Chekhov Short Story Thread

[Janine]

Well, "The Idiot" is my favourite novel of his... both C&P and TBK have better parts, at least philosophically and pyschologically, but "The Idiot" is just such a beautiful story, I love it...

You know it is funny, but you, or Quark, mentioned some critics or other authors really coming down hard on Dostevesky work, and one I know of is D.H.Lawrence. I only read part of his criticism, but I don't think he liked some of Dostoiesvsky's work. I actually think he liked "The Idiot" best but I may be wrong...I will have to review his reviews on the author. I have his book in front of me now - Selected Literary Cristicism. I thought I had the article he wrote about D and "The Grand Inquisitor on my hard-drive (scanned it for a friend), but I can't seem to locate it presently. Of course, some of L's review is outdated now, or a bit harsh (to say the least) and 'over-the-top', but still it is quite interesting to hear the other author's take on D's work. Actually, these criticims have me interested since I like to judge for myself.

Hey, islandclimber, have you read any D.H.Lawrence - if you like, 'pyschological' you may very much like Lawrence. We are discussing his "The Blind Man" in the L short story thread. It is a good story.

"Notes from the Underground" though is a great start.. it is only a hundred pages or so, and is just a fascinating look into Dostoevsky's world... It is a great intro before you go into the bigger novels, as it introduces you to the pyschology and philosophy that is so prevalent behind them... and it is a wonderful read...

Oh good, 100 pages is a start. That way I can at least, sample his work, before I dive right in. I will check and see if my library has it. I am not currently emersed in any classics, although I have been trying to listen to the "Frankenstein" tapes, and casually read a second biography (just for my own enjoyment) on Kenneth Branagh. I love the narration of his "Frankenstein" - you are right. It is quite well done. His voice lends itself well to this sort of Gothic horror story. My favorite other narration is his rendition of "Richard III". I have played those CD's so many times now. He plays the role with a tour de force performance. His live performance onstage must have been something fine to see. His Chekhov readings were very impressive; I just wish he had done more C stories or another full set.

but for something alot shorter, i think in the 30 page range, "Dream of a Ridiculous Man" is quite the story as well, it is much brighter than most Dostoevsky and just incredibly fascinating... If you are interested you could try picking up "Great Short Works of Fyodor Dostoevsky"... I know places like amazon and most books stores have it.. his short works are a great start, though they are all 30 pages plus, up to 150 pages... so nothing super short... just amazing though...

Yeah, another short one would be good to start with. I can check the library for that as well. I have to go there tonight. Thanks for the suggestions, islandclimber. I can deal with both presently. That would not overwhelm me presently. I will try and fit them in soon.

I know what you mean about time though... there are so many authors I want to read but I never get started with for I am always in the midst of something else... I keep meaning to read more modern authors, but except for the occasional flirtation lol, i never have the time, or I forget...

as you said, so many books, so little time...

cheers

I always seem, or most of the time seem, disappointed in truely modern authors, but that is just me. The thing is there are so many classics, I still want to read, and I never experience disappointment when I read one. I inherited a whole set, of about 25 books, of my fathers - all collected works of the great authors and I have hardly scratched the surface. The good thing about this, is that I can sample various classic authors from different countries and this gives me a broader sense of the great works available. I love to read, but I admit I am not an avid reader - I read so slowly. I need to have a goal and then I will be inspired to read something, this is why I usually stick to one author for a time - this provides a goal and incentive for me and I find it works out well. I feel I am progressing on my Lawrence studies and will be quite versed and informed in his work. Being innately an artist myself, his work especially appeals to me, since it often involves nature or naturalistic elements. I felt the same about Hardy, because his work is pastoral, and yet pychological. 'Pychological' is probably first on my list, so I am sure I would enjoy D's work emormously.

[Quark]

Of course 'misery' is hardly something one wants to be one with and yet is is like this 'misery' is hidden within Iona and until realised and talked about with another human being, he cannot rid himself of it, or rather accept it and heal and move on from it. He cannot rid himself of it's dire effect upon him. I almost think of the 'misery', Iona's 'misery' as a personification, in this instance. It is an 'evil' thing that hides away inside of the 'insignificant shell' which is Iona, eating away at his fragile life and being.

You think that he will heal if he can express his sadness? I don't know. Is there anything to indicate that? Something tells me that even if he could yell it over a loud speaker he would still be just as down. What would change, though, is that he wouldn't be alone. That seems to be what's eating away at him. He wants sympathy. Chekhov says that, "He wants to describe the funeral, and how he went to the hospital to get his son's clothes. He still has his daughter Anisya in the country. . . . And he wants to talk about her too. . . . Yes, he has plenty to talk about now." It isn't only that he wants to lament about his son passing away. He also wants to talk about his daughter and everything else. I get the idea that he just wants to talk, and his son's death just happens to be the thing on his mind.

This last statement I find curious, as well. If Iona were to be able to reveal this secret misery, why would no one be able to seek it out? or does this mean it is too emense for anyone to truly comprehend?

Others couldn't find his misery with candle by daylight because "It has found a hiding-place in such an insignificant shell" not because it's so immense. I think that's what he means.

This is interesting, Quark, I do wonder where his skepticism and his cynisism at times comes from? I was thinking I should read more about him biographically. I think many of the Russian authors I find difficult because I have not been fully exposed to their history and so I can't always see where the ideas were formed. What you have layed out in this paragraph makes a lot of sense to me. I find this part helpful and intersting.

By all means, read up some on Chekhov. You have a knack, or a skill, or a whatever you want to call it, for biography, and it would help to have someone to answer questions about the person, Chekhov. I only know what I've picked up in introductions or criticism.

If you notice in Chekhov, as in Lawrence short stories, there are often 3 parts to the story, sometimes more.

Hmm, I haven't thought too much about the structure yet. How do you divide this story? I only see two parts: one on the road and the other at the yard.

How? We don't have a poll voting section here. Usually, in Lawrence thread, it is either Virgil or I who do the choosing, since we are the only ones who know the stories.

No, we don't have a poll, although we could get one. I just meant that I do want to hear what stories people are interested in reading. I have my favorites, but they may not appeal to everyone's taste.

That is nice of you. Maybe we could make an exchange with the audio CD set copies. Do you have two of the same book or something? or an older one you don't use? Last I looked on Amazon (yesterday) the Chekhov books were through the roof; are you kidding? Some were as high as 35 dollar for a used paperback;

LitNet has a huge selection of Chekhov titles online, so undoubtedly you'll be able to find whatever story we end up doing there. Amazon does have some cheap used books which have almost all the stories I would think of doing. Here's a good one that sells for $2.49 and up: http://www.amazon.com/gp/offer-listi...185302&sr=8-12. I was mulling over just spending $20 or whatever to buy four or five books I could just use as textbooks for people interested in the thread.

So 'Sleephead' is not the same story as 'Sleepy'? I thought like with Lapdog the titles might vary with the translation. I listened to a story last night called 'The Beggar' and it spoke of him saying he claimed to be a student so I wondered if this was also called 'The Student'. I will have to do some online research into this today. Yes, babysitting sounds kind of feminine.

Sleepyhead and Sleepy are the same story. "The Beggar" is separate from the "The Student" though. I'm using the titles the way they're listed on LitNet. If you're not sure about name, just compare it with the stories here: http://www.online-literature.com/anton_chekhov/

Oh sorry, sorry...I didn't mean for you to take it personally....I was only giving my own opinion and actually my first impressions on the author.

Ha, no, I wasn't taking it personally. Just being the Chekhov leader and all, I have to defend the author we're reading. You are right that most people do not list Chekhov as one of their favorite authors--there are only two that I know. But, a lot of that comes from the fact that he only wrote short stories and plays. The dominant literary genre is the novel by far, and short stories--like the ones Chekhov wrote--are considered to be an amateurish medium. This is just one of the prejudices of the day, and unfortunately it hurts the reputations of short story writers--even ones that are often considered to be the best at it like Chekhov.

[Janine]

You think that he will heal if he can express his sadness? I don't know. Is there anything to indicate that? Something tells me that even if he could yell it over a loud speaker he would still be just as down. What would change, though, is that he wouldn't be alone. That seems to be what's eating away at him. He wants sympathy. Chekhov says that, "He wants to describe the funeral, and how he went to the hospital to get his son's clothes. He still has his daughter Anisya in the country. . . . And he wants to talk about her too. . . . Yes, he has plenty to talk about now." It isn't only that he wants to lament about his son passing away. He also wants to talk about his daughter and everything else. I get the idea that he just wants to talk, and his son's death just happens to be the thing on his mind.

Quark, I have to make this speedy, since I went to my library and got a few movies I really want to view tonight - newer ones came in, ones I am dying to see. Yay...and best part is they are free.

Well, it is questionable, if Iona could actually begin to heal the wounds of his loss, but I think he would be greatly helped by any human contact. I knew it would be a long shot, that he could ever get over his loss. I don't honestly think he could, but it is amazing how, if a person can talk of it, how different it can become for that person. I knew this lady, whose son was very tragically killed in a car crash with 6 friends. The details were gruesome, in that the car burst into flames. The lady's husband shut down to her and she was a very contained and lonely, being such a reserved person herself, but one day she broke down and told us her story; she revealed all her grief, so to speak. I really could see such a dramatic change in this woman, when she could connect with other people, on a sympathetic and emotional level. It all depends on how much of a connection Iona would make, but the thing is he was employing 'strangers' to listen to his story, and not close 'friends'; therefore, I don't think, in the long run, it would have helped him a great deal. It might have been a quick fix for him or a little bit of temporary relief from his misery, but the grief would always remain with him. How could it be otherwise?
Yes, I agree - the isolation and the aloneness is the main theme of this story and the fact that poor Iona cannot find a shred of relief from his misery from any human being. What does that say about mankind in general. The lack of compassion of the masses perhaps; people too busy and careless to care about a poor soul who carried the weight of such grief in his heart? I think it says much in a universal way.

Others couldn't find his misery with candle by daylight because "It has found a hiding-place in such an insignificant shell" not because it's so immense. I think that's what he means.

Ok, I understand that now. However, it is emense and probably infinite as well. Losses like that of a son or daughter never leave a person and remain until they also go to their grave. I am sure of it. One can never truly get over a loss as emense as that.

By all means, read up some on Chekhov. You have a knack, or a skill, or a whatever you want to call it, for biography, and it would help to have someone to answer questions about the person, Chekhov. I only know what I've picked up in introductions or criticism.

You flatter me too much, Quark; but it is true that I have an avid curiosity about author's lives in relation to their works. I like reading all kinds of biographies in fact and wish I had more time to do so. I love delving far below the mind of these individuals and I become facinated always with their incredibly interesting lives. Yes, you could just call me a snoop. It is like spying and prying into their personal lives and solving a mystery - what makes them tick.

Hmm, I haven't thought too much about the structure yet. How do you divide this story? I only see two parts: one on the road and the other at the yard.

Well, what I think I was thinking of was the three sets of strangers he encounters and tries to tell his story to....but then in the beginning and the end would be two other parts when he is alone with only the little mare. So perhaps I would think of the beginning as the introduction, the meeting of three sets of strangers who won't listen to him as the 3 parts and the conclusion, again Iona alone with his mare. If you prefer you could say the story is divided into 5 parts.

No, we don't have a poll, although we could get one. I just meant that I do want to hear what stories people are interested in reading. I have my favorites, but they may not appeal to everyone's taste.

How can we get one if we do separate stories each month unless we just informally settle it between ourselves - we could do that. We could all suggest one and then vote on one informally in the thread. True, that your favorites might not appeal to all of us but we can try some of them and see. What really do we have to loose? I am game for anything you suggest as long as it is not terrifically long and overwhelming or I just can't find the text anywhere.

LitNet has a huge selection of Chekhov titles online, so undoubtedly you'll be able to find whatever story we end up doing there. Amazon does have some cheap used books which have almost all the stories I would think of doing. Here's a good one that sells for $2.49 and up: http://www.amazon.com/gp/offer-listi...185302&sr=8-12. I was mulling over just spending $20 or whatever to buy four or five books I could just use as textbooks for people interested in the thread.

Yes, I checked the Chekhov page in Lit Net and there are a lot listed. I don't mind printing them out either - currently I just need a new set of printer cartridges to do so. I print on rough draft and so conserve the ink. I may invest in that book. It looks like a good one and there seems to be a few good ones used that are listed. Thanks for the link. I put that book into my wishlist to order it soon. I wish they listed what stories are in that volume. I will check that link and page again - maybe they do.

Sleepyhead and Sleepy are the same story. "The Beggar" is separate from the "The Student" though. I'm using the titles the way they're listed on LitNet. If you're not sure about name, just compare it with the stories here: http://www.online-literature.com/anton_chekhov/

Oh good; I thought they might be. I did check "The Student" online and found the text which I have already copied to my hard-drive, and see it is not the same story. That is fine. I have the story now so we could discuss that one if you want to. Both sound good. Maybe for next month - it is a thought.

Ha, no, I wasn't taking it personally. Just being the Chekhov leader and all, I have to defend the author we're reading. You are right that most people do not list Chekhov as one of their favorite authors--there are only two that I know. But, a lot of that comes from the fact that he only wrote short stories and plays. The dominant literary genre is the novel by far, and short stories--like the ones Chekhov wrote--are considered to be an amateurish medium. This is just one of the prejudices of the day, and unfortunately it hurts the reputations of short story writers--even ones that are often considered to be the best at it like Chekhov.

Yes, 'Chekhov leader' True about him only writing plays and short stories and how most people view that; these authors do get slighted. I, for one, do not think them less of an author by sticking to the short story and play forms, and so I think Chekhov's work is well worth the effort to explore. I liked all the stories, I listened to the other night; true some more than others. I found "In the Ravine" heartbreaking. It was certainly an interesting story though. I think, honestly, it might be harder to accomplish a good short story than a novel. One only has so much time and paper to express so much. The author must be a real artist of sorts to say so much in so few pages. I didn't use to like short stories as well but now I have come to appreciate them more and more. I like Lawrence short stories emensely and have read other authors I felt mastered the art of short stories. Chekhov's work is very impressive and he certainly was a ambitious author of short stories. How many did he write in all? Do you know, Quark ?

[Quark]

It seems like we're almost done with this story, so I'll post the ending and give everyone one last shot at it before we move on. Iona makes it back to the yard and finds everyone asleep except one half-aware person who asks him for water. The driver makes one last attempt to connect with people:

"May it do you good. . . . But my son is dead, mate. . . . Do you hear? This week in the hospital. . . . It's a queer business. . . ."

Iona looks to see the effect produced by his words, but he sees nothing. The young man has covered his head over and is already asleep. The old man sighs and scratches himself. . . . Just as the young man had been thirsty for water, he thirsts for speech. His son will soon have been dead a week, and he has not really talked to anybody yet . . . . He wants to talk of it properly, with deliberation. . . . He wants to tell how his son was taken ill, how he suffered, what he said before he died, how he died. . . . He wants to describe the funeral, and how he went to the hospital to get his son's clothes. He still has his daughter Anisya in the country. . . . And he wants to talk about her too. . . . Yes, he has plenty to talk about now. His listener ought to sigh and exclaim and lament. . . . It would be even better to talk to women. Though they are silly creatures, they blubber at the first word.

"Let's go out and have a look at the mare," Iona thinks. "There is always time for sleep. . . . You'll have sleep enough, no fear. . . ."

He puts on his coat and goes into the stables where his mare is standing. He thinks about oats, about hay, about the weather. . . . He cannot think about his son when he is alone. . . . To talk about him with someone is possible, but to think of him and picture him is insufferable anguish. . . .

"Are you munching?" Iona asks his mare, seeing her shining eyes. "There, munch away, munch away. . . . Since we have not earned enough for oats, we will eat hay. . . . Yes, . . . I have grown too old to drive. . . . My son ought to be driving, not I. . . . He was a real cabman. . . . He ought to have lived. . . ."

Iona is silent for a while, and then he goes on:

"That's how it is, old girl. . . . Kuzma Ionitch is gone. . . . He said good-by to me. . . . He went and died for no reason. . . . Now, suppose you had a little colt, and you were own mother to that little colt. . . . And all at once that same little colt went and died. . . . You'd be sorry, wouldn't you? . . ."

The little mare munches, listens, and breathes on her master's hands. Iona is carried away and tells her all about it.

So, what did everyone think? Good story? Too sad? The next story is "Oh! The Public" which you can find here: http://www.online-literature.com/anton_chekhov/1140/. I'll start posting on it either tomorrow or Thursday depending on whether there's still discussion on this story.

Janine, I can PM you some more information about books if you want. If you're going to stick with us on the thread, you should get a book one way or another.

[Janine]

It seems like we're almost done with this story, so I'll post the ending and give everyone one last shot at it before we move on. Iona makes it back to the yard and finds everyone asleep except one half-aware person who asks him for water. The driver makes one last attempt to connect with people:

Ok, thanks for posting that last part of the story.

So, what did everyone think? Good story? Too sad? The next story is "Oh! The Public" which you can find here: http://www.online-literature.com/anton_chekhov/1140/. I'll start posting on it either tomorrow or Thursday depending on whether there's still discussion on this story.

I liked the story very much. Of course, it was terribly sad, but it was well written, artfully constructed, and very sensitive and I especially liked the ending. I like the line about 'munching and listening, and breathing on his master's hands.' That part was very endearing.

I already listened to 'Oh! The Public' several times, so I am well prepared and I copied the online text to my hard-drive and made a shortcut to my desktop. I am ready to move on, whenever you are.

Janine, I can PM you some more information about books if you want. If you're going to stick with us on the thread, you should get a book one way or another.

Ok, but first I am going to hunt through my books. I just might have a Chekhov book of stories, in my father's old collection. Also I counted the stories in this library book and there were approximately 80 stories in this very thick volume. I asked you how many Chekhov wrote in his lifetime. I can't understand why I don't have the stories available in this book unless some are titled differently in this translation. The book you directed me to on Amazon had a little over 80 stories, so what am I missing here?

Quark, you never did comment or tell me what you thought of my idea of the stories having divisions or section. Here is what I wrote from my last post:

Well, what I think I was thinking of was the three sets of strangers he encounters and tries to tell his story to....but then in the beginning and the end would be two other parts when he is alone with only the little mare. So perhaps I would think of the beginning as the introduction, the meeting of three sets of strangers who won't listen to him as the 3 parts and the conclusion, again Iona alone with his mare. If you prefer you could say the story is divided into 5 parts.

[islandclimber]

I thought the story was quite good.. quite interesting too...

I have to admit... I do like longer stories better... which is why I'm more inclined to some of Chekhov's works that are a bit longer, though still short stories...

but of the short ones, this is one of my favourites.. like Janine I love the ending, and the way the Mare breathes on Iona's hands, giving him the comfort that no human being possibly could... Only in Chekhov of all the great russian writers do you see humanity finally found in animals, and that is one of the reasons I like his work so much... for Chekhov always seems so disillusioned with people on the whole... there are occasional glimpses of compassion from human to human, and of good and beauty between people, but not often.. he was quite melancholy I believe.. (kind of like me )

another part of the ending I found interesting is how he puts it that his son has died "he went and died for no reason"... what do you take from this... he's blaming someone here.. but I don't want to say Chekhov, is... putting a harsh flaw into Iona, one at odds with the rest of his character... it almost seems like Chekhov in making Iona so sad and disillusioned has shown wha it can do to someone, and has him blame his son for dying, as though he just died when he could have avoided it or didn't have to... for there was no reason???? or not,.,... just an idea... I found the wording interesting.... anyhow...
Janine I like your division of the story into five parts, that seems right to me...

[Janine]

I thought the story was quite good.. quite interesting too...

I second that thought!

I have to admit... I do like longer stories better... which is why I'm more inclined to some of Chekhov's works that are a bit longer, though still short stories...

I like a little longer story, as well. I like several we have discussed in Lawrence thread that have been longer. Just curious, islandclimber, have you read 'In The Ravine'? I listened to the CD of that story the other night; I really liked it emensely. I was struck by several incidents, that I can't stop thinking about. I know it is a lot longer and nearly a novella, but I wondered what you thought of it. You said you had read several of the stories that I listed from my set, that being one of them. By the way, I liked the story you recommended - 'Story Without a Title'. I also liked 'Children' - anyone read that one yet?

but of the short ones, this is one of my favourites.. like Janine I love the ending, and the way the Mare breathes on Iona's hands, giving him the comfort that no human being possibly could... Only in Chekhov of all the great russian writers do you see humanity finally found in animals, and that is one of the reasons I like his work so much... for Chekhov always seems so disillusioned with people on the whole... there are occasional glimpses of compassion from human to human, and of good and beauty between people, but not often.. he was quite melancholy I believe.. (kind of like me )

This story was excellent and more so being discussed. I saw so much more than I had on my first reading. I like to go back now and listen or read it again. It seems I see more (maybe in between the lines) than I had previously perceived. For a small story there is a lot there. I also love the tenderness expressed by the use of the animal/human connection. I believe that animals have this innate build-in sense that we cannot fully understand and that they do truly connect with us on a deeper level of emotion. Hey, Quark, maybe it is the 'blood consciousness' that Lawrence speaks of so often. Because animals cannot rely on vocabulary and speech they communicate in a far more advanced way than humans can perceive. I really believe that to be true.

another part of the ending I found interesting is how he puts it that his son has died "he went and died for no reason"... what do you take from this... he's blaming someone here.. but I don't want to say Chekhov, is... putting a harsh flaw into Iona, one at odds with the rest of his character... it almost seems like Chekhov in making Iona so sad and disillusioned has shown wha it can do to someone, and has him blame his son for dying, as though he just died when he could have avoided it or didn't have to... for there was no reason???? or not,.,... just an idea... I found the wording interesting....

You know, I found that line interesting, too; I believe he repeats that several times throughout the story, when Iona is trying to talk to the various secondary characters and then with his horse. I do wonder about the meaning or what Chekhov intended by it; Chekhov obviously has been emphasising the statement, since he used the repetition for some appropriate and meaningful reason. I think that it indicates the idea of the futility of death or the way we have no power over death. His father (Iona) sees that he (his son) died for no reason. Soldiers or martyrs would die for a reason, but when someone is ill and dies suddenly like that, I think one does look for a scape-goat (someone to blame) and a reason, but there is none. It is a great frustration in the face of natural death (disease). It is a fact of life that these things do exist and occur, but they are always so hard to understand and to accept. Also, when we see a youth die so suddenly and know not the true cause of his death, I am sure we are faced with the fact of our own 'mortality', and the stark fact that indeed death can knock at anyone's door anytime. I don't mean to be morbid about this, but I think that most likely Iona, is faced with these stark realities and he has no one to confide them to, so turning inward he is harboring a deep misery.

anyhow...
Janine I like your division of the story into five parts, that seems right to me...

Glad you agreed. I sort of think in this vain since we have been doing the Lawrence short stories. He often divides them up into definite parts or stages, too - usually 3.

[Quark]

I liked the story very much. Of course, it was terribly sad, but it was well written, artfully constructed, and very sensitive and I especially liked the ending. I like the line about 'munching and listening, and breathing on his master's hands.' That part was very endearing.

but of the short ones, this is one of my favourites.. like Janine I love the ending, and the way the Mare breathes on Iona's hands, giving him the comfort that no human being possibly could... Only in Chekhov of all the great russian writers do you see humanity finally found in animals, and that is one of the reasons I like his work so much

The horse really seems to have got to you guys. For me, I actually like the more tragic parts of the story. My favorite part was the end when the last person Iona talks to falls asleep. I thought that was even more callous than the people who abused him. At least with the insulting customers Iona had some company. The last person just takes what he wants from Iona and then ignores him. The line "Iona looks to see the effect produced by his words, but he sees nothing. The young man has covered his head over and is already asleep" was the best. Just the "he sees nothing" is quite powerful.

I asked you how many Chekhov wrote in his lifetime. I can't understand why I don't have the stories available in this book unless some are titled differently in this translation. The book you directed me to on Amazon had a little over 80 stories, so what am I missing here?

Chekhov had a mania for the short story. He wrote hundreds of these things. We won't read them all obviously, so you only need a book with 40 or 50 of the good ones. The collection I pointed to on Amazon has forty, and it has four of the best which I know we have to do.

Quark, you never did comment or tell me what you thought of my idea of the stories having divisions or section. Here is what I wrote from my last post:

Janine I like your division of the story into five parts, that seems right to me...

You'll have to explain to me how you count five. I thought you were arguing for three. Usually, structure is broken up into parts with distinct moods or parts that represent different stages in the development of the plot. What one considers a stage of development or a distinct mood is always a subject for debate, though.

I have to admit... I do like longer stories better... which is why I'm more inclined to some of Chekhov's works that are a bit longer, though still short stories...

We have typically done longer stories on the thread, but this was a good experiment with one of the shorter ones. Next month's story will probably be longer. Hopefully, we'll get done early so people will have time to read.

another part of the ending I found interesting is how he puts it that his son has died "he went and died for no reason"... what do you take from this... he's blaming someone here..

Iona isn't blaming anyone here. If he is, maybe it's God he's blaming. I read that quote as Iona commenting on the randomness and senselessness of his son's death. Characters in tragedies often lament the inscrutability of their misfortune. This is another one of those devices to heighten the sadness of the story. If Iona's son had died for a reason, then he could take comfort in that reason. Without it, there's no solace. He's just left contemplating the death over and over again with no progress because there's no reason behind it. Like I said, this is a commonplace in tragedy. Moby Dick, which Melville tries to frame as the model of all tragedies, has Ahab constantly raving about the inscrutability of the whale which is the agent of fate and Ahab's antagonist. If Ahab could understand the whale, then much of the tragedy would be lost because he then could weigh his options rationally and make an informed decision instead of being the pawn of fate.

I like a little longer story, as well. I like several we have discussed in Lawrence thread that have been longer. Just curious, islandclimber, have you read 'In The Ravine'? I listened to the CD of that story the other night; I really liked it emensely. I was struck by several incidents, that I can't stop thinking about.

That one may be beyond the attention span of the casual reader. It is an enjoyable read, no doubt, but for it's length it doesn't reach the pitch of emotion that stories like "Sleepy" or "About Love" reach, nor does it is cleverly written as stories like "The Student" or "Gooseberries." These stories are easy reads and quite good, so I suggest we take what we can get from the more accessible stories before we move onto to 40 pagers like "In the Ravine." I'm glad you liked that one, though, because that means I think you'll really like the other ones I listed.

This story was excellent and more so being discussed. I saw so much more than I had on my first reading. I like to go back now and listen or read it again. It seems I see more (maybe in between the lines) than I had previously perceived.

Thanks, Janine, you know that's what I want to hear.

Hey, Quark, maybe it is the 'blood consciousness' that Lawrence speaks of so often. Because animals cannot rely on vocabulary and speech they communicate in a far more advanced way than humans can perceive. I really believe that to be true.

Maybe Iona feels comfortable with the "animal grossness" like Maurice. Could be. Maurice and Iona do share something. They both gain something from their losses. Maurice gains that "blood consciousness" we talked about in the Lawrence discussion, and Iona gain the sympathy and gentleness we've talked about in this discussion.

I think that it indicates the idea of the futility of death or the way we have no power over death. His father (Iona) sees that he (his son) died for no reason. Soldiers or martyrs would die for a reason, but when someone is ill and dies suddenly like that, I think one does look for a scape-goat (someone to blame) and a reason, but there is none. It is a great frustration in the face of natural death (disease).

I repeated something like this above. You're right, the pointlessness is a frustration.

[Janine]

The horse really seems to have got to you guys. For me, I actually like the more tragic parts of the story. My favorite part was the end when the last person Iona talks to falls asleep. I thought that was even more callous than the people who abused him. At least with the insulting customers Iona had some company. The last person just takes what he wants from Iona and then ignores him. The line "Iona looks to see the effect produced by his words, but he sees nothing. The young man has covered his head over and is already asleep" was the best. Just the "he sees nothing" is quite powerful.

Yeah, I guess we are either animal lovers or horse lovers. I can't help but think of the old TV show "Mr. Ed" - was so corny, but I remember as a kid, just loving that horse and the fact that, at least Ed listened to his owner, when no one else would. I also, have a weakness for animal movies, especially horse films and novels such as "Black Beauty" "National Velvet" and "Seabiscuit". I guess I am sentimental that way.
Quark, now you seem to gravitate more to the very deeply sad areas of the story and the tragic. I am a tragic addict myself at times, so I can relate, but in these Chekhov stories all of the story is so sad throughout and the tone being so, I look for any little ray of light I can find. I guess, basically, I am an optimist.
I do definitely agree with you about that scene when the last young man totally ignores him and goes back to sleep. Yes, that is the worst offense of all - being ignored and disregarded entirely, as though you were invisible or your words fell on deaf ears. I also like that line very much - "Iona looks to see the effect produced by his words, but he sees nothing". Yes, that is quite powerful and Chekhov's timing of that phrase is perfect to the story and that particular moment in Iona's existence.

Chekhov had a mania for the short story. He wrote hundreds of these things. We won't read them all obviously, so you only need a book with 40 or 50 of the good ones. The collection I pointed to on Amazon has forty, and it has four of the best which I know we have to do.

Ok, I think I now figured out my book from the library. Many of the stories are much longer and require a number of chapters and I was counting those titles in the index as separate stories so they totaled nearly 80. I still need to search to see if I already do own a Chekhov book. Where I keep my books is dark and I needed a flashlight to read the titles. I found one now so I have to go on the search. I must have a Chekhov book! If not then I will invest in the one you pointed out to me on Amazon. I just hate the steep shipping anymore one pays even on used books. I also got burned once on a used book which came to me moldy smelling. I paid too much for it because it was rare. So far I have gotten along ok without a C book so I think I can come up with the texts online. If not I will then send for that book. I also think the library owns another version of the collected Chekhov stories - the one featuring "The Lady and the Lap Dog" because I recall having that one checked out at one time. That may have the other stories we need. You should email me and tell me ones you will suggest in the future.

You'll have to explain to me how you count five. I thought you were arguing for three. Usually, structure is broken up into parts with distinct moods or parts that represent different stages in the development of the plot. What one considers a stage of development or a distinct mood is always a subject for debate, though.

Well, I suggested that when Iona and the mare were alone - beginning and end of the story could in this case be a sort of introduction and then a conclusion; between were three distinct parts where Iona tried to connect with other human beings to tell his story. Therefore you could say the story is in 3 with introduction and conclusion, or if you prefer 5 parts.
When Chekhov writes longer stories then he splits them up into distinct chapters. There seemed to be a progression in this story almost like it were told as a fable.

We have typically done longer stories on the thread, but this was a good experiment with one of the shorter ones. Next month's story will probably be longer. Hopefully, we'll get done early so people will have time to read.

Definitely so and this month I needed the shorter ones to keep up with everything. I had too many other threads I was involved in simultaneously and then again...there is real life to attend to, you know....

Iona isn't blaming anyone here. If he is, maybe it's God he's blaming. I read that quote as Iona commenting on the randomness and senselessness of his son's death. Characters in tragedies often lament the inscrutability of their misfortune. This is another one of those devices to heighten the sadness of the story. If Iona's son had died for a reason, then he could take comfort in that reason. Without it, there's no solace. He's just left contemplating the death over and over again with no progress because there's no reason behind it. Like I said, this is a commonplace in tragedy. Moby Dick, which Melville tries to frame as the model of all tragedies, has Ahab constantly raving about the inscrutability of the whale which is the agent of fate and Ahab's antagonist. If Ahab could understand the whale, then much of the tragedy would be lost because he then could weigh his options rationally and make an informed decision instead of being the pawn of fate.

Yes, perhaps he is blaming God or fate or some unseen evil that took his son from him. Perhaps he cannot name the object of his blame. I believe that and that just adds to his frustration. If there is no reason or closure to his grief he can never find solace or comfort. The misery is like a disease that will eat away at the poor soul.
I like your analogy to Moby Dick although I have never read the book. Yes, I have never read any Melville either - I know, shame on me. Someday I will get around to reading it. I know it is a great book.

That one may be beyond the attention span of the casual reader. It is an enjoyable read, no doubt, but for it's length it doesn't reach the pitch of emotion that stories like "Sleepy" or "About Love" reach, nor does it is cleverly written as stories like "The Student" or "Gooseberries." These stories are easy reads and quite good, so I suggest we take what we can get from the more accessible stories before we move onto to 40 pagers like "In the Ravine." I'm glad you liked that one, though, because that means I think you'll really like the other ones I listed.

You think so. I found it fascinating. I guess I have a good attention span then. I probably will enjoy "Sleepy and "About Love" if you say they share some similarities. The others you mentioned I am sure will interest me, as well.

Thanks, Janine, you know that's what I want to hear.

Glad you agree and are pleased. See, Quark, you doubted your own leadership skills. You did a good job, to begin with, reviving this thread. It just takes time to get it established and running smoothly on a monthly basis.

Maybe Iona feels comfortable with the "animal grossness" like Maurice. Could be. Maurice and Iona do share something. They both gain something from their losses. Maurice gains that "blood consciousness" we talked about in the Lawrence discussion, and Iona gain the sympathy and gentleness we've talked about in this discussion.

Do you think it is grossness or earthiness or naturalism? I don't think that Lawrence felt his "blood consciousness" was gross at all. I think he felt it was of the natural world, untainted by mind and man in his desire for power in the world such as industrial and captitalism. I do think Iona is comfortable with the animal and the way it lives and he feels an affinity with that world as well. Yes, he gains the gentleness and sympathy from the animal who can sense what Iona is saying and confiding in him. Animals know when a person is upset or in turmoil. I definitely think animals try to sympathise with those emotions. Dogs do so all the time; hey, man's best friend!

I repeated something like this above. You're right, the pointlessness is a frustration.

Exactly. It is a touch thing to accept when there seems to be no reason or no logic to it.

Seems like we covered the story rather thoroughly. It was a good discussion everyone. I enjoyed it very much. I guess we can move onto the next interesting story.


Quark, if you feel inclined to do so, do post something about the next story, so that we can get started soon. When would you want to start to discuss it?

[Quark]

I guess we can move onto the next interesting story.


Quark, if you feel inclined to do so, do post something about the next story, so that we can get started soon. When would you want to start to discuss it?

Good idea.

The next story is called "Oh! The Public!" The full text of the story can be found here at http://www.online-literature.com/anton_chekhov/1140/. It begins with the ticket collector, Podtyagin (no idea how that's pronounced), giving himself a pep talk that's filled with the personal changes he'd like to make. Chekhov records the self-starter's thoughts like this:

"HERE goes, I've done with drinking! Nothing. . . n-o-thing shall tempt me to it. It's time to take myself in hand; I must buck up and work. . . You're glad to get your salary, so you must do your work honestly, heartily, conscientiously, regardless of sleep and comfort. Chuck taking it easy. You've got into the way of taking a salary for nothing, my boy -- that's not the right thing . . . not the right thing at all. . . ."

It's unclear whether these first words are spoken out loud, mumbled, or simply thought; but, what does come through is the hope and enthusiasm. The exclamation points, pauses, and even the drawn-out way he says "n-o-thing" all show how jittery he is about this new plan. He certainly wants to reform, but one wonders who whether he's really sure he can change. There's an uncomfortableness that comes through with these words that is beyond just excitement. The rest of the story follows Podtyagin as he applies this plan to his life. He fails. You kind of see it coming, but it's funny, somewhat tragic, and a good read. I hope everyone likes the story...

[Janine]

Good idea.

The next story is called "Oh! The Public!" The full text of the story can be found here at http://www.online-literature.com/anton_chekhov/1140/. It begins with the ticket collector, Podtyagin (no idea how that's pronounced), giving himself a pep talk that's filled with the personal changes he'd like to make. Chekhov records the self-starter's thoughts like this:

Good introduction to the story Quark. I am glad I checked in to see if anything had progressed. Thanks for starting the new story off.
I know how to say the name, since I heard it pronounced on my audio cd. I will have to listen again and see if I can tell you, phonetically, how to pronounce it. I am so poor at pronouncing foreign names, especially the Russian ones, I was glad to hear it pronounced for me, for a change.
Good first lines to kick-off the discussion. (notice I used guy expressions, like kick-off. )

It's unclear whether these first words are spoken out loud, mumbled, or simply thought; but, what does come through is the hope and enthusiasm. The exclamation points, pauses, and even the drawn-out way he says "n-o-thing" all show how jittery he is about this new plan. He certainly wants to reform, but one wonders who whether he's really sure he can change. There's an uncomfortableness that comes through with these words that is beyond just excitement. The rest of the story follows Podtyagin as he applies this plan to his life. He fails. You kind of see it coming, but it's funny, somewhat tragic, and a good read. I hope everyone likes the story...

Of course, on the audio cd, they are spoken aloud so I took it that they were not just interior thoughts. Also they seem to be delivered with so much animation and expression that I felt they were spoken out loud. I felt that Podtyagin was indeed speaking to himself out loud, with no one else around. Doesn't everyone talk to themselves? I know I do it often. They say it is ok, as long as you don't answer yourself.
Yes, right away I too wondered about the drawn out way that P spoke certain words; he does indeed, seem 'unsure' of his new convictions. Also, the reading comes off as comical and one senses what will ensue for the ticket collector in the day(s) to come. You just know that 'the best layed plans of mice and men often go astray'...I hope that is the right quote. I enjoyed this story very much, but I will relisten to it and also read the text once again. It was a very good read.

[Pensive]

Welcome to the discussion Pensive.

Thanks for the welcome, islandclimber.

the very end is quite sad... I agree Pensive... I love the part about Iona "fidgeting on the box as though he were sitting on thorns" as well... it is such a vivid portrayal of the agony and restlessness grief can inspire... (I would love to learn russian as well and read the original language of so many of the country's writers)...

Yes, Russian literature seems like fun. There are so many of them I haven't tried yet but want to.

but the ending again, it is quite beautiful, and so sad... but as I mentioned above, Chekhov uses something very simple, very small to kind of show a silver lining one might say (for lack of better term lol)... the mare breathing on Iona's hands as she munches hay and listens... it provides a sense of comfort right in the closing of the story, the warm breath of the mare seems to inspire a degree of warm feeling in me... it seems to say that, though the sadness can't be overcome, it can be beautiful, it can have moments full of compassion, and companionship alongside... and warmth in the heart just not in the mind...

Heh no problem. The term 'silver lining' quite fits here actually. Yes, the ending was poingnant.

Welcome to the thread Pensive. I'm glad you liked the story; and, if you think the symbolism and language was good in this story, wait until we read "The Student." One of my favorite lines from that story: "'The past,' he thought, 'is linked with the present by an unbroken chain of events flowing one out of another.' And it seemed to him that he had just seen both ends of that chain; that when he touched one end the other quivered." Stay with us Pensive. We're just getting started here. And, by the way, which stories did you read before? Anything good?

Thank you Quark for the warm welcome! I quite plan to visit it now and then (though I daresay I might not be able to take part as a regular).
Wow that's a really meaningful, and true in my opinion. Past and present are so much linked. Just a thought of a memory can make a day go like hell nor it can be let go of. Neat lines.
I read A Classical Student, Joy, Fat and Thin, A Tragic Actor. Oh! The Public and An Enigmatic Nature. I quite enjoyed each but most of all liked Fat and Thin and Oh! The Public because of their idea.

I am glad I am back. I know you have been through this, Pensive, being cut off from computers, electric, heat, etc. Now I can fully appreciate what you go through.

Thank you Janine for being so understanding. Yes electricity is a huge problem here these days...

I noticed that Chekhov used in the 'sitting on thorns', or 'fidgeting on thorns,' part in another of his short stories. I will check it out and see which one. I found it curious that he would use that expression twice, but maybe that was a popular expression in his day (?)

Well, In my own language, there is this idiom which exactly means the same thing and is quite common. Writers use it now and then....but here I meant the condition of Iona was remarkably described, in relation to him.

--

Oh and I look forward to discussing Oh! The Public.

[Janine]

Welcome again Pensive, glad to have you here, even if occasionally. I know you are busy with school. I liked your thorough post today and enjoyed reading what you had to say. I am glad you read the story already.

This could be a SPOILER for those who have not read it yet.

Well, last night I re-read the story. Some things stood out to me, as I let it sink in and thought it over again.
Once again, I can see this story split into 3 distinct sections - three encounters - that Podtyagin has with the sick man/customer; one could also say there is this brief introduction to the story, when Podtyagin is 'alone' and speaking to himself and then a closing/conclusing scene when he is again 'alone' and speaking to himself. Between the time he first approaches the sleeping customer for his ticket, until the third encounter, when he wishes to make some sort of apology, there is a digression into disillussionment. He feels he cannot and it may not be humanly possible to please other people, specifically the customer, his superior and especially the public. Therefore, by that third encounter, Podtyagin has become completely discouraged and 'negative'. The story begins on a 'positive' note and works through the 3 stages, back to what is intimated as the former state of Podtyagin.
I noticed much wit in this story and wryness and cynisicm about the public or general population. Also, in subtle ways the story seems to show how someone, without much to fall back on but his job; he probably is struggling to maintain a living; is discouraged at every turn and so is stuck in the system or in a more universal sense, his forlorn, inert(there is that word again) way of life that he has adopted to shield him from the cruelity and unfairness of the world. There is a sense of 'why even try' in this story.

I will return with some passages I found humorous at the beginning of the story.

I also noticed that the sick man seemed to feign worse illness as the story progresses. I will post some quotes to back that up.

[Quark]

I will have to listen again and see if I can tell you, phonetically, how to pronounce it.

My guess is P(schwa)d-Tee-yah-gin. Pronounce that with a Russian accent and maybe I'm close. Am I close?

Good first lines to kick-off the discussion. (notice I used guy expressions, like kick-off. )

The sports lingo is always appreciated, but does this mean that I should be using feminine terminology in the Lawrence discussion. What is the female equivalent of a kickoff? An antique store stop? A flower garden? That part in a chick-flick where the lead woman finally gets the hunky male to notice her? I'll come up with something.

Also they seem to be delivered with so much animation and expression that I felt they were spoken out loud. I felt that Podtyagin was indeed speaking to himself out loud, with no one else around. Doesn't everyone talk to themselves? I know I do it often. They say it is ok, as long as you don't answer yourself.

Remember that Podtyagin isn't just talking when no one is around. He literally is talking to himself. He's trying to rally whatever resolve he can muster to stop drinking and he's got to convince the part of him that still wants a vodka that it's not worth it. Whether he needs to do this out loud, though, is a matter of interpretation, I guess.

I quite plan to visit it now and then (though I daresay I might not be able to take part as a regular).
Wow that's a really meaningful, and true in my opinion. Past and present are so much linked. Just a thought of a memory can make a day go like hell nor it can be let go of. Neat lines.
I read A Classical Student, Joy, Fat and Thin, A Tragic Actor. Oh! The Public and An Enigmatic Nature. I quite enjoyed each but most of all liked Fat and Thin and Oh! The Public because of their idea.

You'll have to read the rest of that story to find out what brings the student to that conclusion. That really is one of the better ones. Three other stories that are good--and any of these might be next month's read--are "About Love", "A Doctor's Visit", and "Sleepy". The stories you listed are some of the lesser known stories. In fact, I haven't even read "An Enigmatic Nature." If you like Chekhov from those tales, then certainly I think you'll enjoy the usual Chekhov favorites.

In the meantime, feel free to comment on anything in the story or the discussion here.

Once again, I can see this story split into 3 distinct sections - three encounters - that Podtyagin has with the sick man/customer; one could also say there is this brief introduction to the story, when Podtyagin is 'alone' and speaking to himself and then a closing/conclusing scene when he is again 'alone' and speaking to himself. Between the time he first approaches the sleeping customer for his ticket, until the third encounter, when he wishes to make some sort of apology, there is a digression into disillussionment.

This time I do agree with the three-part division of the story. It does move from his initial resolution to the conflict with the passenger to the final disillusionment.

He feels he cannot and it may not be humanly possible to please other people, specifically the customer, his superior and especially the public. Therefore, by that third encounter, Podtyagin has become completely discouraged and 'negative'. The story begins on a 'positive' note and works through the 3 stages, back to what is intimated as the former state of Podtyagin.

Once again, that's good summary. The mood of the story is downwards. I'll try to say more about the mood tomorrow.

I noticed much wit in this story and wryness and cynisicm about the public or general population. Also, in subtle ways the story seems to show how someone, without much to fall back on but his job; he probably is struggling to maintain a living; is discouraged at every turn and so is stuck in the system or in a more universal sense, his forlorn, inert(there is that word again) way of life that he has adopted to shield him from the cruelity and unfairness of the world. There is a sense of 'why even try' in this story.

Yeah, one reading of this story makes Podtygin the victim of the passengers. There's a lot to support this view, but there's also a separate interpretation you can give in which the passengers are the victims of this overly strict ticket collector. Podtygin could be the one in the wrong here. Most people around him think he is. After I read over the story again, I'll post some evidence for both sides on this question of blame and victimization. I'm interested to see what people think about this.

I also noticed that the sick man seemed to feign worse illness as the story progresses. I will post some quotes to back that up.

I also thought he might be exaggerating his symptoms. But, then again, is there anything to show that? It could be that the perspective of the story is leading us to suspect the passenger. We see the passenger as the antagonist, and this may be what heightens our suspicion.

[Janine]

My guess is P(schwa)d-Tee-yah-gin. Pronounce that with a Russian accent and maybe I'm close. Am I close?

What? Quark,where did you get the 'schwa' part? Are you Russian? I don't detect that in the narration at all. Of course, Kenneth Branagh is British, but when they narrate these books, they are coached on proper pronounciation and he is quite good at languages; at least, I have detected so in his films. Ok, I am listening to the CD right now with headphones on; it is hard to know exactly how to tell you, how he is pronouncing the name; but here goes. I believe he is saying Pod-te (long e)-yah-gin....g like in 'gift'. Yeh, like if you answered someone for yes and said yah or ya. Maybe I can copy it to MP3 format and send it to you via email....just the one story. A few times I thought he said it Pod-ge-yah-gin, but now I think it is more like the first way I wrote it.

The sports lingo is always appreciated, but does this mean that I should be using feminine terminology in the Lawrence discussion. What is the female equivalent of a kickoff? An antique store stop? A flower garden? That part in a chick-flick where the lead woman finally gets the hunky male to notice her? I'll come up with something.

I have been thinking about that and I think not. Hahaha - I can just imagine what you would come up with, but if you feel inclined to be funny now and then, don't let me interrupt your creative flow. You might say this dicussion is really blooming now! Or this story is illuminating us...that might be more feminine.

Remember that Podtyagin isn't just talking when no one is around. He literally is talking to himself. He's trying to rally whatever resolve he can muster to stop drinking and he's got to convince the part of him that still wants a vodka that it's not worth it. Whether he needs to do this out loud, though, is a matter of interpretation, I guess.

Yes, he seems to be quite a talker actually and his best friend is there - himself. He is like a split person - one wanting to abstain and one wanting to have the vodka. This is true enough. Yes, I interpret it as being outloud. He just seems to have that sort of personality to talk to himself. Takes one to know one I think.

You'll have to read the rest of that story to find out what brings the student to that conclusion. That really is one of the better ones. Three other stories that are good--and any of these might be next month's read--are "About Love", "A Doctor's Visit", and "Sleepy". The stories you listed are some of the lesser known stories. In fact, I haven't even read "An Enigmatic Nature." If you like Chekhov from those tales, then certainly I think you'll enjoy the usual Chekhov favorites.

All the ones you mention interest me, but unfortunately I read "Sleepy', in my book called 'Sleephead', last night and I found that I really did not like that one, for personal reasons. I am soon to have a grandchild, so that one rather disturbed me and especially before going to sleep. In fact, I could not sleep and instead went on to read part of 'The Kiss', which I think I heard is a famous story by Chekhov. I like it so far. I think I read it years ago, but it is longer, so I don't know if you would consider it for one the stories we will discuss. This library book does not have assess to the others you mentioned, but no doubt, I will find them online. If you could suggest some others, I might have those in this book, or let me send you the list and see if any are good ones. Now I did like the story "Children" emensely - yeah a soon to be grannie would like that one. It was well written and so witty and it was not a morose story. Now I don't know if you would consider that one for one of the discussions. That is both in my book and also on my CD set; I think it is also on this site.

In the meantime, feel free to comment on anything in the story or the discussion here.

This time I do agree with the three-part division of the story. It does move from his initial resolution to the conflict with the passenger to the final disillusionment.

Oh good, Quark, so you can clearly see the divisions? and the regression of poor P back to his former state?

Another thing, I noticed right away about Chekhov's form or writing, is he writes in the present moment. He says things such as 'he starts out walking to the station' (that's not an exact quote). He seems to always write in the present tense, or most of the time, it seems he does so. I think sometimes he does shift back to past-tense. I will check texts, to see if that is true.

Once again, that's good summary. The mood of the story is downwards. I'll try to say more about the mood tomorrow.

Well, that is basically how I saw the story. Ok, that would be great if you would comment on the mood. Thanks.

Yeah, one reading of this story makes Podtygin the victim of the passengers. There's a lot to support this view, but there's also a separate interpretation you can give in which the passengers are the victims of this overly strict ticket collector. Podtygin could be the one in the wrong here. Most people around him think he is. After I read over the story again, I'll post some evidence for both sides on this question of blame and victimization. I'm interested to see what people think about this.

Podtyagon could be in the wrong, but I don't think seriously he is. It is merely his job to collect the tickets and he is doing that. When others chime in the whole ordeal is blown up and he is the one they see as the perpetrator. I would think that Chekhov wants us to sympathise with him when this happens, why would he not? The story is basically about P. and he is caught in the middle. Therefore, he experiences only frustration and it seems that Chekhov is big on the theme of 'frustration'. We saw that in the last story.

I also thought he might be exaggerating his symptoms. But, then again, is there anything to show that? It could be that the perspective of the story is leading us to suspect the passenger. We see the passenger as the antagonist, and this may be what heightens our suspicion.

Well, the more morphia he took, the more he seemed to say he was more direly ill. First he had mere rheumatism, and then he hadn't slept in days or something like that, and then lastly he said, after his third dose of morphia, he was dying. I didn't really believe the dying part. He seemed to be exaggerating to me, drawing attention and sympathy to himself. Maybe the guy was not sick at all, but just liked morphia and sleep and attention. He struck me as a disgruntled type of man and not at all co-operative. If he truly wanted to not again be disturbed, he would have just produced his ticket and been done with it.