A Discussion of the Author's Style
"Let us learn to appreciate there will be times when the trees will be bare, and look forward to the time when we may pick the fruit" (BrainyQuote) says Anton Chekhov. Little did he know, he also was speaking about the six principles of writing that he created. He says in order to have a great story, one must have these principles incorporated into his/her story. They include an absence of lengthy verbiage, truthful descriptions of persons and objects and compassion. Chekhov tries to incorporate these into his literature as he progressed his career as a writer. Chekhov lived from 1860 to 1904. The Russian native was actually a doctor first but eventually abandoned his practice to pursue writing. He found that he liked writing stories much more than practicing medicine when he first dipped his toes into the world that is literature to support himself through extra schooling. As previously stated, Chekhov uses many of six listed principles in his stories, including The Seagull, "Gooseberries," and "A Dead Body." The Seagull, a play about a struggling playwright, his love affair with an actress who can never fully commit and his unsupportive mother incorporates all three principles, as do "Gooseberries," a short story of a man telling a story of his brother, and "A Dead Body," the mysterious story of a dead body, two peasants, and a trusting traveler. Chekhov gives his audience a deeper understanding of his usage of the absence of verbiage, truthful descriptions and compassion when one uses the principles mentioned to read his stories.
Chekhov explores quite a few principles, but the most evident one would be absence of verbiage. His characters tend to say things very bluntly and never add anything to it. Instead of saying a rude comment and covering it with different social or political speak, they are always themselves, or rather how Chekhov writes them. His characters aren't rude, per say, but they have a way of not sugar coating things. In The Seagull, Madame Arkadina is a rather blunt character. She is not afraid to say things as she feels and doesn't complicate what she is trying to say. "But he told me himself that this was all in fun, so I treated his play as if it were a comedy" (The Seagull), she says in Act I about her son's first play. Rather than adding in "fluff" to play around the idea that she disliked the play, Chekhov writes it as it is. This is a common theme in his writings. An absence of verbiage is when a writer doesn't clutter their story with unnecessary ideas and keeps things short and sweet. Chekhov does this within The Seagull and many other stories, which is why he became the master of the short story. This principle can also be seen in "Gooseberries." A story about Ivan Ivanovitch speaking to his friends about his brother. An absence of verbiage is clearly seen through the dialogue of Ivan describing his brother, Nikolay. "A change of life for the better, and being well-fed and idle develop in a Russian the most insolent self-conceit" (Gooseberries) Ivan says about his brother. As seen here, this is straight to the point, and nothing more is added than is necessary. Ivan is very point-blank and speaks of his brother is no covering it, no lengthy verbiage. Chekhov repeatedly uses this technique throughout his stories. Finally, he uses it in "A Dead Body" to describe Syoma. "You can't say anything properly... when you speak you seem frightened. I dare say you are fifty, but you have less sense than a child" (A Dead Body) says the young man to Syoma. As usual, he is straight to the point and does not say anything more than he needs to. As stated, Chekhov uses this technique to entice the audience. They do not get bored reading lengthy descriptions of things that they don't understand. Everything is simple, adequately worded, and plain. These three stories encompass many similar qualities, not just an absence of lengthy verbiage.
Truthful descriptions, another common theme among Chekhov's works, plays a major role in these three stories. Chekhov uses truthful descriptions in The Seagull quite a bit, due to the lack of emotional stability each character possesses. He has to make up for it with the descriptions within the dialogue. "She likes life and love and gay clothes, and I am already twenty-five years old; a sufficient reminder to her that she is no longer young" (The Seagull). Treplev speaks of his mother, whom he does not gain the support of throughout the whole play, and says it with deep regret. Treplev does not respect his mother due to the lack of support and parental presence throughout his life. His mother does not like his play and though she cared for him when he first injured his head, she begins to resent him for taking away her youth. He is very blunt and truthful in the way that he describes his relationship with his mother. In "Gooseberries," Ivan speaks in a similar way of his brother. He holds nothing back when he decides to tell Burkin and Alehin about the monster his brother has become. "Even our surname Tchimsha-Himalaisky, in reality so incongruous, seemed to him now melodious, distinguished, and very agreeable" (Gooseberries). Ivan says that his brother got exactly what he wanted, his gooseberry farm, and turned into a different man. Like Treplev's mother, Arkadina, Ivan resents his brother; however, he has a revelation. Ivan realizes that in order to be happy in life, one cannot simply get what they want, they need to get rid of their problems. "...Evidently the happy man only feels at ease because the unhappy bear their burdens in silence, and without that silence happiness would be impossible" (Gooseberries). Ivan continues on and realizes that happiness isn't given out, it's worked for. This relates to truthful descriptions because Ivan basically gave Burkin and Alehin a truthful description to the key of happiness. Finally, Chekhov also uses truthful descriptions when describing people. Shown through "A Dead Body," Chekhov uses imagery as well. Syoma is illustrated as "A little scraggy, pock-marked peasant with an aged face, a scanty moustache, and a little goat's beard" (A Dead Body). This is used to describe the difference between the two peasants. The young man is described as "a tall young fellow with a scarcely perceptible moustache and thick black eyebrows, in a tattered sheepskin and bark shoes" (A Dead Body). Chekhov uses their looks to create an image that the audience can see on their own. It's very straightforward, like the absence of verbiage principle. Chekhov uses these two principles to create a clear cut story that audiences can understand and imagine. He also uses one more principle a lot as well, which adds a different perspective to the story.
Compassion, or lack thereof, can really define a person. Chekhov uses compassion in his stories to give it the kick it needs to be great. In The Seagull, Chekhov uses Dorn as a source of compassion. He is the doctor and takes care of people. Not only is he compassionate, but he is the glue that keeps the characters together. "Constantine, your play delighted me. It was strange, of course, and I did not hear the end, but it made a deep impression on me. You have a great deal of talent, and must persevere in your work" (The Seagull). Dorn genuinely likes Treplev's play, and is unashamed of it, though his opinion may be unpopular. Dorn is supportive of him even while Treplev's own mother is not. "Gooseberries," though holding a weaker example of this, still contains characters who are compassionate. Ivan and Burkin are stuck in the rain and Alehin takes them into for the night. He even breaks out his more elegant rooms. "He went upstairs into the best rooms only on rare occasions, when visitors came" (Gooseberries). Alehin is kind enough to let two wet travelers, although not strangers, into his home to stay the night. Alehin is the kind giant of the story. He listens attentively and gives them showers, food, drink, and shelter. Compassion is a great trait to have, so Chekhov writes it in to his character's personalities. They are the characters people tend to identify with. Finally, in "A Dead Body," the traveling pilgrim holds the compassionate role. Granted, he is of the holy kind, but he still feels genuine remorse for the dead stranger. "'I've forgotten to put a kopeck for the burying,' he says. 'Good orthodox friends, can I give the money?'" (A Dead Body). He is offering to donate for a burial. Compassion is a genuine trait to have, and by incorporating a compassionate character into each story, it gives the reader someone to relate to. Most people are genuinely compassionate, even if it's just in their own ways. Personally, if there was no good in a story, people probably wouldn't read it. They need a character to root for usually.
Chekhov furthers understanding of his stories through the use of his principles in his writings. One can simply read through his stories and enjoy it, but if one analyzes it with the principles, they can understand the meaning of each story. Being a doctor as well, he understands the need to not dance around a point and just deliver it so people understand. Chekhov succeeds in writing great stories. Anton Chekhov says, "Medicine is my lawful wife and literature my mistress; when I get tired of one, I spend the night with the other" (BrainyQuote).
Chekhov explores quite a few principles, but the most evident one would be absence of verbiage. His characters tend to say things very bluntly and never add anything to it. Instead of saying a rude comment and covering it with different social or political speak, they are always themselves, or rather how Chekhov writes them. His characters aren't rude, per say, but they have a way of not sugar coating things. In The Seagull, Madame Arkadina is a rather blunt character. She is not afraid to say things as she feels and doesn't complicate what she is trying to say. "But he told me himself that this was all in fun, so I treated his play as if it were a comedy" (The Seagull), she says in Act I about her son's first play. Rather than adding in "fluff" to play around the idea that she disliked the play, Chekhov writes it as it is. This is a common theme in his writings. An absence of verbiage is when a writer doesn't clutter their story with unnecessary ideas and keeps things short and sweet. Chekhov does this within The Seagull and many other stories, which is why he became the master of the short story. This principle can also be seen in "Gooseberries." A story about Ivan Ivanovitch speaking to his friends about his brother. An absence of verbiage is clearly seen through the dialogue of Ivan describing his brother, Nikolay. "A change of life for the better, and being well-fed and idle develop in a Russian the most insolent self-conceit" (Gooseberries) Ivan says about his brother. As seen here, this is straight to the point, and nothing more is added than is necessary. Ivan is very point-blank and speaks of his brother is no covering it, no lengthy verbiage. Chekhov repeatedly uses this technique throughout his stories. Finally, he uses it in "A Dead Body" to describe Syoma. "You can't say anything properly... when you speak you seem frightened. I dare say you are fifty, but you have less sense than a child" (A Dead Body) says the young man to Syoma. As usual, he is straight to the point and does not say anything more than he needs to. As stated, Chekhov uses this technique to entice the audience. They do not get bored reading lengthy descriptions of things that they don't understand. Everything is simple, adequately worded, and plain. These three stories encompass many similar qualities, not just an absence of lengthy verbiage.
Truthful descriptions, another common theme among Chekhov's works, plays a major role in these three stories. Chekhov uses truthful descriptions in The Seagull quite a bit, due to the lack of emotional stability each character possesses. He has to make up for it with the descriptions within the dialogue. "She likes life and love and gay clothes, and I am already twenty-five years old; a sufficient reminder to her that she is no longer young" (The Seagull). Treplev speaks of his mother, whom he does not gain the support of throughout the whole play, and says it with deep regret. Treplev does not respect his mother due to the lack of support and parental presence throughout his life. His mother does not like his play and though she cared for him when he first injured his head, she begins to resent him for taking away her youth. He is very blunt and truthful in the way that he describes his relationship with his mother. In "Gooseberries," Ivan speaks in a similar way of his brother. He holds nothing back when he decides to tell Burkin and Alehin about the monster his brother has become. "Even our surname Tchimsha-Himalaisky, in reality so incongruous, seemed to him now melodious, distinguished, and very agreeable" (Gooseberries). Ivan says that his brother got exactly what he wanted, his gooseberry farm, and turned into a different man. Like Treplev's mother, Arkadina, Ivan resents his brother; however, he has a revelation. Ivan realizes that in order to be happy in life, one cannot simply get what they want, they need to get rid of their problems. "...Evidently the happy man only feels at ease because the unhappy bear their burdens in silence, and without that silence happiness would be impossible" (Gooseberries). Ivan continues on and realizes that happiness isn't given out, it's worked for. This relates to truthful descriptions because Ivan basically gave Burkin and Alehin a truthful description to the key of happiness. Finally, Chekhov also uses truthful descriptions when describing people. Shown through "A Dead Body," Chekhov uses imagery as well. Syoma is illustrated as "A little scraggy, pock-marked peasant with an aged face, a scanty moustache, and a little goat's beard" (A Dead Body). This is used to describe the difference between the two peasants. The young man is described as "a tall young fellow with a scarcely perceptible moustache and thick black eyebrows, in a tattered sheepskin and bark shoes" (A Dead Body). Chekhov uses their looks to create an image that the audience can see on their own. It's very straightforward, like the absence of verbiage principle. Chekhov uses these two principles to create a clear cut story that audiences can understand and imagine. He also uses one more principle a lot as well, which adds a different perspective to the story.
Compassion, or lack thereof, can really define a person. Chekhov uses compassion in his stories to give it the kick it needs to be great. In The Seagull, Chekhov uses Dorn as a source of compassion. He is the doctor and takes care of people. Not only is he compassionate, but he is the glue that keeps the characters together. "Constantine, your play delighted me. It was strange, of course, and I did not hear the end, but it made a deep impression on me. You have a great deal of talent, and must persevere in your work" (The Seagull). Dorn genuinely likes Treplev's play, and is unashamed of it, though his opinion may be unpopular. Dorn is supportive of him even while Treplev's own mother is not. "Gooseberries," though holding a weaker example of this, still contains characters who are compassionate. Ivan and Burkin are stuck in the rain and Alehin takes them into for the night. He even breaks out his more elegant rooms. "He went upstairs into the best rooms only on rare occasions, when visitors came" (Gooseberries). Alehin is kind enough to let two wet travelers, although not strangers, into his home to stay the night. Alehin is the kind giant of the story. He listens attentively and gives them showers, food, drink, and shelter. Compassion is a great trait to have, so Chekhov writes it in to his character's personalities. They are the characters people tend to identify with. Finally, in "A Dead Body," the traveling pilgrim holds the compassionate role. Granted, he is of the holy kind, but he still feels genuine remorse for the dead stranger. "'I've forgotten to put a kopeck for the burying,' he says. 'Good orthodox friends, can I give the money?'" (A Dead Body). He is offering to donate for a burial. Compassion is a genuine trait to have, and by incorporating a compassionate character into each story, it gives the reader someone to relate to. Most people are genuinely compassionate, even if it's just in their own ways. Personally, if there was no good in a story, people probably wouldn't read it. They need a character to root for usually.
Chekhov furthers understanding of his stories through the use of his principles in his writings. One can simply read through his stories and enjoy it, but if one analyzes it with the principles, they can understand the meaning of each story. Being a doctor as well, he understands the need to not dance around a point and just deliver it so people understand. Chekhov succeeds in writing great stories. Anton Chekhov says, "Medicine is my lawful wife and literature my mistress; when I get tired of one, I spend the night with the other" (BrainyQuote).