An Analysis Of Oates The Lady With The Pet Dog

I have read dozens upon dozens of works of derivative literature. Such works are common, but rarely add to the source material. Not often are they good, rarely are they significant. Oates’ “Lady with the Pet Dog” derivative of Chekhov’s “The Lady with the Little Dog” is one of the rare significant achievements of derivative literature. The very basis of derivative literature is to change something from the source material, in this case Oates changes the setting from pre- Bolshevist Russia to mid-to-late twentieth century America. This change then forces Oates to justify the plot by changing its complications, and thus its overall themes. The result is a shift from a debate for the morality breaking the rules of traditional marriage to the

We no longer have a pre-modern society to keep love from blossoming; so Oates has to make the tension arise from the characters and their relationships themselves. Oates gives us the tension in the form of the guilt, jealousy, and angst Anna feels. In order to focus on the new conflict, Oates challenges the reader to care more for the characters mentioned only in passing by Chekhov, changes the chronology, and shifts character perspective.

In order to properly understand the changes to the themes we must first establish what Chekhov’s directive was with this work. For the purpose of this comparison I will focus on a rather intuitive and basic theme. Chekhov wishes to introduce a notion that love is more important than ritualistic marriage. The reader is to cheer for the unlikely lovers despite their engagement in behavior that is highly

Chekov is measured and careful, Oates is flowery and plentiful (sometimes gratuitous). While this is probably more stylistic than intentional it does give a different feel to the stories. Chekhov’s more simplistic depiction of the story feels more optimistic while Oates’ more flowery descriptions give a bleaker sensation. Ironically, this is despite the greater ease Oates’ lovers would have to achieve union. What makes Oates version seem more melancholy is that the increased depiction of the characters and those around them gives her a greater range to set a mood. Chekhov’s language remains more neutral. Oates uses charged or uncomfortable words and terms like “poison” (964) and “antiseptic” (965- not a “bad” word but one that invokes hospitals instead of comfortable cars) while including allusions to thoughts of suicide (967) and jealousy fueled murder fantasies (969), and vivid descriptions of physical discomfort. All of this uneasiness fits right into the theme, if unintentionally, as we feel the stress the characters are feeling as opposed to being struck by their unfortunate