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Literary analysis of the lady with the dog
What is the story of the lady with the dog about
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Many stories have the standard beginning, middle, and end structure that can be become very dull and predictable, diminishing the value and quality of a story. However, Anton Chekhov’s short stories brought upon a new era for literature when he introduced short stories with “zero ending” or “non ending” conclusions. Through this concept he can pull off bottom less endings, where the reader is assumed to ponder and wonder what will happen to the characters after the story ends. This paper will discuss this concept by comparing and contrasting Chekhov’s “The Lady With the Little Dog” and “Sleepy” to “The Beggarwoman of Locarno” by Heinrich Von Kleist, a short story with a more traditional standard structure. In the short story, The Lady With The Little Dog, we are introduced to Anna and Gurov, a couple intertwined in a romantic issue. Their love for each other brings them together, but their respected families and lives prohibits them from expressing their love freely. Even with a period of separation, both Anna and Gurov realize that their own lives bring them unhappiness. For example, when Gurov finds Anna house he sees, “a long grey fence with inverted nails hammered into the tops of palings”. He sees and understands how she is metaphorically imprisoned in a house that promotes unhappiness. To add the level of difficulty to their issue, getting a divorce was out of reach because while it was possible, only in a few and rare circumstances were divorces granted during the period of time of the story. Even with all of these obstacles, they arranged to meet up in Moscow showing their love will take them to such lengths, to hold on to the happiness they find in each other. With all the tension and drama involved around this coup... ... middle of paper ... ...e end of story can be frustrating for reader. There is also the possibility of possible profit lost, as there were no sequels for the majority of Chekhov stories and the anticipation his stories were built on, were great foundations for sequels. Be that as it may, many will agree Chekhov’s stories were overall very entertaining and the need for sequels was not necessary. In fact, the lack of sequels is what made Chekhov’s stories unique and original. The fictional realism his zero ending technique brought were unmatched for its time, even today we are still amazed at how Chekhov manages to pull of his bottom less endings. All in all, Chekhov broke down the barriers in literature, that demand stories and plays to have a beginning, middle, and end. Instead, he brought us endings in short stories that makes us think, ponder, and wonder in a good and entertaining way.
Marriage is an important theme in the stories Their Eyes Were Watching God by Zora Neale Hurston and The Story of an Hour by Kate Chopin. When someone hears the word “marriage”, he thinks of love and protection, but Hurston and Chopin see that differently. According to them, women are trapped in their marriage and they don’t know how to get out of it, so they use language devices to prove their points. Chopin uses personification to show Mrs. Mallard's attitudes towards her husband's death. Louise is mournful in her room alone and she is giving a description of the nature as a scene of her enjoying “the new spring life” and “the delicious breath of rain was in the air” (Chopin1).
In literature, we often see the “happy ending”, where the guy gets the girl, they ride off into the sunset together, forever. This is a consistent presentation across literature. Though another popular style, but less often seen, is that of the unhappy ending, which we will explore in this paper. Its style is one that can strike emotion through readers as they turn each page. In this work, we will analyze two classic works: “A Good Man is Hard to Find” by Flannery O’Connor, and “Babylon Revisited” by F. Scott Fitzgerald. Both stories share the same type of ending style. We will analyze the themes & symbols that each story has and compare the two.
end. This essay will further show how both stories shared similar endings, while at the same time
Chekhov is the true precursor of the theater of the absurd. Before the beckettian "waiting" there was the continuous "waiting" of the three sisters who never live for Moscow. Chekhov developed an aesthetic principle, according to which tragic and comic are not separated by an impassable wall but represent two sides of the same phenomenon of life, which can be viewed both in terms of tragedy and in terms of comedy.
The ominous and tragic atmosphere infusing the consummation of their relationship gives a foresight into what is going to happen in the rest of this relationship which is ill-fated. Their love fails to give them the perfect happiness that they envisioned and therefore they begin blaming the social circumstances for their dissatisfaction. The social and familial disapproval that Vronsky encounters angers him. "They have no conception of what happiness is, and they do not know that without love there is no happiness or unhappiness for us, for there would be no life" (Tolstoy, 167). After the fulfilment of their initial desire for each other, they strive to satisfy another desire, a further one. They need to be set free from the need for dissembling and lies, "it was necessary to put an end to all this falsehood, and the sooner the better" (Tolstoy, 168). Vronsky puts it, "throw up everything and let us two conceal ourselves somewhere alone with our love" (Tolstoy, 168). The two lovers eventually achieve
O’Brien, Tim, and Jonathan D’Amore.” Every Question Leads to the next: An Interview with Tim O’Brien.” Carolina Quarterly 58.2 (Spring 2007): Pages 31-99. Rpt. in Short Story Criticism. Ed. Jelena O. Krstovic. Vol. 123. Detroit:Gale, 2009. Literature Resource Center. Web. 6 May 2014.
Short stories are temporary portals to another world; there is a plethora of knowledge to learn from the scenario, and lies on top of that knowledge are simple morals. Langston Hughes writes in “Thank You Ma’m” the timeline of a single night in a slum neighborhood of an anonymous city. This “timeline” tells of the unfolding generosities that begin when a teenage boy fails an attempted robbery of Mrs. Jones. An annoyed bachelor on a British train listens to three children their aunt converse rather obnoxiously in Saki’s tale, “The Storyteller”. After a failed story attempt, the bachelor tries his hand at storytelling and gives a wonderfully satisfying, inappropriate story. These stories are laden with humor, but have, like all other stories, an underlying theme. Both themes of these stories are “implied,” and provide an excellent stage to compare and contrast a story on.
Chekhov reminds the readers that Anna is young compared to Gurov. Chekhov’s novel states, “As he went to bed he reminded himself that only a short time ago she had been a schoolgirl, like his own daughter” (3). The images of Anna being a schoolgirl not too long ago, when Gurov has a daughter of similar age, brings the sense of abnormality between the relationship of Gurov and Anna. It’s hard to imagine such a huge difference in lovers especially in the strict culture of Russia in the late 19th century where these occasions were unthought-of. The uncomforting thought of the difference in age goes back to differ the meanings of love and romance in the novel because against all odds and differences, Anna and Gurov hide away from these obvious facts. The thought of love in this culture is between a man and woman of similar age. According to Chekhov’s novel, “He was sick of his children, sick of the bank, felt not the slightest desire to go anywhere or talk about anything” (9). Chekhov’s description of sickness reveals that Gurov has a huge moment of denial, denial of family and denial of age. This denial of age, helps Gurov cope with the oddities of their relationship, the oddities of the love they had with the characteristics of a romance. Gurov was trying to change the definition of their relationship on his own mental terms. While Gurov was trying to bring out a spontaneous, younger
It has been said of Anton Chekhov, the renown Russian short-story writer, that in all of his “work, there is never exactly a point. Rather we see into someone’s hear – in just a few pages, the curtain concealing these lives has been drawn back, revealing them in all their helplessness and rage and rancor.” Alice Munro, too, falls into this category. Many of her short-stories, such as “Royal Beatings” focus more on character revelation rather than plot.
Fulford, Robert.“Surprised by love: Chekhov and ‘The Lady with the Dog’.” Queen’s Quarterly. n.d. Web. 17 November 2013.
Marriage can be seen as a subtle form of oppression, like many things which are dictated by social expectations. In Kate Chopin’s The Story of An Hour, Louise Mallard finds herself in distress due to the event of her husband’s death that makes her question who she is as a person. The author cleverly uses this event to create the right atmosphere for Mrs. Mallard to fight against her own mind. As the short story progresses, we see that Mrs. Mallard moves forward with her new life and finds peace in her decision to live for herself. This shows that marriage too is another chain that holds oneself back. Not wanting to admit this to herself, Louise
When analyzing a short story, there are many criteria that define a well written piece of literature. The first attribute of a skillfully crafted piece of literature is an ambiguous story development. The ability of an author to create a story that has an unforeseen outcome allows the reader to continue to engage with the text. Secondly, a story must have a plausible meaning. This is crucial to the reader’s ability to relate and connect to the story’s theme.
...ry a much more personal story, forcing the readers to decide for themselves who is right, and who is wrong. The fact that a short story was the medium through which to tell this story is amazing, as it does not make it seem of lower quality because the details are missing, it seems to fit. Chekhov also remains very neutral in his description of the events, which lets the reader create even more of a story for themselves. Not only does the reader create settings and environments for themselves, but their own personal beliefs can sway things such as how characters look and their mannerisms. While other writers focus on giving an overabundance of detail, Chekhov stays very cold, not describing or giving bias. With this style of writing Chekhov has achieved a great feat in being able to let a reader make their own story, and the short story medium is perfect for this.
Matlaw, Ralph E. Anton Chekhov¡¦s Short Stories: Texts of the Stories Bachgrounds Criticism. New York: W.W. Norton & Company Inc., 1979.
The traditional short story is a genre of a prose. It is a fiction work that presents a world in the moment of an unexpected change. The traditional short story obeys some rules, such as the unexpected change and major events with detail. The modern short story is a revolution which is based on the traditional short story. In other words, if the traditional short story is in the first floor, the modern short story is in the second floor. Therefore, the modern short story still obeys some rules that the traditional short story obeys, and breaks some rules that the traditional short story obeys. One rule that the modern short story still uses is the unexpected change. The rules broken by the modern short story are that the major events are not detailed, and that the border between the real world and the fiction world. This paper first talks about the unexcepted change and uses the examples of “Eveline” and “The Open Window.” Then, this paper talks about major events with detail, and uses the examples of “Lottery,” “The Open Window” and “Hills Like White Elephants.” Finally, this paper talks about the meta-literary and the border between the real world and the fiction