study, 1923. By William Boyd, The Guardian, 3 July 2004. Retrieved 16 February 2007. • Woolf, Virginia, The Common Reader: First Series, Annotated Edition, Harvest/HBJ Book, 2002,, 172. • Michael Goldman, The Actor's Freedom: Towards a Theory of Drama, p72. • Sekirin, Peter (2011).

Memories of Chekhov: Accounts of the Writer from His Family, Friends and Contemporaries. Foreword by Alan Twigg. Jefferson, NC: MacFarland Publishers.

Japanese Theatre and the International Stage. Leiden, The Netherlands: Koninklijke Brill NV. • ^ Clayton, J.

Adapting Chekhov: The Text and Its Mutations. Biographical • at • Petri Liukkonen..

• at The Literature Network • by at, 2004 • (in Russian) Works •. All 's translations of the short stories and letters are available, plus the edition of the Note-book translated by and – see the ' section for print publication details of all of these.

Site also has translations of all the plays. • at • at (public domain audiobooks) •, translated by Constance Garnett presented in chronological order of Russian publication with annotations. • Texts of Chekhov's works in the original Russian, listed in chronological order, and also alphabetically by title. Retrieved June 2013. (in Russian) • Texts of Chekhov's works in the original Russian. Retrieved 16 February 2007. (in Russian) • at •.