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Extension
Chekhov’s Style
Chekhov: Representative of Modern Naturalism
Modern critics consider Chekhov one of the masters of the short-story form. He was largely responsible for the modern type of short story that depends for effect on mood and symbolism rather than on plot. His narratives, rather than having a climax and resolution, are a thematic arrangement of impressions and ideas. Using themes relating to the everyday life of the landed gentry and professional middle class, Chekhov portrayed the pathos of life in Russia before the 1905 revolution: the futile, boring, and lonely lives of people unable to communicate with one another.
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Chekhov's Style
Chekhov’s Style
He developed a new dramatic technique ("indirect action"), and he concentrated on subtleties of characterization and interaction between characters rather than on plot and direct action. In a Chekhov play important dramatic events take place offstage.
(Chekhov's) own influence on Western literature has been immense. The author's masterful handling of prose, as well as his sensitivity towards character, mood, and setting, impressed authors as diverse as E. M. Forster and Virginia Woolf. Indeed, his economical use of language and ambivalent style—Chekhov weaves humor with pathos to magnify the inconsequential details
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Lesson 9 – A Dill Pickle
of people's lives—helped redefine the short story genre. He also developed a technique of ending stories with what have been termed "zero endings"—or anti-climactic conclusions. This technique makes the stories seem more realistic, and often more pathetic, because readers are left to guess what will happen next. However, Chekhov also employs "surprise endings" to confound our expectations, and we can never be sure how a tale will end. Consequently, over a hundred years after his works were written, readers still marvel at Chekhov's freshness and originality. Although the author sketches his characters with compassionate good-humor, he never abstains from highlighting their
Chekhov’s Style
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Chekhov’s Style
faults, foibles, and human weaknesses. Chekhov's stories are thus deeply humane works of fiction: In detailing life's poignant trivialities, they are unrivalled in their sense of authenticity.
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Said by Chekhov
"All I wanted was to say honestly to people: 'Have a look at yourselves and see how bad and dreary your lives are!' The important thing is that people should realize that, for when they do, they will most certainly create another and better life for themselves. I will not live to see it, but I know that it will be quite different, quite unlike our present life. And so long as this different life does not exist, I shall go on saying to people again and again: 'Please, understand that your life is bad and dreary!'"
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Chekhov’s Famous Plays
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Katherine Mansfield (author of "A Dill Pickle") was greatly influenced by Anton Chekhov, sharing his warm humanity and attention to small details of human behavior in her short story "A Dill Pickle".
Lesson 9 – A Dill Pickle
Chekhov’s Style
Chekhov’s Influence
Oral Work
Oral Work
Dramatize the whole story, and pay special attention to the psychological movement of the main character.
Activity
Why did women marry at the time when Vera lived?
How different was Vera from other common women?
Why Vera broke off with her lover six years ago and how did she realize that it was impossible for them to pick up their romantic relationship when they met again?
Lesson 9 – A Dill Pickle
Oral Work
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Write a short essay of about 160—200 words on the changes Vera found in her former lover when they met again six years later.
Lesson 9 – A Dill Pickle
Writing
Quiz


Can you help me fix a time to meet him?
He survived the car accident, but his car was damaged beyond repair.
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Quiz
Brilliant career unfolded before him.
In many ways, children live, as it were, in a different world from adults.
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Quiz
The books are not supposed to be taken out of the library. We cannot stretch the rules.
What Bill did is totally beyond my comprehension.
The door snapped shut behind us.
The end of Quiz.
This is the end of Lesson Nine.
Part Five