Selected Stories of Anton Chekov - By Anton Chekhov Page 0,2

and with equal success. His first play, Ivanov, opened in Moscow on November 19, 1887. In January 1889 it was staged in Petersburg, where it was greeted with enthusiasm and much discussed in the newspapers and literary journals. The production later toured the provinces.

But, precisely because of its originality, Chekhov’s work met with opposition from the established critics of the time. For decades literary criticism had been dominated by political ideologists, who judged literary works according to their social “message,” their usefulness to the common cause. The writer was seen first of all as a pointer of the way, a leader in the struggle for social justice; his works were expected to be “true to life” and to carry a clear moral value. Faced with stories like “Anyuta” or “Easter Night,” what were these critics to say? What were they to think of a writer whose first precept was the “absence of lengthy verbiage of a political-social-economic nature”? Chekhov’s “impressionism” was seen as a form of art for art’s sake, a denial of the writer’s social role, and a threat to the doctrine of realism, and he was attacked for deviating from the canons of useful art.

In fact, just as Chekhov created a new kind of story, he also created a new image of the writer: the writer as detached observer, sober, restrained, modest, a craftsman shaping the material of prose under the demands of authenticity and precision, avoiding ideological excesses, the temptations of moral judgment, and the vainglory of great ideas. That is how Chekhov himself has most often been seen, and certainly it was in part what he wanted to be. He often joked about his ideological shortcomings. “I still lack a political, religious and philosophical world view,” he wrote to Grigorovich on October 9, 1888. “I change it every month—and so I’ll have to limit myself to descriptions of how my heroes love, marry, give birth, die, and how they speak.” He considered that the writer’s job, and thought it was enough. On October 27, 1888, he wrote to Alexei Suvorin:

The artist must pass judgment only on what he understands; his range is as limited as that of any other specialist—that’s what I keep repeating and insisting upon. Anyone who says the artist’s field is all answers and no questions has never done any writing or had any dealings with imagery. The artist observes, selects, guesses and synthesizes … You are right to demand that an author take conscious stock of what he is doing, but you are confusing two concepts: answering the questions and formulating them correctly. Only the latter is required of an author.

The leading critic of the time, the populist Nikolai Mikhailovsky, said that those who admired Chekhov admired him precisely for the “indifference and impassibility” with which he applied his excellent artistic apparatus to a swallow or a suicide, a fly or an elephant, tears or water—“a revelation they call ‘the rehabilitation of reality’ or ‘pantheism.’ All in nature … is equally worthy of artistic treatment, all can give equal artistic pleasure, and one must avoid selection according to a general idea or principle.” Mikhailovsky considered this a waste of Chekhov’s genuine talent. And Tolstoy, for all his admiration, was of a somewhat similar opinion. In August 1895, after Chekhov’s first visit to his estate, he noted in his diary: “He is very gifted, must have a good heart, but up to now he has no definite point of view on things.” The place Chekhov gave to contingency in his choice of themes and arrangement of details, the lack of any general idea to unify the whole, was considered his great originality or his great defect as an artist.

Chekhov privately defended himself against the attacks of his critics in a letter written on October 4, 1888, to Alexei Pleshcheev, literary editor of the Northern Herald:

The people I am afraid of are the ones who look for tendentiousness between the lines and are determined to see me as either liberal or conservative. I am neither liberal nor conservative, nor gradualist, nor monk, nor indifferentist. I would like to be a free artist and nothing else, and I regret God has not given me strength to be one. I hate lies and violence in all their forms, and consistory secretaries are just as odious to me as Notovich and Gradovsky [two unscrupulous left-wing journalists]. Pharisaism, dullwittedness and tyranny reign not only in merchants’ homes and police stations. I see them in science, in literature, among