By Harold Bloom
Chekhov was once the best Russian author of his new release. This identify, Anton Chekhov, a part of Chelsea residence Publishers’ glossy serious perspectives sequence, examines the main works of Anton Chekhov via full-length serious essays via specialist literary critics. furthermore, this name encompasses a brief biography on Anton Chekhov, a chronology of the author’s existence, and an introductory essay written via Harold Bloom, Sterling Professor of the arts, Yale collage.
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Additional resources for Anton Chekhov (Bloom's Modern Critical Views)
Yes. . (Those who are used to the long novelistic stage-directions of Shaw and O'Neill should remember that Chekhov, like Ibsen, added stage-directions only here and there. ) How did Chekhov transcend mere Sachlichkeit and achieve a drama of imagination and thought? Chiefly, I think, by combining the most minute attention to realistic detail with a rigorous sense of form. He diverges widely from all the Western realists—though not so widely from his Russian predecessors such as Turgenev, whose Month in the Country could be palmed off as a Chekhov play on more discerning people than most drama critics—and his divergences are often in the preservation of elements of style and stylization, which naturalism prided itself it had discarded.
It has made the case much sadder. Beforehand Astrov had maintained, and presumably believed, that he was indifferent to women. Afterward we know that it is Sonya in particular to whom he is indifferent. The "wood demon," devoted to the creative and the natural, can love only Yelena the artificial, the sterile, the useless. To Sonya, the good, the competent, the constructive, he is indifferent. The Professor's visit clarifies Astrov's situation—indeed, his whole nature. True, he had already confessed himself a failure in some of the opening speeches of the play.
Afterward we know that it is Sonya in particular to whom he is indifferent. The "wood demon," devoted to the creative and the natural, can love only Yelena the artificial, the sterile, the useless. To Sonya, the good, the competent, the constructive, he is indifferent. The Professor's visit clarifies Astrov's situation—indeed, his whole nature. True, he had already confessed himself a failure in some of the opening speeches of the play. The uninitiated must certainly find it strange (despite the august precedent of Antony and Cleopatra) that the play starts with a summary of the whole disaster.