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Anton Chekhov (Bloom's Modern Critical Views) by Harold Bloom

By Harold Bloom

Chekhov was once the top Russian author of his new release. This identify, Anton Chekhov, a part of Chelsea apartment Publishers’ sleek serious perspectives sequence, examines the most important works of Anton Chekhov via full-length serious essays via professional literary critics. moreover, this identify incorporates a brief biography on Anton Chekhov, a chronology of the author’s existence, and an introductory essay written via Harold Bloom, Sterling Professor of the arts, Yale collage.

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Extra info for Anton Chekhov (Bloom's Modern Critical Views)

Sample text

MOTHER: I want to talk. VANYA: We have been talking and talking for fifty years and reading pamphlets. It's about time to leave off. MOTHER: You don't like listening when I speak; I don't know why. Forgive my saying so, Jean, but you have so changed in the course of the last year that I hardly know you. You used to be a man of definite convictions, brilliant personality. . On a slightly higher plane than the tract-ridden Mother is the friend of the family, Waffles. If Vanya is the ruin of a man of principle, Waffles is the parody of one.

VANYA: There's nothing awful in that. Drink your tea, maman. MOTHER: I want to talk. VANYA: We have been talking and talking for fifty years and reading pamphlets. It's about time to leave off. MOTHER: You don't like listening when I speak; I don't know why. Forgive my saying so, Jean, but you have so changed in the course of the last year that I hardly know you. You used to be a man of definite convictions, brilliant personality. . On a slightly higher plane than the tract-ridden Mother is the friend of the family, Waffles.

Not least among the player-folk, to whom they all, without exception, offer problems worth the solving. For the buttress of Chekhov's popularity in England has been his popularity with that kind of actor and atmosphere, with "the high priests of the sacred art". In Ibsen's The Wild Duck the crucial point for an evaluation of the play is a study of the function of the title-symbol. The same is true of The Seagull, where the "symbol", indeed, has passed even beyond the confines of the work to become the emblem of a new movement in the theatre.

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