Anton Chekhov’s Use of Grief in “Misery” and “Vengeance.”
What is the fascination with grief and suffering that caused Anton Chekhov to entwine these two sad emotional states into everything he wrote? “Reading Anton Chekhov’s stories, one feels oneself in a melancholy state. Everything is strange, sharp, lonely, motionless, helpless” (Nebraska 1). Further, according to William Gerharde, Chekhov answered this very question with the following: “When you depict sad or unlucky people, and want to touch the reader’s heart, one should try to be cold— it gives their grief, as it were, a background, against which it stands out in greater relief” (Gerharde 110).
While Chekhov uses pain and suffering in all his stories, he does an especially effective job with two short stories “Misery” and “Vengeance.” In both, Chekhov introduces a similar theme, although it is first suggested in “Misery”: “The theme of the individual isolation is suggested in many of Chekhov’s early stories, but it is first fully developed in the brief sketch ‘Misery’,” (Winner 137). While reading “Misery,” the reader can absorb Chekhov through the twined themes of loneliness and isolationism. This enables characters to become so real that each reader can relate through the characters and the situation. One reason “Misery” is so well thought of by critics is that “the story takes a powerful look at the lack of human involvement and compassion towards one man’s grief” (Guevara 2). Of course, almost all who read the story have felt such loneliness or grief at one time or other in their lives and can, therefore, relate to the protagonist’s pain and isolation.
In addition, the atmosphere in “Misery,” suggest grayness and depression, a setting that immediately conveys ...
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... is factually correct, a trivial kind of truth, though a kind central to works of verisimilitude; saying that which, by virtue of tone and coherence, does not feel like lying, a more important kind of truth; and discovering and affirming moral truth about human existence— the highest truth of art” (Creighton, 1).
Chekhov is able to contribute to all three of the ways there is to “tell it like it is” when writing fiction. Not only does he tell the truth in his writing, he does so in a down to earth and straightforward way. Reading Chekhov, is like reading someone’s daily journal. It is real, it is intense, and it makes the reader deeply feel for the characters involved in each individual story. Pain and suffering are commonly used emotions, so people can relate easily to the characters. This is what makes Chekhov such a successful writer, and why he was adored by all.
Near the end of both stories, the authors show us the desperate emptiness of a life near finished without the fruit of its labor, and the aggravation of the old restless mind that cannot find peace. Throughout the stories stark images of desperation show the lives of the two main characters at a point when they have realized the futility of life.
Shukhov is a likeable and yet somewhat naïve fellow who is just like everybody else. In fact, what really makes this book remarkable is not Shukhov himself. What makes it special is that, even though at first glance the story may seem to be about Shukhov, it is actually a tale of events and common occurrences that could happen to anyone. The book is not just a detail of one day in the life of Ivan, it is a relatable story of what could happen to anyone shoved into a Russian prison camp. Ivan’s life in the book is shown to be nothing more than a picture of the thousands of lives that were lost or destroyed in the Stalinist camps. Ivan Denisovich Shukhov is not one character, Ivan Denisovich Shukhov is the picture of “anyman.” Using the depiction of the beliefs, hopes, and need to survive that would arise in a common prisoner Solzhenitsyn creates a story of the victory of humane principles over corruption.
As the story unfolds, Dostoevsky introduces the reader to Raskolnikov, a troubled young man who is extremely isolated from those who surround him. He lives in a small, dingy, dusty, and dirty room in a small unattractive house. He lives in an abstract world neglecting the real. He is quite separate from all the people with whom he has contact. In the opening chapter, Raskolnikov is said to be, "so completely absorbed in himself, and isolated from his fellows that he dreaded meeting, not only his landlady, but any one at all" (1). People come physically close to him, but everyone is forced to remain distant mentally. He walks through the crowded, noisy, dirty streets of St. Petersburg physically but somehow he never does so mentally, moving through the streets like a zombie, not a man. He is not aware of his location and often jostles bewildered pedestrians. Therefore, at the outset of the novel Dostoevsky illustrates the apparent schism between the mind and body of Raskolnikov.
Overcoming the grief that is felt after losing a loved one is a physically and mentally agonizing task. According to Dr. Christina Hibbert, a clinical psychologist who graduated from the California School of Professional Psychology, three main stages of grief include anger, depression and acceptance. Each one of these emotions can be seen in William Shakespeare’s Hamlet and The Descendants (2011, Payne) as the artists explore the effects of grief and the different emotional responses that one can have due to the loss of a loved one. Additionally, in Ismail Kadare’s Broken April, the Berisha family feels the sufferance that is associated with unexpected death, as well as the various temperamental reactions that one will have after losing a loved one. Each of these works of art represent a powerful example of the stages that one will go through after feeling the intense sorrow that is connected with death, as well as the unavoidable effects of grief.
During the process of growing up, we are taught to believe that life is relatively colorful and rich; however, if this view is right, how can we explain why literature illustrates the negative and painful feeling of life? Thus, sorrow is inescapable; as it increase one cannot hide it. From the moment we are born into the world, people suffer from different kinds of sorrow. Even though we believe there are so many happy things around us, these things are heartbreaking. The poems “Tips from My Father” by Carol Ann Davis, “Not Waving but Drowning” by Stevie Smith, and “The Fish” by Elizabeth Bishop convey the sorrow about growing up, about sorrowful pretending, and even about life itself.
"’Tis not alone my inky cloak, good mother, / nor customary suits of solemn black / [ . . . ] but I have that within which passeth show; / these but the trappings and the suits of woe” (Shakespeare 1.2.76-73, 85-86) says Hamlet when confronted about his way of grieving over his father’s recent death. Shakespeare’s play Hamlet is a remarkable tale that is centered on the idea of death and grief. While death is a universal occurrence, meaning every person will deal with it, how we grieve after a loss is completely individual. To look at a formula of grief, most turn to the five stages of grief developed by Elizabeth Kubler-Ross, a psychiatrist, who studied the topic in her book On Death and Dying. This model consists of denial, anger, sadness, bargaining, and acceptance, although the duration and order of the stages are different for every person. In Shakespeare’s play Hamlet the stages of grief are evident in his sadness, anger, and finally acceptance.
Edgar Allan Poe's deplorable life was filled with unfortunate calamity, endless tragedies, and pathetic misery, which inevitably led to his pessimistic view on life and obsession with death. His personal mind frame is automatically conveyed in his essays, which for him was a primary form of expression. Thus, a strong emphasis on somber despondency has proven to be a thematic element of his literary career.
It captures the emotions left in the hearts of these characters. In the novel, Gurov’s imagery differentiates between young romance and the connections of lasting love. One of the main sceneries of the story takes place in the beautiful resort town of Yalta. According to Chekhov’s novel, Yalta is described as “The water was a warm, tender purple, the moonlight lay on its surface in a golden strip” (2). Yalta is an exciting place for new, colorful, and youth romance to begin. Another part of the novel’s setting are the confined homes of both Anna and Gurov. Where gray haunts their homes in their monotonous days away from each other. Chekhov mentions, “He sat up in bed, covered by the cheap gray quilt, which reminded him of a hospital blanket, and in his vexation he fell to taunting himself” (10). The reoccurrence of the gray description of the homes of Gurov and Anna while they are in despair when away from each other, with the colorful images of Yalta and the emotions of happiness when they are together, show how the separation in setting is important to the emotions of the characters. At the resort with Anna, Gurov’s day are full of passion, excitement and a carefree lifestyle similar to the youth of society. While away from her, Gurov savors the precious instants of her company. “Anna Sergeyevna did not come to him in his dreams, she accompanied him everywhere, like his shadow, following him
Dostoevsky’s St. Petersburg is a large, uncaring city which fosters a western style of individualism. As Peter Lowe notes, “The city is crowded, but there is no communality in its crowds, no sense of being part of some greater ‘whole.’” Mrs. Raskolnikov initially notices a change in her son marked by his current state of desperate depression, but she fails to realize the full extent of these changes, even after he is convicted for the murder. The conditions and influences are also noticed by Raskolnikov’s mother who comments on the heat and the enclosed environment which is present throughout the city. When visiting Raskolnikov, she exclaims "I'm sure...
Tolstoy provided us with two perspectives to view Ivan’s life in “The death of Ivan Illyich”: an omniscient narrator and Ivan himself. What I plan to do is give another perspective, not necessarily to view his life, but rather to his experiences after he realized he was dying. This perspective will be an analytical and psychological; the perspective from Kubler-Ross’s Stages of death (or stages of grief, as they are better known for). These stages occur when we are faced with an event that is usually connected with death. The “normal” order in which these five stages occur, though may not go doctrinally in this order, are as such: Denial, Anger, Bargaining, Depression, and Acceptance.
and he uses this suffering as a means of motivation. Loneliness plagues each of the
The Art of the Chekhovian Language escapes from the personal intentions. Reality is neither embellished nor blackened, altered or "signified" through a restrictive conceptual vision.
In Notes from Underground, Dostoyevsky relates the viewpoints and doings of a very peculiar man. The man is peculiar because of his lack of self-respect, his sadistic and masochistic tendencies, and his horrible delight in inflicting emotional pain on himself and others. Almost instantly the reader is forced to hate this man. He has no redeeming values, all of his insights into human nature are ghastly, and once he begins the narrative of his life, the reader begins to actively hate and pity him.
Anton Chekhov’s short story “The Bishop” was written in 1902 and published in 1979 in “Anton Chekhov’s Short Stories” along with many of his other works, such as “The Betrothed” and “The Lady with the Dog”. While “The Bishop” is not a direct reflection of Chekhov’s life, the story does reflect elements of his life. His religious upbringing is most prevalent in this story, but being ill with Tuberculosis of the lungs during the time this story was written is shown as well through Bishop Pyotr’s sickness.
“To whom shall I tell my grief?” Grief must receive closure. Grief has the power to make the strongest person helpless. For an individual to share their grief they receive a sense of compassion instead of endlessly searching for answers. In the short story “Misery”, Anton Chekhov effectively shows the desperation of communication through the character Iona Potapov and his mare. Chekhov illustrates the difficulty Iona faces to communicate his sufferings to the various people he speaks to as a sleigh driver. He accomplishes this through his style of writing, imagery, and the events that take place in the story.