A Problem Relationship in A Marriage Proposal by Anton Chekhov

The Russian attitude toward love during Chekhov’s time is very patriarchal and is considered normal to marry for practical reasons, parental pressures or other considerations rather than for love. The feelings that accompany love, such as passion and spirituality, are not a societal consideration and this institutional attitude toward human emotion is the catalyst for Chekhov’s story. When a person is deprived of love, he or she builds up a futility of life which consumes the human soul. In Anton Chekhov’s “The Lady with the Dog”, the readers are placed in a setting where the main character Gurov, and his love interest Anna, are given the emotional freedom to feel love toward one another. This freedom is the driving force in the story

Kate Chopin is an experienced short story writer from the beginning of the 1900s, who was ahead of her time due to her amazing ability to take such complex characters that are easy to identify with and create amazing short stories in such a small amount of space. Marriage is a common theme in her stories, because a "wife" was a defining role in women's lives back then. The only thing is, marriage is not always shown to be flowery and romantic like writings before her. She looked at the painfully real side of how marriage can be good and bad, notably in The Story of an Hour and The Storm. Kate Chopin's attitude towards marriage is primarily negative because it can become dull and it can repress women, yet at the same time her

The next silence comes after a week of continued daily meetings and foretells the relationship’s passage from casual to physically intimate.  Before the silence is noted, Dmitri and Anna are at a jetty admiring the sea and watching the boats come and go, and Dmitri is watching Anna closely; as she chatters aimlessly, he notices her movements and the shining in her eyes, all of which are the backdrop for the rising tension that peaks during a moment of silence:  ‘“The weather’s improved towards evening,” he said.  “Where shall we go now?  Shall we take a drive somewhere?”  She made no answer.’  Anna’s failure to respond (her silence) marks the height of the tension and is immediately followed by a sudden embrace, a passionate and romantic kiss, laden with the nervousness that comes with public indiscretion, and finally, the suggestion from Dmitri that the two go to a private place to consummate the relationship:  “Let’s go to your place…” he said softly.  And they both walked quickly’.  Once again, after a silence, the relationship escalates.  Chekhov uses the device repeatedly as the two fracture over Anna’s guilt and go their separate ways; the extended

Although Chekhov emphasized in the beginning of the text that money holds power as shown by Anna and Modest Alexeich’s relationship, Chekhov shifts the power dynamic by introducing Anna’s beauty and sense of empowerment and now Anna has a new sense of awareness and power. Following the ball, His Excellency “[thanks Anna] for her part in the bazaar” and asked her permission to come again (283). After establishing herself and her influence at the ball, His Excellency’s visit to Anna truly places emphasis on her role at the ball. Having one of the highest member of society personally visit and thank Anna gave her the highest sense of empowerment as this moment proves to be significant. Most notably when her husband looks at her with the “cringingly respectful expression that she was accustomed to see on his face in the presence of the illustrious and the powerful,” and she confidently and clearly articulated the following statement, “Get out, you blockhead!” (283). Compared to the confined and powerless young lady Chekhov presented in the beginning of the plot,

Gurov, dissatisfied with his monotonous life, goes to Anna because he needs the scandal to relieve a numbness that has taken effect, not because he loves her. She merely reciprocates his affection, not out of love, but to escape the entrapment she feels from her marriage. In a subtle climax during his return home to Moscow, Gurov feels the agonizing absence of anyone he can talk to meaningfully about the personal secrecies of his life, specifically Anna. This intolerable sensation sends him to “S—,“ to find her. Only when Gurov is standing outside Anna’s house does he actually relate to her situation and form some genuine connection. “Just opposite the house stretched a long grey fence adorned with nails…One would run away from a fence like that," thought Gurov, looking from the fence to the windows of the house and back again…He loathed the grey fence more and more, and by now he thought irritably that Anna Sergeyevna had forgotten him, and was perhaps already amusing herself with some one else, and that that was very natural in a young woman who had nothing to look at from morning till night but that confounded fence” (p.230). With Gurov’s realization, he actually escapes his fenced in world and partially enters her miserable one. In sharing a connection, their emotions and psychological needs start to blend together and they become entrapped by the same fence, where inside, the two of them are alone and vulnerable in a shared arena. This isolation

Ivan Ilych’s marriage to Praskovya Fedorovna is not built on true love, instead it is built on Ivan Ilych once again, trying to fit in with society. To prove that Ivan Ilych did not get married based off true love the narrator says, “Ivan Ilych might have aspired to a more brilliant match, but even this was good. He had his salary, and she, he hoped, would have an equal income.” (Tolstoy) This quote proves that Ivan Ilych was conforming to society and he married his wife just because it was the right thing to do since everyone else was doing it which is shown when the narrator says “Ivan might have aspired to a more brilliant match” meaning that he was not completely satisfied with his wife. Ivan Ilych did not look at the deeper meaning of marriage, he only looked at the materialistic and physical things that came along with his wife which is why they both did not live a happy life together. When Ivan Ilych got ill the narrator says, “her husband had a dreadful temper and made her life miserable, she began to feel sorry for herself, and the more she pitied herself the more she hated her husband. She began to wish he would die” (Tolstoy). This expresses the hate that Praskovya Fedorovna felt towards her husband due to the fact that she realized Ivan Ilych never cared for her or her family and he only cared about his social status. Ivan Ilych was a bad husband because of his immorality and thus his wife is insurgent against him. Here,

    In the face of Morrie's overwhelming compassion and tenderness, Ivan Ilych presents an opposite lifestyle. After a pleasantly carefree childhood he turned towards ambition and pursued an ever-larger salary and an ever-increasing social rank. Ivan lived without values and without attachments, easily moving between cities and jobs. He cared little for the great inconvenience of his family, and even less for his wife: "he hate[d] her with his whole soul" (Ivn, 139). Commitment was a prison to be avoided at all costs, a detriment to his proper and official existence. Genuine love touched Ivan only rarely and certainly not during the dying moments when he needed it the most.

The stories of Anton Chekhov mark a focal moment in European fiction. This is the point where 19th realist caucus of the short stories started their transformation into modern form. As such, his work straddles two traditions. The first is that of the anti-romantic realism which has a sharp observation of external social detail. It has human behavior conveyed within tight plot. The second is the modern psychological realism in which the action in typically internal and expressed in associative narrative that is built on epiphanic moments. In consideration of the two sides, Chekhov developed powerful personal styles that presage modernism without losing traditional frills of the form. This essay will discuss the Chekhov's portrayal of women.

They want enough wealth to make their dreams and desires come true. By thinking they have won the wealth, makes them want to do bad things to each other. So only one can have the wealth, but instead both will have to share. Their wealth is shown as a form of a lottery ticket as when winning it Ivan is said to be doing this “Ivan Dmitritch gave a broad, senseless smile, like a baby when a bright object is shown it” (The lottery Ticket, 101). This displays how the relationship of Ivan and his wife works around this wealth. As Ivan cares, so much about the money, their relationship gets a second of a strong feeling of goodness towards this amount of money. Their relationship demonstrates wealth, when Dmitritch finds out he is going to be rich. He easily is turned into a child, expressing the love of Ivan and his wife have over wealth because of living a middle-class status for a long time. Both Anton Chekhov and William Shakespeare added the concept of wealth to these relationships because usually a man and women are happy with just each other. But in these stories, they are representing how wealth can make anyone happy at the same time destroy a relationship. Wealth is shown through women in these books, as the women introduce the concept of wealth. Which contradicts, how women do not earn a living in these stories. Wealth can be revealed by women, as they are the real wealth behind it all. Showing the reader that wealth just leads to loneliness and that females

“Days of a Russian Noblewoman” is a translated memoir originally written by a Russian noblewoman named Anna Labzina. Anna’s memoir gives a unique perspective of the private life and gender roles of noble families in Russia. Anna sees the male and female gender as similar in nature, but not in morality and religiosity. She sees men as fundamentally different in morality and religiosity because of their capability to be freely dogmatic, outspoken, and libertine. Anna implies throughout her memoir that woman in this society have the capacity to shape and control their lives through exuding a modest, submissive, and virtuous behavior in times of torment. Through her marriage, Labzina discovers that her society is highly male centered.

Chekhov explores this concept of conflict through Anna and Gurov’s relationship in ‘The Lady with the Dog’ as he reveals a need to defy social restraints in order to escape their marriages as this restricts them from fully embracing their desires. The image of the “long grey fence adorned with nails” (Chekhov 1998, p. 371), symbolises the confines of marriage keeping them apart, unable to be free from social restraint. Creating an air of seclusion and limitations, this depiction appears to be fending off Gurov, producing a feeling of entrapment and isolation as it separates their love. The image of an old woman, a beggar and a dog walking in and out of the fence freely further emphasises this lack of freedom they have in their lives; the portrayal of a beggar being the most illuminating aspect of this passage. Even what is considered as the lowest form of humanity, appears to show more freedom then what they can as they cannot pass this

As the story unfolds, Gurov at first changes subtly. First of all he meets Mrs. Anna Sergeyevna. His attitude at first is still the same, he finds her as another victim of his little game that he plays. He sits and watches, searching his mind for a ways to get her attention like he does for every woman. He still looks at women in the same sort of fashion. Anna and Gurov start spending time with each other more and more, he still plays his game. Each time that he meets her and tries to coax her into have an ice or syrup, yet he still looks at her as “pathetic.” After their first kiss he begins to realize that there is something different about this girl. Unlike the usual women he messes around with, she feels guilty about engaging in this affair with him. Anna does not give him the satisfaction of playing the game along with him. As he spends more time with Anna he becomes fond of her presence. He starts learning more about her, when she talks him listens intently instead of getting bored and rolling his eyes. When Anna gets a letter from her husband asking for her to come home, Gurov acts like it isn’t a big deal, he still believes he is playing his game. At first he forces himself to believe he is ok, but after they are apart for a while he realizes that Anna isn’t leaving him. She follows him everywhere, not just in his dreams. He feels something that he has never felt before, he

Soon after Vanya's death, Volodya moves in and the two begin a close relationship. Yet, one must remember Vanya's warning to Olga about Volodya's womanizing habits. Their relationship does not last long as Vanya suggests, Volodya leaves with his regiment and Vanya warns Olga before he passes away, but she does not listen. Gurov in "The Lady with the Little Dog" also treats women poorly, even when he feels he is in love. As Anna cries in her hotel room to Gurov about their love and their sins, Gurov simply unhurriedly slices a watermelon sitting on a table, paying little attention to Anna's concerns, showing his true self. If Anna knows as much as the reader does about Gurov, she may have expected him to react the way he does.

In 19th century Russian literature there was often a gender inequality depicted between the male and female characters. Women were expected to get married, start a family, and obey their husbands. Women often made sacrifices and married men they weren’t fond of in order to support their families. Anton Chekhov’s writing questions these gender relationships. The female characters have a strong presence within Chekhov’s works, and they transcend typical gender roles.

    Anton Chekhov uses The Cherry Orchard, to openly present the decline of an aristocratic Russian family as a microcosm of the rapid decline of the old Russia at the end of the nineteenth century--but also provides an ominous foreshadowing of the 1917 Bolshevik Revolution in the disparate ideals of his characters, Trofimov and Lopakhin, however unintentionally. The Gayev family and their plight is intended as a symbolic microcosm of the fall of the aristocracy in society at large. Though the merchant Lopakhin is presented as the character who holds values of the new, post-aristocratic age, the student Trofimov espouses the political sentiments that will ultimately replace both the