I Am Somewhat Confident About An Hour

He does not feel anything toward women and in fact, refers to them as “the lower race” (1) and that “their beauty aroused hatred in him and the lace on their linen reminded him of scales” (118). As the story ends, the readers learn about Gurov’s consciousness and that his feelings towards women have changed. The motive for his alteration begins with Gurov’s love for Anna, and later these feelings makes him “sleepless and restless” because of continuous thinking and dreaming about Anna.

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

In Anton Chekhov’s short story, The Lady with the pet Dog, Dmitry Dmitrich Gurov and Anna Sergeyevna are bound together, not by love, but by their psychological needs. Both need to believe in a phenomenon deeper and more meaningful than each of their despised lives and for this reason; they think the intimacy between them, fueled by desperation, is love. . In reality, the relationship between Gurov and Anna is characterized by lies, boredom with reality, and a desire for self-satisfaction. Physiologically, neither Gurov nor Anna posses the qualities needed to genuinely love another person. In order to do so, one must love themselves, an attribute neither one

During a chance encounter, Danilov and Vassily meet the beautiful and educated Tanya, a soldier in the Stalingrad home defense campaign. They both fall in love with Tanya. In an attempt to win Tanya’s love, Danilov offers Tanya a safer position within the military, however, she prefers to fight with a rifle in her hand and looks to Vassily as a hero worthy of praise. His shy uncertainty and obvious discomfort in her presence only serve to intensify their feelings for each other.

And when «she knows it's happening: that thing, that connection» between them, when she dances for him and «making him fall in love with her» she says to him: «We've got all we need. We don't need love. Don't diminish yourself – don't reveal yourself as a sentimental sap. You're dying to do it, but don't. Let's not lose this.» (p. 231). She knows she's driving him nuts, she knows that her rejection of his feelings makes him want to attach to her sentimentaly even more. She dances for him and teaches him what life really is. She – a 34-year-old illiterate janitor, teaches him – colledge proffessor, ex-dean, a member of highest rank of society class, what life is all about.

When he heard of the critical conditions of his sister and Sveta’s boy respectively, he did not hesitate to use his first two wishes to save them respectively. His sister had a fatal lung cancer; “The fish undid it in an instant-the words barely out of Sergei's mouth.”.(lines 135-137) And

Pushkin even goes so far as to blatantly label the woman as an individual who is regularly withstand or endure repetitive sufferings; a scapegoat for the Countess’ displaced aggression. As a result of the negative outcomes of servitude, Lizaveta Ivanovna’s social life paid a heavy price. Ironically, her stark beauty could not save and overpower whatever unknown curse had befallen the young woman. “In society she played the most pitiable role. Everybody knew her, and nobody paid her any attention.3” But Lizaveta Ivanovna was drawn to the glamorous life of lavish social gatherings and possible cordial dates with military officers. Reduced to no more than a moth hypnotised in the lure of an open flame; she was imprisoned once again. She was forced to become a wallflower—an outsider in world that was never meant for her. Here on this stage of putting on heirs and haughty attitudes, Lizaveta Ivanovna reverently searched for this fanciful notion of being rescued from her perpetual woes. However, escape didn’t come so easily. Even in this bubble of pleasant fantasies of freedom, she was still a foreigner of this opulent life—a conduit was needed. Oh caged bird, are you not tired of singing the same tune? To whom do you weep

The story unfolds very smoothly and evenly in spite of of the stirring and at the same time troubling subject of the matter. We get acquainted with the main characters – The Crutchman family “so very very happy and so temperate in all their habits and so pleased with everything that came their way”, due to the anaphoric repetition the author creates intensification, that states the problem –

However, in Oates’ version, she utilizes the female character, Anna, to develop the story. In Chekhov’s story, the reader is more aware of the masculinity present in the story. Gurov is manipulative of women, and he uses them as a device to remove himself from his marriage. In the story, he speaks of women by saying, “It seemed to him that he had been sufficiently tutored by bitter experience to call them what he pleased…” (Chekhov 2014). He believes that all women are the same and are the inferior race compared to men. Anna’s actions in the Oates’ story contrast greatly compared to Gurov’s. Anna displays the feminine side of the relationship between the couple. Anna is not accustomed to being involved in several affairs, which can be seen through the emotional toll that it takes on her. Following the stereotypical female

Laika was clothed in her special space suit along with wires that were attached that would help the scientists know her condition during the orbital flight. The possible research that would be received from the mission was promising, but the mood was somber, because they would be losing a member of their team in the process. As Laika was placed into the spaceship, each scientist kissed her nose wishing her well, as their tears mixed with the licks they received on each of their noses. Her nicknames were all said with affection, each one ringing with an unspoken goodbye and regret of sending their friend to her death. "Be brave, my little kосмонавты(astronaut)!" said Vladimir as he too kissed the nose of the dog he had come to love, as he sealed the spacecraft

In the song, “Fooled Around and Fell in Love,” I felt it was very similar in meaning to the story, Lady with the Pet Dog.” In the song it stated, how a man been through about a million girls, how he would love them, then leave them, he didn’t care how much they cried, and how that would leave him cold as a stone. Later on, he met a girl he truly liked, no longer had eyes for other women and ended up falling in love. In the story, Lady with the Pet Dog, it showed how Gurov, was an unfaithful man. He was bitter, cold, uncommunicative, and spoke ill of women calling them, “the lower race.” Then one day Gurov meets a woman name Anna Sergeyevna, whom he can’t stop thinking about. When he shut his eyes he saw her as though she were living before

The story is the closest to an accurate portrayal of love since it suggests that romantic love occurs because two parts of an original whole has been separated. In life the main goal is to find that one person

Finally, in the third paragraph, the reader is introduced to the first character, Stiva, whom they are told is a prince. Tolstoy uses luxurious diction to demonstrate Stiva’s lifestyle, referencing his “morocco leather-covered sofa” and his “plump, well-kept body”. At the point the reader is introduced to Stiva, he has had a sudden awakening. The authorial voice then switches from that of an omniscient third person to the conscious thoughts of Stiva Oblonsky. In this manner, the paragraph is very similar to the stream-of-consciousness style that would become so important during early-twentieth century literary movements. In doing this, Tolstoy both allows us the same incomplete impression of Stiva’s dream that Stiva has, and ties the dream with the light, surreal sentiment it evokes in Stiva. This technique also plays with the themes of memory and perception that were so integral to Tolstoy’s early works. The dream features a party with fantastic imagery of singing glass tables and “little decanters that [are] also women”. This fantasy-party is set in America, about as far from Petersburg as possible, which points to a pervading tendency for escapism in the Russian nobility at this time of social upheaval. Indeed, at several points in the novel, characters flee Russia when met with adversity, as when Kitty gets sick and Anna reconnects with Vronsky.

On that special occasion he met – well, he already knew her, but they had hardly ever spoken, except for when she asked him to help her with her Russian homework – a really shy Princess from another far away land.

The first paragraph shows the perfect couple, wife and husband sitting in the garden of their villa while the wife is playing and petting her small white dog. The writer here sheds light on the theme of appearance verses reality, then the story starts to unfold. The wife starts comparing between her husband and her cousin “Shawkat” who bought his wife three Ukrainian dogs, which shows that her family is wealthy unlike her husband and this brings out the idea of jealousy and materialism. Her husband wonders about her cousin’s source of money and how he is able to afford such luxury.