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Differences between Chekhov’s “The Lady with the Dog” and Oates’ “The Lady with the Pet Dog”
Lady with the pet dog by anton chekhov research paper
Lady with the pet dog by anton chekhov research paper
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Recommended: Differences between Chekhov’s “The Lady with the Dog” and Oates’ “The Lady with the Pet Dog”
Though the similarities and differences of characterization in Chekhov and Oates’s different versions of “The Lady with the Pet Dog” are evident, the purpose only becomes clear for the reader when the two versions are read and compared. The stories have different settings, but the characters in the story remain the same. There is Anna, Dmitry, and their families. Although their families are mentioned, each member remains without any description and therefore they begin to seem almost unimportant.
Both Anton Chekhov and Joyce Oates chose to tell the story using a third-person narrator. This is one of the most important aspects of the characterization because if other characters were allowed to appear more within either story, the reader would have more than likely had a different view of their affair. For example, if Oates had allowed the reader to know Anna’s husband more intimately and definitely if the reader could read his thoughts, we may have seen the affair as dirty. We only see him trying to make love to her in an almost impersonal way. They never really cominicate, and his love for her is never shown with in the story, so the reader has no real reason to sympathize with him. Instead, Anna’s guilt seems sufficient, and her desire to be else where allows the reader to feels sorry for her and the fact that this love is what she perceives as her fate, we give her the sympathy and no longer see this affair as necessarily wrong.
Chekhov uses this same type persuasi...
They validate the secular way of thinking and make us question the strength and sincerity of our moral beliefs. Even though Gurov and Anna have different reasons for having the affair and dealt with their grief differently, they both justify their relationship because they have grown to love each other. Works Cited:.. Chekhov. Anton Pavlovich.
The white women in Eugene O’Neill’s play All God’s Chillun Got Wings and The older sister in Tennessee Williams’ play A Streetcar Named Desire both struggle mentally with reality and fantasy. Ella Downey, a desperately unstable, racially aware woman, struggles to overcome her insecurities, and is mentally torn between reality and fantasy. Like Ella, Blanche Dubois, a disillusioned woman, finds herself struggling mentally; unable to overcome reality, refuses to accept things are what they are, retreats to the fantasies of her mind.
Both the princess and Natalya know that they lost their loves and know that they cannot change that outcome. However, the authors both have different manners of showing the pain of each women, with Stockton’s being more effective in feeling the pain, fury, and passion of the princess. Although Chekhov’s version does not contain that similar intensity in his story, the reader can still acknowledge the despondence Natalya has when she realizes her mistake. As stated before, these two stories revolve around the theme of lost love, even if the lessons that are expressed through these themes are distinct. The manner in which these authors wrote their stories affected how compelling they were, showing two different perspectives with different tones, all while sharing a theme that can easily be related to, no matter the time period or
The following paper will focus on one of the most characteristically types of work for Chekhov: “The Lady and the Pet Dog”. Our aim is to portrait the character of Dmitry Dmitrich Gurov, in the context of the story, extracting those elements that are characteristic for the period in which Chekhov wrote the story.
Ivan's wife is also self-centered and exhibits great disdain for her husband, who she considers more of a nuisance and hassle than anything else. Ivan's last days are spent in terrible physical agony, as he uncontrollably screams and moans in pain. When Ivan's friends come to pay their respects to his widow, we see in her comments to them that she never reall...
Anna transcribes her memories in a way that transitions from being able to love freely to being forced to love Alexander Karmyshev out of obligation; this was an arranged marriage by her mother. Anna sees the role of a noblewomen as being completely submissive towards their husbands even under unbearable conditions. The lessons learned from her mother helped shape and control her life. Labzina’s mother instilled the lessons of submission and survival in her mind before departing. Her mother’s motivation for teaching her these things was so that elite people would intercede on her behalf through respect for her. Her mother’s teachings were to:
It seems as though Pyotr and Alexeich both represent different aspects of Chekhov’s father, and Chekhov himself is Anna. Chekov’s father was aloof from his family and came from a lower class background; like Modest Alexeich, Chekhov’s father also fawned at the feet of his social superiors. Chekhov, in contrast, was an unconventional boy. He eventually broke from his family’s lower class position and became a doctor; however, throughout his school and career he performed additional odd jobs to earn money he could send to his father. Also like Anna, Chekhov loved to be with people (Payne xiii, xvii-xxi). Comparing the two, then, it would seem as if Chekhov identifies with Anna as she struggles to find her social identity and wrestles with her desires and the needs of those she loves. This tone gives the story a melancholy mood and leads to a bittersweet conclusion. The ending seems happy for Anna, yet the reader is left to wonder what the ending represents. Did her father and husband receive the dues for their behavior? Are Anna’s actions a normal product of the transformation from youth to adulthood, or did she come to completely discard respect and
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
Chekhov’s portrayal of love is as an emotion that solidifies itself only if the precise person is encountered. However, Chekhov takes his idea even further through his characters Dmitri and Anna, by stating through them, that love may be discovered, even after marrying the “incorrect person.” This fact is made clear when Chekhov writes “I don't know what he does there, what his work is, but I know he is a flunkey! I was twenty when I was married to him” through the character Anna. Hemingway on the other hand, instead of giving a view on what love is, his perspective is based on situation that may be mistaken as love. Both of Hemingway’s characters in Hills like White Elephants; Jig and The American, are reluctant to reveal the reality o...
The principal characters from the short stories, ‘’The Lady with the Dog’’ by Chekhov, and ‘’Hills like White Elephants’’ by Ernest Hemingway are dishonest with the one they love and with themselves, they hide their real feelings about the person they are with, they are living an untruthful relationship, and as a couple they lie to each other. In ‘’The Lady with The Dog’’, Dmitri Gurov and Anna Sergeyevna, they are both unhappily married to other characters, and after a while they engage in an affair, hiding their feeling to each other, just because they do not want to break up their marriages, they do not want more responsibility of what they have with each other. The same matter happens in the ‘’Hills Like White Elephants’’, The American
“The Lady with the Pet Dog” exhibits Anton Chekhov’s to convey such a powerful message in a minimal amount of words. He uses the element of color to show the emotions as well as changing feelings of the main characters, Dmitri Gurov and Anna Sergeyevna, and the contrast of them being apart to them being together. For example, when Anna leaves and they are apart, Dmitri seems to live in a world of grey. As he begins to age, his hair begins to turn grey, and he is usually sporting a grey suit. Yalta is where they met, and it is described as a romantic spot filled with color and vibrancy and freedom, like when Chekhov writes “the water was of a soft warm lilac hue, and there was a golden streak from the moon upon it.”
Virginia Woolf’s Mrs. Dalloway and Samuel Beckett’s Waiting for Godot are representative works of two separate movements in literature: Modernism and Post-Modernism. Defining both movements in their entirety, or arguing whether either work is truly representative of the classifications of Modernism and Post-Modernism, is not the purpose of this paper; rather, the purpose is to carefully evaluate how both works, in the context of both works being representative of their respective traditions, employ the use of symbolism and allusion. Beckett’s play uses “semantic association” in order to convey meaning in its use of symbolism; Woolf’s novel employs a more traditional mode of conveying meaning in its own use: that is, the meaning of symbols in Mrs. Dalloway is found within the text itself. Woolf’s novel exists as its own entity, with the reader using the text as the only tool in uncovering any symbolic meaning, while Beckett’s play stimulates the audience in such a way that the audience projects their own meaning in the symbols presented.
Larisa Guzeyeva’s portrayal of Larisa Ogudalov in A Cruel Romance is concordant with Ostrovsky’s own conception of the character in his original nineteenth century play. In order to enhance the audience’s percep...
The story “The Darling” by Anton Chekhov, illustrates a woman that is lonely, insecure, and lacking wholeness of oneself without a man in her life. This woman, Olenka, nicknamed “Darling” is compassionate, gentle and sentimental. Olenka is portrayed for being conventional, a woman who is reliant, diligent, and idea less. Although, this story portrays that this woman, known as the Darling needs some sort of male to be emotionally dependant upon, it is as if she is a black widow, she is able to win affection, but without respect. Only able to find happiness through the refection of the beliefs of her lovers, she never evolves within the story.
The motif of infidelity is predominantly evident in the love affair between Vronsky and Anna. From their very first encounter at the train station, it was clear that this relationship was destined for destruction. Their relationship takes on a very deceptive and superficial quality. Vronsky knew from the very beginning about Anna’s marital status, yet this did not dissuade his attraction to her, or his adulterous relationship with her later on. It is important to note that it is Vronsky’s frivolous nature that is responsible for his inability to fully love Anna with the passion that she so desperately needs from him. Vronsky initially believes that he loves Anna, but Tolstoy shows the reader that Vronsky’s love for her is not absolute. His love is not based upon firm emotional commitment, and it is easily questioned and redefined. Eventually, Anna’s love becomes burdensome to him because he remains steeped in the pursuit of his own freedom and pleasures, without placing importance on Anna’s tormented existence. Vronsky is dishonest with himself. He begins a relationship that he is not ready for. He believes that he can love Anna in “the right way,” yet he cannot. Their relationship will be destroyed not by an outside party but by their own hands.