The Serapis Classics edition of "The Anton Chekov Omnibus" contains over 150 stories penned by the Russian master! A few months before he died, Chekhov told the writer Ivan Bunin that he thought people might go on reading his writings for seven years. "Why seven?" asked Bunin. "Well, seven and a half," Chekhov replied. "That's not bad. I've got six years to live.
Comprising four one-act comic vaudevilles and four short stories adapted for the stage by Michael Frayn, The Sneeze introduces readers to a less familiar selection of work by one of the greatest precursors of modern drama. First published in 1989, this reissue includes The Sneeze; The Alien Corn; The Bear; The Evils of Tobacco; The Inspector-General; Swan Song; The Prospect, and Plots. Michael Frayn's translations of Chekhov's work marry the expertise of the translator with the innate understanding of a master dramatist and are widely regarded as the truest, most authentic renderings of Chekhov's work: 'His keen imaginative sympathy with the great Russian dramatist extends beyond translation . . . But translation is an art at which he excels.' Spectator
In the final years of his life, Chekhov produced some of the stories that rank among his masterpieces, and some of the most highly-regarded works in Russian literature. Those stories are contained here. Anton Chekov must be considered one of the greatest writers, and greatets short story writer, of all time.
The Bet and Other Stories was first translated in 1915 and contains 13 classic tales from the godfather of Russian literature, Anton Chekhov. Stories in this anthology include: The Bet, A Tedious Story, The Fit, Misfortune, After the Theatre, That Wretched Boy, Enemies, A Trifling Occurrence, A Gentleman Friend, Overwhelming Sensations, Expensive Lessons, A Living Calendar, and Old Age.
Collectors Edition! If you don't know of Checkov, his stories are always full of interesting and sometimes eccentric characters. The stories are always entertaining and often leave you having to read between the lines to work out what he wanted to relate. of course it's highly recommended, as is anything by Checkov.
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Life Is Nothing More Than a Never-Ending Duel “To be in continual ecstasies over nature shows poverty of imagination. In comparison with what my imagination can give me, all these streams and rocks are trash, and nothing else.” - Anton Chekhov, The Duel Using his keen spirit of observation, Anton Chekhov depicts in his short stories the world as it is, focusing on the range of emotions one might feel throughout his life. From love to hatred, from exaltation to misery, from epiphany to utter confusion, every character has to experience all human emotions in order to understand life. This Xist Classics edition has been professionally formatted for e-readers with a linked table of contents. This eBook also contains a bonus book club leadership guide and discussion questions. We hope you’ll share this book with your friends, neighbors and colleagues and can’t wait to hear what you have to say about it. Xist Publishing is a digital-first publisher. Xist Publishing creates books for the touchscreen generation and is dedicated to helping everyone develop a lifetime love of reading, no matter what form it takes
First published in 1973, this collection of Chekhov's correspondence is widely regarded as the best introduction to this great Russian writer. Weighted heavily toward the correspondence dealing with literary and intellectual matters, this extremely informative collection provides fascinating insight into Chekhov's development as a writer. Michael Henry Heim's excellent translation and Simon Karlinsky's masterly headnotes make this volume an essential text for anyone interested in Chekhov.
Classic Plays. Plays by Anton Chekhov - Second Series by Anton Chekhov. Translated by Julius West. On the high Road - The Proposal - The Wedding - The Bear - A Tragedian in Spite of himself - The Anniversary. The last few years have seen a large and generally unsystematic mass of translations from the Russian flung at the heads and hearts of English readers. The ready acceptance of Chekhov has been one of the few successful features of this irresponsible output. He has been welcomed by British critics with something like affection. Bernard Shaw has several times remarked: “Every time I see a play by Chekhov, I want to chuck all my own stuff into the fire.” Others, having no such valuable property to sacrifice on the altar of Chekhov, have not hesitated to place him side by side with Ibsen, and the other established institutions of the new theatre. For these reasons it is pleasant to be able to chronicle the fact that, by way of contrast with the casual treatment normally handed out to Russian authors, the publishers are issuing the complete dramatic works of this author. In 1912 they brought out a volume containing four Chekhov plays, translated by Marian Fell. All the dramatic works not included in her volume are to be found in the present one. With the exception of Chekhov's masterpiece, “The Cherry Orchard” (translated by the late Mr. George Calderon in 1912), none of these plays have been previously published in book form in England or America. It is not the business of a translator to attempt to outdo all others in singing the praises of his raw material. This is a dangerous process and may well lead, as it led Mr. Calderon, to drawing the reader's attention to points of beauty not to be found in the original. A few bibliographical details are equally necessary, and permissible, and the elementary principles of Chekhov criticism will also be found useful. The very existence of “The High Road” (1884); probably the earliest of its author's plays, will be unsuspected by English readers. During Chekhov's lifetime it a sort of family legend, after his death it became a family mystery. A copy was finally discovered only last year in the Censor's office, yielded up, and published. It had been sent in 1885 under the nom-deplume “A. Chekhonte,” and it had failed to pass. The Censor, of the time being had scrawled his opinion on the manuscript, “a depressing and dirty piece — cannot be licensed.” The name of the gentleman who held this view — Kaiser von Kugelgen — gives another reason for the educated Russian's low opinion of German-sounding institutions. Baron von Tuzenbach, the satisfactory person in “The Three Sisters,” it will be noted, finds it as well, while he is trying to secure the favours of Irina, to declare that his German ancestry is fairly remote. This is by way of parenthesis. “The High Road,” found after thirty years, is a most interesting document to the lover of Chekhov. Every play he wrote in later years was either a one-act farce or a four-act drama. [Note: “The Swan Song” may occur as an exception. This, however, is more of a Shakespeare recitation than anything else, and so neither here nor there.]
Nikolai Ivanov is losing his mind. His life used to be full of possibility, but now he's moneyless on an old farm with his mendicant uncle and his slightly criminal cousin. But one afternoon, a glimmer of a new life reveals itself ... Eamon Flack's adaptation of Ivanov was written specially for Belvoir, updated to the present, and set in a 'Russia' that may or may not resemble modern Australia.
First published in her Chekhov: Four Plays and Three Jokes, Sharon Marie Carnicke's eye-opening translation of Three Sisters appears in this edition with a new Introduction that expands upon her discussion in Four Plays & Three Jokes of Chekov's innovative dramaturgy--especially as seen in this subtle melodrama turned inside out.
This is a collection of eight of Chekov's early stories, written during his late 20s and early 30s. They are: The Steppe, Panpipes, The Kiss, Verochka, The Name-Day Party, A Dreary Story, Gusev and The Duel. They deal with good and evil, depicting heroes, villains and monsters.
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