Chekhov's Love Talent: "Angle [The Darling]" and "The Lady with the Little Dog" Compare and contrast foreshadowing, setting, and characterization elements of fiction in both stories.

This story’s general setting takes place in nineteenth century Russia. But, there are also many particular settings throughout this narrative that largely affect the characters and create many problems the narrator and Anna Sergeyevna have to face. In the beginning of the story Gurov and Anna find themselves taking vacations in the same city to get away from their other lives. But, when they have to part they realize how much they actually mean to each other. This can be seen in the following excerpt when Gurov realizes that Anna has not left his mind ever since they went home, “He would pace a long time about in his room, remembering it all and smiling; then his memories passed into dreams, and in his fancy the past was mingled with what was to come. Anna Sergeyevna did not visit him in his dreams, but followed him about everywhere like a shadow” (Chekhov 172). Therefore, the conflict that the setting creates is the distance between Gurov and

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

The sections chosen are about illness, whether it be mental or physical. Throughout the piece the audience/readers are constantly reminded that someone is ill, whether it is Anna or Ivanov. This doesn’t necessarily mean this is what Chekhov wants us to interpret from the performance as there are many interpretations: for example, the play could be interpreted as being about hypocrisy, as most characters reinforce this with the words they speak to each other. Another interpretation may be the loss of vitality on Ivanov’s part; his deploring the loss of

1.) I chose the book, Confessions of a Murder Suspect because my grandma recommended it to me. She recommended it to me because she has an obsession with the author, James Patterson. 2.) The setting of the story is present time New York in the Angel’s apartment.

Few of the many Shakespeare works that have been re-imagined for ballet have had the lasting impact and been embraced with as much affection as Romeo and Juliet. The famous story of two young lovers whose passion is tragically thwarted by the enmity of their respective families has inspired numerous choreographers over the decades, attracted by the enduring power of its themes and narrative and by its potential for dramatic and evocative dancing.

In Chekhov’s version, Gurov desperately goes to meet Anna in S--- after realizing his true love for her. Chekhov’s Anna seems to have a change of heart when she saw her lover’s sudden appearance but shows no regret, only fear of being caught. Oates Anna, on the other hand is appalled and unhappy by his visit. Since Oates provides the reader how Anna’s thought and feelings towards “the stranger”. As it turns out, Anna is torn apart by her love for “Gurov” she is madly in love with him because he offer her so much, like entertainment, a purpose for her life, someone to talk to and trust; but on the other hand she feels guilty for adulterous affair with this strange man.

However, Moscow seems to have the exact opposite effect on Dmitri, in fact it's “routine” and cold winter leading Dmitri to seek out Anna rather than forget she even existed. The change in setting also reflects a change of tone for the story, while in the beginning the story had been lighthearted and innocent, with Yalta reflecting this, in Moscow the story gains a heavier atmosphere, and the affair is no longer fun and games, but something where both parties have something to lose, but are willing to risk it in the name of love. Additionally, while Yalta was sunny and warm, Moscow in contrast is cold and snowy. In Moscow, “the stoves were heated” and “the frosts had begun already”, taking away the mystery and innocence that Dmitri was subject to in Yalta. When walking his daughter home from school, Dmitri comments on how “the thaw is only on the surface of the earth; there is quite a different temperature at a greater height in the atmosphere,” alluding to how in Dmitri’s life, people only see what is on the surface, no one knows about the affair that is going on behind closed doors in hotel rooms, away from the

Chekhov makes it quite obvious that Dmitry has fallen in love with Anna and you could even say that he has become a little obsessed with the thought of her. Dmitry soon leaves his wife, telling her he is on a business trip, to go and try to find Anna in her hometown. When Anna first sees Dmitry she is surprised, stunned, and worried that people may see her talking to him but they quickly profess their love for each other. She tells Dmitry he must leave, as someone will see them but she promises to come visit him in Moscow.

Anton Chekhov was born in a small port town in the Crimea. He has been living in poverty since he was sixteen. A small general store owned by his father was experiencing bankruptcy and forced the whole family move to Moscow to avoid the creditors. Since his father had to work far away from home and only comes home on Sundays and holidays, the role head of the family was handled by Chekhov. As the head of the household, he has to make a living. Showing an interest in writing at an early age, he uses that to earn some money for the family. Later on, he started to enjoy writing and published his writings on magazines. Since then he started to write more and make a living from that. He is known for his short stories and a leading playwright. Chekhov’s works are often ambiguous, passionate, and explores the human spirit as a whole. As what was implied in the story “The Lady with the Dog”, Chekhov gives an open-ended ending to the story. Furthermore, at first glance this story is about morality, disloyalty, and sin since this story is basically about an affair between two married people. Deeper reading eventually uncovers the story that this is more than just about morality; it is about life.

The story “The Lady with the Pet Dog” by Anton Chekhov is the beginning of a love tragedy between the two main characters who meet and start an affair in Yalta. Dmitri Gurov, the male protagonist who is a playboy, meets Anna Sergeyevna, the female protagonist, constantly go back and forth with flirting and sexual relations while in Yalta. After they leave Yalta, they could not stand being away from each so they keep seeing each other and the story ends with the words “…it was only the

With "The Lady with the Dog", Anton Chekhov weaves an intricate tale of a man trapped in a loveless marriage, who seeks freedom in the arms of the very thing that oppresses him: women. Through the use of an omniscient voice, formal but subtle language, and setting changes, Chekhov masterfully reveals the inner-turmoil and confusion of a man falling prey to his own game of seduction. That is, until he meets Anna Sergeyeva, and his entire world changes.

Informing the audience of the characteristics of both a romantic, and classical thinker, Chekhov points out the differences of the two. While explaining Dymov’s classical character, in contrast to Olga’s romantic characteristics, the narrator says, “And she nods towards her husband, trying to explain why she was marrying so simple, so very ordinary, so utterly undistinguished a man” (Chekhov 1). Dymov has ordinary classical traits, but Olga wants a distinguished man. Chekhov criticizes Olga because of her decision to marry someone she thinks poorly of. Newly wed, Olga decorates their new house, using her creativity, and the narrator describes this, saying, “Olga plastered all the drawing room walls with sketches while assembling around

Firstly, Anna uses her unsatisfactory marriage to justify her affair. In Chekhov uses “ my husband may be a good, honest man, but he is a flunkey!” (Chekov 227) to indicate that Anna has an estranged marriage. Although Anna has not obtained an ideal marriage, she shows that she does indeed care about her husband “… and begging his wife to return home as soon as possible. Anna Sergeyevna made haste to go”(Chekov 228). Chekov uses the fact that Anna rushes home in order to show that she still loves her husband. After all, if she did not, she would not have rushed home. Although Oates writes from Anna’s point of view, the author still shows similarities with Chekhov’s version. “I love you, her husband said fiercely, angrily. She shut her eyes and thought of that other man.”(Oates 239). In