Anton chekhov: a man of few words
“The task of a writer is not to solve the problem, but to state the problem correctly” (goodreads.com). These are the words of renowned author and playwright Anton Chekhov. This illustrates his thoughts on what being a writer is, and he definitely did state the problem correctly in his works although he was not always completely clear or obvious in stating it. As a child, Chekhov grew up in a household with a storytelling mother and an abusive father. When his father left his family to flee his debtors, Chekhov became their financial supporter. This was what led him to discover his love for writing. He wrote short stories for newspapers to put him through school and help support his family. It is believed that his abusive father inspired many of his hypocritical characters. Those who study Chekhov’s work have developed six principles that he follows. Three of these six principles will be covered. They are that he uses truthful descriptions, extreme brevity, and absence of verbiage in his writings. Anton Chekhov’s The Seagull, “A Dead Body”, and “A Classical Student” will be used to display the use of these principles. It can be concluded that Anton Chekhov uses truthful descriptions, extreme brevity, and absence of verbiage frequently in his works.
Firstly, Chekhov uses truthful descriptions in his works. This is seen in The Seagull when Irina, an essentially selfish and hypocritical character, is speaking about her son who she does not approve of that is an aspiring writer: “I am not angry, I am merely annoyed that such a young man should spend his time in such a tiresome way” (103). When writing this, Chekhov did not beat around the bush. He wrote exactly what he wanted the character to feel. Chekhov’s truthful descriptions manifest themselves in his short stories, too. In “A Dead Body”, one of his characters is found saying to another: “You are a queer fellow, Syomushka!” (“A Dead Body”). Again, Chekhov gets straight to the point with what he wants to say. In another of his short stories, “A Classical Student”, a frustrated mother tells her son how she feels about his failure as a student: “You’ve worn me to a threadbare, you Herod, you torment, you bane of my life!” (“A Classical Student”). Some may believe that this is harsh for a mother to say to her son. It very well may be harsh, but it is also Chekhov’s style manifesting itself in this work. Chekhov’s truthful descriptions in his works make it easy for the reader to understand what a character is thinking.
Secondly, Chekhov uses extreme brevity in his works to get his point across. Brevity is seen very frequently in Chekhov’s work. Two examples from The Seagull are: “I’m here” and “They’ve all gone” (107). Chekhov could have found a grander way to say these things, but instead he just stated them plainly, which is what many admire about him and his works. Like his other principles, brevity extends from Chekhov’s plays to his short stories. In “A Dead Body”, he begins the story and sets the mood by saying “A still August night” (“A Dead Body”). By saying this, he not only sets the tone for the piece, but he avoids over-used clichés. He also uses extreme brevity in “A Classical Student” when describing the main character after his tiresome exam: “His thin face is pale” (“A Classical Student”). Again, Chekhov does not waste his ink by making this information sound especially grandiose. Some believe that Chekhov is the master of being brief, but thorough in his writing.
Finally, Chekhov uses the absence of verbiage in his works. Verbiage means flowery and grandiose speech. An example from The Seagull is when a character simply says “You’ve hurt his feelings” (102). Chekhov could have found a grander way to say this, but instead he just says this. This is also found in “A Dead Body”, “There is perfect stillness” (“A Dead Body”). Again, this is a very simple way of saying what he wants to. Another example is in “A Classical Student”, “I am a miserable person” (“A Classical Student”). Chekhov is very good at keeping things brief in his writing.
It can be concluded that Anton Chekhov uses truthful descriptions, extreme brevity, and absence of verbiage frequently in his works. It is very clear from his works and his style that Anton Chekhov’s life influenced his writing. The fact that his life was so complicated may be why he is so brief and uncomplicated in his writing. His life also inspired a lot of his stories. He was a very sad and depressed person, and this shows in his writings. “I was oppressed with a sense of vague discontent and dissatisfaction with my own life, which was passing so quickly and uninterestingly, and I kept thinking it would be a good thing if I could tear my heart out of my breast, that heart which had grown so weary of life.” (goodreads.com)
Firstly, Chekhov uses truthful descriptions in his works. This is seen in The Seagull when Irina, an essentially selfish and hypocritical character, is speaking about her son who she does not approve of that is an aspiring writer: “I am not angry, I am merely annoyed that such a young man should spend his time in such a tiresome way” (103). When writing this, Chekhov did not beat around the bush. He wrote exactly what he wanted the character to feel. Chekhov’s truthful descriptions manifest themselves in his short stories, too. In “A Dead Body”, one of his characters is found saying to another: “You are a queer fellow, Syomushka!” (“A Dead Body”). Again, Chekhov gets straight to the point with what he wants to say. In another of his short stories, “A Classical Student”, a frustrated mother tells her son how she feels about his failure as a student: “You’ve worn me to a threadbare, you Herod, you torment, you bane of my life!” (“A Classical Student”). Some may believe that this is harsh for a mother to say to her son. It very well may be harsh, but it is also Chekhov’s style manifesting itself in this work. Chekhov’s truthful descriptions in his works make it easy for the reader to understand what a character is thinking.
Secondly, Chekhov uses extreme brevity in his works to get his point across. Brevity is seen very frequently in Chekhov’s work. Two examples from The Seagull are: “I’m here” and “They’ve all gone” (107). Chekhov could have found a grander way to say these things, but instead he just stated them plainly, which is what many admire about him and his works. Like his other principles, brevity extends from Chekhov’s plays to his short stories. In “A Dead Body”, he begins the story and sets the mood by saying “A still August night” (“A Dead Body”). By saying this, he not only sets the tone for the piece, but he avoids over-used clichés. He also uses extreme brevity in “A Classical Student” when describing the main character after his tiresome exam: “His thin face is pale” (“A Classical Student”). Again, Chekhov does not waste his ink by making this information sound especially grandiose. Some believe that Chekhov is the master of being brief, but thorough in his writing.
Finally, Chekhov uses the absence of verbiage in his works. Verbiage means flowery and grandiose speech. An example from The Seagull is when a character simply says “You’ve hurt his feelings” (102). Chekhov could have found a grander way to say this, but instead he just says this. This is also found in “A Dead Body”, “There is perfect stillness” (“A Dead Body”). Again, this is a very simple way of saying what he wants to. Another example is in “A Classical Student”, “I am a miserable person” (“A Classical Student”). Chekhov is very good at keeping things brief in his writing.
It can be concluded that Anton Chekhov uses truthful descriptions, extreme brevity, and absence of verbiage frequently in his works. It is very clear from his works and his style that Anton Chekhov’s life influenced his writing. The fact that his life was so complicated may be why he is so brief and uncomplicated in his writing. His life also inspired a lot of his stories. He was a very sad and depressed person, and this shows in his writings. “I was oppressed with a sense of vague discontent and dissatisfaction with my own life, which was passing so quickly and uninterestingly, and I kept thinking it would be a good thing if I could tear my heart out of my breast, that heart which had grown so weary of life.” (goodreads.com)