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The Bear: A Joke in One Act, or The Boor (Russian: Медведь: Шутка в одном действии, romanized: Medved': Shutka v odnom deystvii, 1888), is a one-act comedic play written by Russian author Anton Chekhov. The play was originally dedicated to Nikolai Nikolaevich Solovtsov, Chekhov's boyhood friend and director/actor who ...
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 Independent includes The Story of a Nobody among the "finest fiction" that explore terrorism and its motives, through lens of tsarist Russia. [3] Translator Hugh Aplin compares the piece to the works of Turgenev in its capturing post-serfdom, pre-Soviet radicalism, as well both authors' creation of female characters with "great moral integrity" compared with their male counterparts. [4]
The story was much discussed by the contemporary critics and garnered mostly positive reviews. The in-depth analysis were provided by Alexander Skabichevsky in Syn Otechestva [4] and Angel Bogdanovich in the October 1898 issue of Mir Bozhy, the latter describing the story "as a kind of setting for the environment where the Man in a Case rules ...
The idea for the story apparently originated during Chekhov's stay with the family of Colonel B.I. Mayevsky, an artillery battery commander garrisoned in Voskresensk. According to Mikhail Chekhov, "[Mayevsky] had charming children, Anya, Sonya and Alyosha, whom my brother Anton Pavlovich befriended and later portrayed in the short story ...
Chekhov started writing the novella in January 1891. [1] According to Mikhail Chekhov, while working upon it Chekhov regularly met with the zoologist and writer Vladimir Wagner. The two had lengthy discussions, one of which was on the subject of the then-popular concept of "the right of the strong one", which formed the basis of the philosophy ...
Chekhov's gun (or Chekhov's rifle; Russian: Чеховское ружьё) is a narrative principle that states that every element in a story must be necessary and irrelevant elements should be removed. For example, if a writer features a gun in a story, there must be a reason for it, such as it being fired some time later in the plot.
During its author's lifetime, the story was translated into Danish, Serbo-Croatian, German, French and Czech languages. [2] In 1893 Y. Tveroyanskaya, writing from Paris, informed Chekhov that her translations of "Gusev" and "The Runaway" had been published in the Revue des deux Mondes to public and critical acclaim.