Chekhov Short Story Thread

[Janine]

Quark, Shall I start posting later today on "Misery" or wait until Monday? You said it - Chekhov sure writes sad, depressing stories. Probably the reason we can't get too many participants in here, but now I am determined to learn more about the author.
I found out yesterday that my favorite actor, Kenneth Branagh, loves Chekhov and he is currently starring in the West End theater, London, in a production of "Ivanov". Here is a photo of him playing the role:



Good to know that Chekhov still lives in the theaters and hearts of many! Sure wish I could hop a plane and see Branagh perform it.

Below was suppose to be a nice photo I found of Chekhov, but it won't work on here, because it is a GIF file. I will try and convert it, so I can post it later.

Quark, we needed some illustrations to perk up this thread! I will try and find a nice painting to depict the old Russian taxi driver or the snowy atmosphere of the story.

I liked the story, but it was..oh..so sad. I liked the idea of the horse and the communication between the man and animal. Some people would agree - animals listen better than humans. I could relate to this story. I sometimes think no one is listening to me.

[Quark]

Quark, Shall I start posting later today on "Misery" or wait until Monday?

If you're ready, post any time you want. I was going to wait until tomorrow, but that was only to give you more time. I'll post the first chunk of text tonight once I finish the Lawrence story.

You said it - Chekhov sure writes sad, depressing stories.

Wow, this is coming from the DH Lawrence fan. The last two stories we read from your thread included a marriage falling apart and a man slowly dying alone on an island: fun stuff. I think both authors have a leaning toward the tragic.

I found out yesterday that my favorite actor, Kenneth Branagh, loves Chekhov and he is currently starring in the West End theater, London, in a production of "Ivanov". Here is a photo of him playing the role:

I didn't know Chekhov had the celebrity backing. "Ivanov" is a good play, though. It's one of the five major plays Chekhov wrote. Sometime, maybe, we might read one of the plays (looking around for reactions).

Quark, we needed some illustrations to perk up this thread! I will try and find a nice painting to depict the old Russian taxi driver or the snowy atmosphere of the story.

Yeah, I thought about finding some illustrations of the scenes in this story. Since Chekhov is so scarce with the details, I think it might help to actually see some of the places the story takes us. And, I've had some luck locating visual depictions of the Petersburg that Chekhov shows us. The Neva River (which the Iona crosses a couple times) was a much painted favorite for Russian Realist in the nineteenth century.

I liked the story, but it was..oh..so sad. I liked the idea of the horse and the communication between the man and animal. Some people would agree - animals listen better than humans. I could relate to this story. I sometimes think no one is listening to me.

Well, the title does kind of warn you a sad story is coming. I'll talk a little bit more about why he befriends the animal later on when I post tonight.

[Janine]

If you're ready, post any time you want. I was going to wait until tomorrow, but that was only to give you more time. I'll post the first chunk of text tonight once I finish the Lawrence story.

Great - a little tired presently from this cold but if you post somethings tonight I will try to respond. The story is not all that complicated and now I see why you suggested we do two this month. I will be re-reading "The Blind Man" tonight and I may listen to the CD of "Misery" as well.

Wow, this is coming from the DH Lawrence fan. The last two stories we read from your thread included a marriage falling apart and a man slowly dying alone on an island: fun stuff. I think both authors have a leaning toward the tragic.

You bet and yes, if you want to know my mind, how I think, here is an example - on my birthday a few days ago, I had to watch my favorite film - KB's "Hamlet", even though I have seen it now a zillion times. I don't think it is always the tragic factor in these stories that attract me, but rather I feel they are a 'puzzle' to me about the characters involved. I love to try and figure out what is going on beneath the surface, even here with this story of "Misery" - trying to get to the core of the man, Iona, and just how he is feeling and reacting. I love "Hamlet" for the same reason. I find after viewing it once again, I am struck with this persistent desire to figure it all out and figure out this 'Hamlet' and why he acts/reacts as he does. Everytime I see the production, I see something else I forgot to consider. It is such a puzzle and so this is mainly why I feel attracted...probably same with Lawrence and Chekhov.

I didn't know Chekhov had the celebrity backing. "Ivanov" is a good play, though. It's one of the five major plays Chekhov wrote. Sometime, maybe, we might read one of the plays (looking around for reactions).

Well, now you do and you should be glad. I am more than pleased to see this. Branagh is suppose to shine on stage. Oh, if only I could get to see him just once on a live stage. You can see in his face the intensity of this production. I heard his stage performance of "Edmond" was mesmorizing. I think this one looks even better. I would like to read the play sometime. Maybe down the road we can start a Chekhov play thread. That would be fun. Great! - that is my reaction.

Yeah, I thought about finding some illustrations of the scenes in this story. Since Chekhov is so scarce with the details, I think it might help to actually see some of the places the story takes us. And, I've had some luck locating visual depictions of the Petersburg that Chekhov shows us. The Neva River (which the Iona crosses a couple times) was a much painted favorite for Russian Realist in the nineteenth century.

That would be wonderful. I think it draws more attention to the thread as well. It is nice to break up the text now and then with some visuals. I will also look online and see if I can find anything interesting. What year would this story have taken place, Quark, in Petersburg? I think the Neva River would be so interesting to see.

Well, the title does kind of warn you a sad story is coming. I'll talk a little bit more about why he befriends the animal later on when I post tonight.

Yeah, reminds me of that old movie "Misery"....James Cann and Kathy Bates....she put him through some misery...
I wasn't expecting a very happy story with that title for the short story this time.
Good, I liked the horse best of all the characters!

[Janine]

Here is a painting I came across the other day. I thought maybe it depicted the time period that Chekhov may have been writing about; although it may be a little earlier.
by Alphonse Mucha - The Abolition of Serfdom in Russia (1861) 1914

[Quark]

The first few paragraphs:

THE twilight of evening. Big flakes of wet snow are whirling lazily about the street lamps, which have just been lighted, and lying in a thin soft layer on roofs, horses' backs, shoulders, caps. Iona Potapov, the sledge-driver, is all white like a ghost. He sits on the box without stirring, bent as double as the living body can be bent. If a regular snowdrift fell on him it seems as though even then he would not think it necessary to shake it off. . . . His little mare is white and motionless too. Her stillness, the angularity of her lines, and the stick-like straightness of her legs make her look like a halfpenny gingerbread horse. She is probably lost in thought. Anyone who has been torn away from the plough, from the familiar gray landscapes, and cast into this slough, full of monstrous lights, of unceasing uproar and hurrying people, is bound to think.

It is a long time since Iona and his nag have budged. They came out of the yard before dinnertime and not a single fare yet. But now the shades of evening are falling on the town. The pale light of the street lamps changes to a vivid color, and the bustle of the street grows noisier.

"Sledge to Vyborgskaya!" Iona hears. "Sledge!"

Iona starts, and through his snow-plastered eyelashes sees an officer in a military overcoat with a hood over his head.

"To Vyborgskaya," repeats the officer. "Are you asleep? To Vyborgskaya!"

In token of assent Iona gives a tug at the reins which sends cakes of snow flying from the horse's back and shoulders. The officer gets into the sledge. The sledge-driver clicks to the horse, cranes his neck like a swan, rises in his seat, and more from habit than necessity brandishes his whip. The mare cranes her neck, too, crooks her stick-like legs, and hesitatingly sets of. . . .

So, there's snow--lots of it. It's certainly not a surprising occurrence in Russia, but what is noticeable is the stolid reaction of the driver to it. He hardly moves. In fact, he doesn't move at all. The snow just piles up on top of him. Chekhov says "If a regular snowdrift fell on him it seems as though even then he would not think it necessary to shake it off." The scene itself is kind of peaceful, but Iona's behavior makes it more of a commentary on his own passiveness. The snow weighs on him like a weight and causes his body to bend over. The horse, too, is encased in the snow, but the mare's reaction is a bit more of a contemplative silence. Together, they make a rather depressing couple, and I think that's what we're supposed to get out of their appearance. The snow oppresses them like the depression that Iona is feeling. His depression, though, isn't to be confused with his sadness. Action stirs Iona out of the snow, and perhaps dispels the depression he feels in inaction. But, it doesn't get rid of his sadness. He tries to find other ways to do that--obviously we know he's unsuccessful.

The snow is a good way of showing Iona's depression, and it something we find in a lot of Chekhov's fiction. He was very into indirect description. In a letter to a friend and fellow writer, Chekhov once wrote, "Don't tell me the moon is shining; show me the glint of light on broken glass." The manner of description is less verbal and specific and more associative and abstract. This creates fewer symbols, but more emblems. And, that's what we get in a lot of Chekhov stories. For example, in "Gooseberries" there's the tapping of the rain which is supposed to emblematic of human sadness--somewhere out there in the abstract. It isn't just the sadness in that story, but all sadness. It's the same way in this story. The snow seems to represent more than just Iona's state, but a more abstract quality like depression. It's something Chekhov does a lot, so I thought I should point it out.


Janine, I'll start posting pictures, soon. I just wanted to get the first section of the story up for discussion first.

[Janine]

So, there's snow--lots of it. It's certainly not a surprising occurrence in Russia, but what is noticeable is the stolid reaction of the driver to it. He hardly moves. In fact, he doesn't move at all. The snow just piles up on top of him. Chekhov says "If a regular snowdrift fell on him it seems as though even then he would not think it necessary to shake it off." The scene itself is kind of peaceful, but Iona's behavior makes it more of a commentary on his own passiveness. The snow weighs on him like a weight and causes his body to bend over. The horse, too, is encased in the snow, but the mare's reaction is a bit more of a contemplative silence. Together, they make a rather depressing couple, and I think that's what we're supposed to get out of their appearance. The snow oppresses them like the depression that Iona is feeling. His depression, though, isn't to be confused with his sadness. Action stirs Iona out of the snow, and perhaps dispels the depression he feels in inaction. But, it doesn't get rid of his sadness. He tries to find other ways to do that--obviously we know he's unsuccessful.

This is excellent and exactly as I was thinking when I read the story. I really like the way Chekhov used the snow to show the state of Iona and the horse. Yes, passive is a good word and sad and this reminds me of the snow used in "Ethan Frome" to indicate his isolation and depressed state of passivity. This snow scene also reminds me of Joyce's story 'The Dead'...again snow is used effectively to show Gabriel's isolation and sadness appart from his wife. I don't know if you have read these other stories, but this is what came to my mind. The image of Iona sitting on the wagon waiting with snow accumulating on his body is a very poignant way of beginning this story and quite brilliant. I agree that the snow doubles or represents the very depression he is feeling, which is piled heavily upon him now, since this great loss of his son.

The snow is a good way of showing Iona's depression, and it something we find in a lot of Chekhov's fiction. He was very into indirect description. In a letter to a friend and fellow writer, Chekhov once wrote, "Don't tell me the moon is shining; show me the glint of light on broken glass." The manner of description is less verbal and specific and more associative and abstract. This creates fewer symbols, but more emblems. And, that's what we get in a lot of Chekhov stories. For example, in "Gooseberries" there's the tapping of the rain which is supposed to emblematic of human sadness--somewhere out there in the abstract. It isn't just the sadness in that story, but all sadness. It's the same way in this story. The snow seems to represent more than just Iona's state, but a more abstract quality like depression. It's something Chekhov does a lot, so I thought I should point it out.
I love this quote: "Don't tell me the moon is shining; show me the glint of light on broken glass." I believe Lawrence and Chekhov are alike this way. They both use the atmosphere to suggest the mood of their characters. I read Gooseberries ages ago and should read it again. I like the example you have pointed out. I probably did not fully understand the book when I read it being quite young at the time. Thanks for pointing out this - that Chekhov does this a lot in his writing. I will now keep that in mind.

Hey, Quark, you did not answer my question about the painting. Is this about the time period or earlier, do you think? I just liked the mood of the snow in it and reminded me of what it might feel like in Russia at the time. Besides, I like the painting so much.

Here is something funny that happened last night. I was listening to the Kenneth Branagh narration of the Chekhov stories and thought, 'I can hear all of the first disk'; so I actually listened to these stories - "Oh! The Public","The Chorus Girl", "The Trousseau", then was into the middle of "A Story Without a Title" and that is when I must have faded away into dreamland....happens to me all the time....so I woke back up, only to hear the very last lines in "Misery" - the part about the oats. Tonight I will definitely listen again, starting with "A Story Without a Title" and hopefull will stay awake to hear "Misery". I liked all the stories I listened to very much. I really liked the imagery in "The Trousseau". I hope we can do that one sometime. Please... please.....Here is a good example of how Chekhov conveys this heavy depressive state of individuals, through showing us and through suggestion/mood...the items in the house and the house itself, from the outside, convey much and show us the physchological state of the occupants. More on this some other day. Sorry to deviate, but it is fresh on my mind and seems to relate to what you have said.

Janine, I'll start posting pictures, soon. I just wanted to get the first section of the story up for discussion first.

Excellent start, Quark! ...and I can't wait to see those photos. Things like that (historic) truly interest me.

[Quark]

Here are a few illustrations for visual aids. The first two are prints made in 1900 --about 14 years after the story was written and the action takes place. Both are views either of or from the Police Bridge, one of the locales of the story.



Looking from the bridge:


I wanted to use these two prints because I thought they showed how urban the Petersburg Iona is traveling through really is. He's running his sledge through crowds of people and between tall buildings. It makes it all the more incredible that he finds himself so shut off from people.

The next two pictures are woodcuts of Petersburg in snow. Both are from the late nineteenth century, so I would consider them as rather contemporary with the story.




Here's Petersburg in snow. Iona probably would not be on the side streets shown here, but I did want to get at least one picture with snow.

Oh, and I'm not ignoring you Janine. I just wanted to get some stuff up before we get to hopelessly lost in conversation and I don't remember what I was going to do.

[Janine]

Pictures and photos are wonderful, Quark! Thanks so much for sharing them with us. I love the first two of the old photos....so interesting.

I won't be back until later so you have lots of time to answer my post. I didn't think you were ignoring me. I am quite patient.

[Quark]

Here is a painting I came across the other day. I thought maybe it depicted the time period that Chekhov may have been writing about; although it may be a little earlier.
by Alphonse Mucha - The Abolition of Serfdom in Russia (1861) 1914

If the painting is from 1914 that would make it 28 years newer than the story. The emancipation of the serfs takes place a couple of decades before the story, though. "Misery" was written in 1886, and there isn't any information to indicate that the action wouldn't take place contemporaneously. Aside from that, the painting is good. I like the mist that gradually seperates the foreground from the background.

This is excellent and exactly as I was thinking when I read the story. I really like the way Chekhov used the snow to show the state of Iona and the horse. Yes, passive is a good word and sad and this reminds me of the snow used in "Ethan Frome" to indicate his isolation and depressed state of passivity. This snow scene also reminds me of Joyce's story 'The Dead'...again snow is used effectively to show Gabriel's isolation and sadness appart from his wife. I don't know if you have read these other stories, but this is what came to my mind. The image of Iona sitting on the wagon waiting with snow accumulating on his body is a very poignant way of beginning this story and quite brilliant. I agree that the snow doubles or represents the very depression he is feeling, which is piled heavily upon him now, since this great loss of his son.

I hadn't thought about those parallels with other stories, but I do think they fit. The Ethan Frome reference is probably the closest; the snow is just as oppressive in that story. Both are related to death, too. It's been a while since I've "The Dead", but I think that one may be a bit more of a reach. The snow, in that one, has a slightly different connotation, right? It has more to do with memory and grief, or something like that.

I liked all the stories I listened to very much. I really liked the imagery in "The Trousseau". I hope we can do that one sometime. Please... please.....Here is a good example of how Chekhov conveys this heavy depressive state of individuals, through showing us and through suggestion/mood...the items in the house and the house itself, from the outside, convey much and show us the psychological state of the occupants. More on this some other day. Sorry to deviate, but it is fresh on my mind and seems to relate to what you have said.

Yeah, in "The Trousseau" it's the house that takes up extra meaning. The narrator feels an overwhelming sadness every time he even passes it. "The Trousseau" is an alright story, but I think it takes a little too long to get to the end. You can kind of see where it's going from the beginning, and the action just too slow for me.

Excellent start, Quark! ...and I can't wait to see those photos. Things like that (historic) truly interest me.

The visual aids help. It particularly helps with Chekhov as I've mentioned. He's notoriously sparing with the details. Talking about these details, he once wrote, "If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go of." This strategy does keep the story on track, I guess. Yet, it does so at the expense of our imagination of the scene. A picture or two can help a bit.

[Janine]

Can only answer this part now....

If the painting is from 1914 that would make it 28 years newer than the story. The emancipation of the serfs takes place a couple of decades before the story, though. "Misery" was written in 1886, and there isn't any information to indicate that the action wouldn't take place contemporaneously. Aside from that, the painting is good. I like the mist that gradually seperates the foreground from the background.

I think the painting was executed in 1914, but this painting is of a scene from 1861, when serfdom was abolished; therefore, the painting would depict a few years prior to the time this story takes place.
At anyrate, it is a nice painting isn't it? I too, love the way the background fades with the snowiness of the scene. It has the mood or feeling of the place, where I would imagine Iona to be but probably more urban and crowded with other sledges, pedestrians, etc.

The word that finally came to mind to me, about "Ethan Frome" and Iona is 'inert' - they both share this bodily/mental attitude of inertia.

[Quark]

I liked the story, but it was..oh..so sad. I liked the idea of the horse and the communication between the man and animal. Some people would agree - animals listen better than humans. I could relate to this story. I sometimes think no one is listening to me.

His horse is definitely more receptive to his story than his passengers. Partly this comes from the horse's subservient position, but it also comes from something deeper. The horse suffers from it's own sadness as well. In that first section is a reflection on the mare's past:

She is probably lost in thought. Anyone who has been torn away from the plough, from the familiar gray landscapes, and cast into this slough, full of monstrous lights, of unceasing uproar and hurrying people, is bound to think.

The separation plunges the horse into the same depressed and contemplative mood the driver is in. Together, they share the same experience of loss, and the snow cover both of them. We see many instances of their like-mindedness in the story:

It is a long time since Iona and his nag have budged.

The sledge-driver clicks to the horse, cranes his neck like a swan, rises in his seat, and more from habit than necessity brandishes his whip. The mare cranes her neck, too, crooks her stick-like legs, and hesitatingly sets of. . . .

And his little mare, as though she knew his thoughts, falls to trotting.

I suppose sympathy is natural from this arrangement, and Iona takes advantage of it at the end. I don't know if the horse gets something out of the deal. I guess some kindness at times. There is one point where a passenger grabs the whip out of Iona's hand because he's not striking the animal hard enough. Of course, this may say more about the passenger than Iona.

Oh, and in case you were wondering. Yes, Chekhov was an animal lover. I think he wrote one story entirely from the perspective of a dog.

[Janine]

Back again, Quark, sorry to keep you waiting so long. I went back to this post, since I had not fully answered it and I will add on your next one to the bottom. I like to be thorough.

I hadn't thought about those parallels with other stories, but I do think they fit. The Ethan Frome reference is probably the closest; the snow is just as oppressive in that story. Both are related to death, too. It's been a while since I've "The Dead", but I think that one may be a bit more of a reach. The snow, in that one, has a slightly different connotation, right? It has more to do with memory and grief, or something like that.

Yes, I agree - the Ethan Frome similarity is closer, especially the way this story opens with the snow piling up on the horse and Iona. I recall in Ethan Frome one of the first times we are presented with his character is in a similiar situation where the snow is emphasised and where he seems oblivious to it covering himself as he sits on his sledge or wagon. I will see if I can look up a passage. This image so struck me and so it came back to me when reading these first lines of "Misery". I wonder if Wharton got the idea for that scene from the Chekhov story. All authors steal ideas, that is nothing uncommon. I think the snow at the end of "The Dead" is like a blanket over the graves of the dead and the frozen waste of death. Yes, therefore I do feel it has a little different connotaion and meaning but perhaps this snow also in "Misery" represents a kind of covering over death in a shell of a person. I believe there was a line in the story to indicate this about Iona. He is technically living but is he really living? He is as the dead, quite cut off from the world of the living; he tries to connect but no one will connect with him or listen to his story but his mare. I will try and look up the exact line or phrase.

Yeah, in "The Trousseau" it's the house that takes up extra meaning. The narrator feels an overwhelming sadness every time he even passes it. "The Trousseau" is an alright story, but I think it takes a little too long to get to the end. You can kind of see where it's going from the beginning, and the action just too slow for me.

I printed out "The Trousseau" last night and I read it again and I found it just seems to hit me in the core of my being. I don't quite know why but the ending is so significant and I feel Chekhov masterfully writes just enough - not too much and not too little. The last lines are perfect. It may be predictable but then again I felt "Misery' was predictable and I notice that Chekhov in both split up the story in segments. I think there were 3 in "Misery" and 3 in "The Trousseau". I liked the imagery in the story of TT...the photos on the wall, one part of the glass cracked, the patterns strewn on the floor, the smell of camphor, the yellowed family portraits....Chekhov shows his adeptness at this type of limited and yet effective detailing. I really think we should discuss this story one of these months. I don't know what you are talking about when you say "it takes a little too long to get to the end" Quark do you have the time span of a 2 yr old? I found the story flew right by, and I am a super slow reader - when I printed it it only took up only 3 1/2 pages. Come on Quark, bend a little for me..... I am becoming a real Chekhov devotee. , thanks to you. I will keep with this thread - promise. We have tons of stories and tons of time to discuss them. I am enthusiated now.

The visual aids help. It particularly helps with Chekhov as I've mentioned. He's notoriously sparing with the details. Talking about these details, he once wrote, "If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go of." This strategy does keep the story on track, I guess. Yet, it does so at the expense of our imagination of the scene. A picture or two can help a bit.

Yes, I like them very much. I think I will hunt for some more online. They make this site a bit more interesting and lively. I am a very visual person being an artist. I like to see the way the time period looked.

Onto your next post:

His horse is definitely more receptive to his story than his passengers. Partly this comes from the horse's subservient position, but it also comes from something deeper. The horse suffers from it's own sadness as well. In that first section is a reflection on the mare's past:

I like the way Chekhov makes the horse part of the characters; in the end he is the only one I really care for asside from poor Iona. I think the way in which Chekhov describes the mare if so tender and also witty and whimsical. Now don't laugh, but the last scene in the stable when Iona is confiding in the horse reminds me of the TV show Mr. Ed. I really love horses and I actually liked that corny show. I recall that the main character, can't recall his name was never listened to by humans and Mr. Ed would listen intensely. I wonder if the producers of that show got their ideas from this Chekhov story. Boy, I have a wild imagination, don't I???
Well, at anyrate what you say about the horse is so true and Chekhov speaks of him as though he were human or another significant character. I love this aspect of this story. Chekhov believes the horse things and muses. I think the story's ending is very endearing although it is sad. Some people would say that it is easier to talk to animals than to humans. Definitely the horse and Iona both suffer isolation and sadness and so find solace in each other's company. I love horses so I love this story.

She is probably lost in thought. Anyone who has been torn away from the plough, from the familiar gray landscapes, and cast into this slough, full of monstrous lights, of unceasing uproar and hurrying people, is bound to think.

In this passage he shows in a few lines the confusion of a busy city and the isolation one feels among such a throng and crowd of impersonal humans.

The separation plunges the horse into the same depressed and contemplative mood the driver is in. Together, they share the same experience of loss, and the snow cover both of them. We see many instances of their like-mindedness in the story:

Yes, definitely so. Good observation.

It is a long time since Iona and his nag have budged.


The sledge-driver clicks to the horse, cranes his neck like a swan, rises in his seat, and more from habit than necessity brandishes his whip. The mare cranes her neck, too, crooks her stick-like legs, and hesitatingly sets of. . . .


And his little mare, as though she knew his thoughts, falls to trotting.

Good examples - thanks for posting those passages. I like the line that says "cranes his neck like a swan" - the white seems to mimic the snow imagery, as well. Beautiful and poetic writing.

I suppose sympathy is natural from this arrangement, and Iona takes advantage of it at the end. I don't know if the horse gets something out of the deal. I guess some kindness at times. There is one point where a passenger grabs the whip out of Iona's hand because he's not striking the animal hard enough. Of course, this may say more about the passenger than Iona.

I think that does say more about the passenger and also contrasts to the fact that Iona is gentle with the horse. He need not hit him hard with the whip to communicate effectively with the mare - they are of like minds and feelings. I think the animal would enjoy the attention of his master at the end of the story. In this rudimentary way the horse gets satisfaction from Iona - even the soft sound of his voice telling him the tale of his son's death would sooth the horse.

Oh, and in case you were wondering. Yes, Chekhov was an animal lover. I think he wrote one story entirely from the perspective of a dog.

That is marvelous to know. Hey, I like the guy already. I didn't know this about Chekhov and like learning more about the author personally. I would love to read that story, from the perspective of the dog. Do you know the name of the story or can you find out?

[islandclimber]

hey you two.. sorry about taking so long to join the discussion, I got back from California on sunday and have just been busy at work...

anyways... I love reading your posts, analyzing and discussing this story and the manner in which Chekhov writes... it allows me to see things that otherwise I may never have seen, shows things in different lights, exposes different layers of the story, though I do agree that this story is not all that complex, but it seems to have its own layers...

so, I think the story's start is quite interesting as well for the kind of passive depression we find the mare and Iona in, and the imagery he uses to illustrate this... I like that some authors delve deeply into character's thoughts and minds, but with Chekhov it is so fitting and interesting that he uses imagery and external allusions, etc. to give us the feelings and the emotions that must be within the character in so many of his stories, we are invited to place ourselves inside the character, without knowing what he/she is thinking or feeling, chekhov guides us into creating our own feelings and emotions for the characters and does so very well...

"She is probably lost in thought. Anyone who has been torn away from the plough, from the familiar gray landscapes, and cast into this slough, full of monstrous lights, of unceasing uproar and hurrying people, is bound to think."

This is one of the most interesting parts of the first few paragraphs for me, as I do see it as referring to both the mare, and to people in general... thrown from the life in the country, that at the time was considered somewhat peaceful, idyllic, simple, to the craze and randomness of the city... it makes one think, almost as though chekhov is saying the simplicity of life in the country doesn't allow for creatures such as Dostoevsky's "underground man" or raskolnikov... there is nothing to think of, nothing to be so acutely conscious of, not so much to worry about, but the in the city this all changes and men and animals go mad, become depressed, thinking...

I love as well how chekhov uses the snow to signify oppression and so passively, for the man would not even shake it off if a regular snowdrift fell on him... it is almost a jibe, or something as such, a remonstration with the poor oppressed class, saying they will never stand up for themselves no matter how badly they are treated... same with the horse, and I think that is one of the ways Chekhov likens the man to the horse in this story... that neither will do anything to get out of oppression, he is suggesting somewhat that the poor and oppressed are like subservient animals and will put up with anything and not really care, take it all calmly, with silent depression.. and this is so much a predecessor to the stories such as "creatures that were once men" by Gorky in this as he goes past this to have these impoverished rebel, and the starting point as I see it is Chekhov in stories such as this... (by the way if anyone is interested in a somewhat longer story, Creatures that were once Men by Gorky would be fascinating to discuss....)

as well with regards to snow, I love how so many stories set in petersburg whether by chekhov or others, they show oppression with snow, or heat, it doesn't matter the season, there is always oppression by the weather as though it is directly compared to the general oppression of the russian people by the tsars... but in petersburg there is always something oppressive in the weather, and one always has reason to escape although only the rich ever do...

"But now the shades of evening are falling on the town. The pale light of the street lamps changes to a vivid color, and the bustle of the street grows noisier."

I find this interesting as well, as chekhov uses it to awaken the story from slumber, and it is so true how as the evening darkens the street lamps gain a colour, and the streets grow busy, it is the night approaching... and now the story really begins, now with this new light, depression is overcome by necessity of action, although as Quark said the sadness remains...

and lastly if you have both read "Crime and Punishment" the contrast between the relationship of driver and horse in this story and the driver and horse in Raskolnikov's dream... it is fascinating, sad sad sad, but fascinating to think about...

cheers.. and thank you for starting on this...

[Janine]

Hello islandclimber, so good to see you have returned. From a mom's point of view let me add, safely. So was climbing great? Hope you had a fabulous time out West. It must have been so pretty.

You are not too late for the discussion. It is going quite well; but it is only the 5th of the month. We still have lots of time for discussing this particular story. Thanks for your compliments and glad the posts helped you to see the story in new perspectives. That is the magic of these discussion groups; we all give each other stimuli and awake ideas we would not have thought of on our own, or if we do think of them and present something, someone else expands further on it, which is quite nice and helpful. We are all here to learn something new.

I wish I could address more of your post right now but I am watching the end of a movie and it is late. I will try and get back to it tomorrow. I just wanted to let you know I read all that you wrote and it is good and observant and I like the things you have pointed out about the story.

islandclimber, I have listened now to almost all of disk one of my audiobook set and I like all the stories. I want to listen tonight to the one you suggested "A Story Without a Title". Kenneth Branagh's narration of this set is quite commendable, and enjoyable to listen to.

I have to go now and will get back to your fine long post tomorrow.

[Quark]

He is as the dead, quite cut off from the world of the living; he tries to connect but no one will connect with him or listen to his story but his mare. I will try and look up the exact line or phrase.

That's an interesting point. He is separated from humanity in the same way the dead are. I'll look for the line that makes this comparison, too.

I printed out "The Trousseau" last night and I read it again and I found it just seems to hit me in the core of my being...I really think we should discuss this story one of these months. I don't know what you are talking about when you say "it takes a little too long to get to the end" Quark do you have the time span of a 2 yr old?

"the Trousseau" is an okay story, but like I said it's kind of obvious. It's pretty easy to see where it's going, and when you get there you're sort of underwhelmed. The details in between seem more like repetition than they do like development. Sorry, I don't mean to be a two-year-old. I just think there are better Chekhov stories out there.

I am becoming a real Chekhov devotee. , thanks to you. I will keep with this thread - promise. We have tons of stories and tons of time to discuss them. I am enthusiated now.

If you want to run out and get a Chekhov book there are a few I could suggest.

I think that does say more about the passenger and also contrasts to the fact that Iona is gentle with the horse. He need not hit him hard with the whip to communicate effectively with the mare - they are of like minds and feelings.

I'll talk a little bit more about the passengers activeness vs. Iona's gentleness in my next post.

I would love to read that story, from the perspective of the dog. Do you know the name of the story or can you find out?

I believe it's called "Kashtanka."

hey you two.. sorry about taking so long to join the discussion, I got back from California on sunday and have just been busy at work...

Glad you're back islandclimber. Feel free to comment on anything we've said so far.

This is one of the most interesting parts of the first few paragraphs for me, as I do see it as referring to both the mare, and to people in general... thrown from the life in the country, that at the time was considered somewhat peaceful, idyllic, simple, to the craze and randomness of the city... it makes one think, almost as though chekhov is saying the simplicity of life in the country doesn't allow for creatures such as Dostoevsky's "underground man" or raskolnikov... there is nothing to think of, nothing to be so acutely conscious of, not so much to worry about, but the in the city this all changes and men and animals go mad, become depressed, thinking...

That's a good observation. Although, it's probably true that Dostoevsky's characters were self-tormented and the horse's contemplation is caused by something external. It's the change from "familiar gray landscapes" to a city "full of monstrous lights, of unceasing uproar and hurrying people" that makes the horse thoughtful, and not something within its own personality.

Later in the story, we'll find that this change mirrors Iona's change from happy father to isolated sledge-driver. Also, it foreshadows the rude and abusive passengers we'll meet later.

and this is so much a predecessor to the stories such as "creatures that were once men" by Gorky in this as he goes past this to have these impoverished rebel, and the starting point as I see it is Chekhov in stories such as this... (by the way if anyone is interested in a somewhat longer story, Creatures that were once Men by Gorky would be fascinating to discuss....)

I actually haven't read Gorky, but maybe I'll have to take a look.

as well with regards to snow, I love how so many stories set in petersburg whether by chekhov or others, they show oppression with snow, or heat, it doesn't matter the season, there is always oppression by the weather as though it is directly compared to the general oppression of the russian people by the tsars... but in petersburg there is always something oppressive in the weather, and one always has reason to escape although only the rich ever do...

You're right. I'm trying to remember a happy story being set in St. Petersburg and I'm drawing a blank. Weather, czars, poverty--it probably wasn't a tourist trap in the nineteenth century.

I find this interesting as well, as chekhov uses it to awaken the story from slumber, and it is so true how as the evening darkens the street lamps gain a colour, and the streets grow busy, it is the night approaching... and now the story really begins, now with this new light, depression is overcome by necessity of action, although as Quark said the sadness remains...

Action and passivity play important roles in the story. I'll post something a little more explanatory in my next post.

and lastly if you have both read "Crime and Punishment" the contrast between the relationship of driver and horse in this story and the driver and horse in Raskolnikov's dream... it is fascinating, sad sad sad, but fascinating to think about...

Do you mean the dream where the driver lashes his horse to death? Ugh, that was a gruesome episode.