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The story was positively reviewed by Peterburgskiye Vedomosti (No.167, 1886) and N. Ladozhsky. [2] Leonid Obolensky, writing for Russkoye Bogatstvo praised Chekhov for his extraordinary ability to see the hidden drama behind deceptively simple things, and cited "Misery" as a perfect example of that. [3]
Anton Pavlovich Chekhov [a] (/ ˈ tʃ ɛ k ɒ f /; [3] Russian: Антон Павлович Чехов [b], IPA: [ɐnˈton ˈpavləvʲɪtɕ ˈtɕexəf]; 29 January 1860 [c] – 15 July 1904 [d]) was a Russian playwright and short-story writer. His career as a playwright produced four classics, and his best short stories are held in high esteem ...
The Life and Letters of Anton Tchekov. Translated and Edited by S.S. Koteliansky and Philip Tomlinson. New York. 1925. The Personal Papers of Anton Chekhov. Introduction by Matthew Josephson. New York. 1948. The Selected Letters of Anton Chekhov. Edited by Lillian Hellman and translated by Sidonie Lederer. New York. 1955. ISBN 0-374-51838-6.
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Misery, by Stephen King; Misery, based on the novel; Misery, based on the novel "Misery" (short story), by Anton Chekhov "Misery" , a 2017 television episode "Misery" (The Upper Hand), a 1993 television episode; Misery, a character in the 2004 video game Cave Story; Misery, a character in the television series Ruby Gloom
"A Misfortune", sometimes translated "Misfortune" (Russian: Несчастье, romanized: Neschast'e), is an 1886 story by Anton Chekhov. [1] [2] [3] First published in Novoye Vremya, the story concerns Sofya Petrovna, the young wife of a country notary, whose attempts to turn away a suitor only expose her own desire for him and drive her toward an affair.
It has been suggested that the portrayal of the Jewish temptress, Susanna Rothstein, may have been influenced by Chekhov's stormy relationship with his former fiancée Dunia Efros, herself Jewish, and who remained on good terms with Chekhov after marrying his friend the Jewish lawyer and publisher Efim Konovitser. [1] [2]
In Ward No. 6 Chekhov pays his respects to Tolstoi's creed of self-denial, through the lips of the doctor's favourite madman. [5] Literary critic Edmund Wilson called it one of Chekhov's "masterpieces, a fable of the whole situation of the frustrated intellectuals of the Russia of the eighties and nineties". [6]