I think what I acceptedly like about Chekhov is the course he uses words: he does them justice by acknowledging the office staff they have and the impact they can convey. He lets everything speak for itself, he does not put in frills or excessive evince for added sophistication, and, most importantly, everything has a purpose in his tales.
His pieces feel carefully crafted; every word and every object has been placed in that respect deliberately and not as a space filler, slide fastener has been over pictureed and everything speaks to make it more realistic. Consider the bishops young niece Katya: Chekhov does not have her knock over several dishes clumsily because hes bored, he does it to enhance the authenticity of the story, and it does. If the dinner scene had happened in real life, the young girl probably would have knocked over dishes, and then Chekhov illustrates that in his text. One of his most famous pieces of advice stated: If you suppose in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it short must go off. If its not going to be fired, it shouldnt be hanging there. Everything in his work is that rifle.
Because of this we see a portion out of symbolism in these stories, particularly in The Lady With The suction stop.
The sea is not just a pretty landscape, it is a churning mass of ebb and flow serving to move Gurov of inevitability, eternity, the mystery of life. The wind on the pier when they wait for the air to dock is representative of Annas inner turmoil at their bout and the whirlwind nature of their romance and love. When he returns to Moscow it is beginning to look like winter and feel arctic; metaphorically cold without the...
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