Russian Realist drama represents a notable shift from the earlier literary periods, for it displays everyday life in the 19th-century Russia in all its complexity. Moreover, it offers various levels of analyzing a certain play, for it intertwines elements of both Sentimentalism and Romanticism, but adds more to them by incorporating naturalism and violence, thus giving the readers’, i.e. the spectators’ the opportunity to fully understand the life in Russia at the time. All these elements are displayed in Ostrovsky’s play The Storm, Sukhovo-Kobylin’s The Death of Tarelkin, and Tolstoy’s The Power of Darkness. All three authors have used naturalism to create a more dramatic effect on the reader, i.e. spectator. As an aesthetic, naturalism refers to accurate visual representation of both nature and characters in a play. More specifically, in the abovementioned plays, it is used to expose all the ugliness of characters, both physical and mental. This is achieved masterfully through numerous scenes, and it most certainly affects the reader, inducing the feelings of pity and fear Aristotle was advocating for. Moreover, naturalism helps the performance of the play be more theatrical. However, the reader is by no means deprived of recognizing naturalism in a play, for it affects him/her mentally, as well. For example, death is the most common topic in The Storm, The Death of Tarelkin, and The Power of Darkness. The authors even emphasized it in the titles of the plays, i.e. there
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The philosophical and psychological fiction novel Crime and Punishment is written by Fyodor Dostoevsky. In the novel there are many uses of storm metaphors and similes. Dostoevsky uses storm metaphors and similes to produce imagery to enhance the interaction with the reader using imagery. This essay will explain the significance of individual storm metaphors and similes. The first genre of these metaphors and similes is about quickness and rapidness.
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.
The end of the nineteenth century marked a brilliant period in Russian literature defined by innovation and experimentation. With political and economic changes sweeping over Russia, its literature displayed the anxious, even hostile reaction to the modernization of a nation that hadn’t seen transformations in decades. The Petty Demon, Wings, and Petersburg considered to be some of the greatest works of the time, were unique pieces of literature in the decadence period, although they borrowed and built on elements from other authors of the time. The analysis of these novels, in terms of conventional categories of literary analysis, including thematics, narration, and setting is not only a means to display the uncommon structure of the novel, but also to demonstrate its association with other influential authors. In the writings of The Petty Demon, Wings, and Petersburg these authors dismantle the ideas of other authors and then parody them, therefore subverting the norms of realist pros and making reader think of a particular style of writing and then goes to write the complete opposite.
In Dostoyevsky’s Crime and Punishment, the character of Raskolnikov is one who may be considered evil or immoral for his actions, however his portrayal by the author is one that instills sympathy in the reader for the character due to his motives and personal, internal consequences he suffers for his crime of murder. There is considerable evidence supporting the view that Raskolnikov wants his theory surrounding the murder to be proven wrong, to get caught, and to be punished. This tells the reader that deep
Anton Chekhov, born in Taganrog, Russia on January 17, 1860, was considered the father of the modern short story and modern play. In 1875, his father lost his business and was forced to leave to find work in Moscow in order to pay off his debt. Anton and his three younger siblings were left with their mother, Yevgeniya, after a while they lost their home and decided to move to Moscow to be with Chekhov’s father. Chekhov, who was left behind in Taganrog to finish his schooling, helped his family financially by tutoring children in Taganrog. He found work in a clothing warehouse until he finished his final exams. After school, he joined his family in Moscow, where he continued his studies in the medical field at the University of Moscow. Chekhov used his own experiences of living in Moscow in his short story “The Lady With the Dog”.
In Fyodor Dostoyevsky’s, Crime and Punishment, the conclusion of the novel plays an important role in resolving and reconciling a multitude of conflicts within the characters. For Dostoyevsky, the resolution of the story plays a significant purpose not only in resolving the various crimes committed, but additionally acting as a moral reassessment for the characters that helps the audience reflect upon their own morals as well. Accordingly, through Dostoyevsky’s portrayal of the troubling abuses committed by the characters due to their lack of regard for the law, a large portion of the novel emphasizes the concept of a universal morality that should be intrinsic to humanity. Through the analysis of the repercussions of Raskolnikov’s crimes, Svidrigailov’s crimes, and the juxtaposition between them,
The play, “The Red Count,” which features a play within a play where people of Russia in 2013 are preforming a play about Alexei Tolostoy, a 1930’s Russian playwright who was a favorite of Stalin, also features a number of female characters who play a crucial role in the plot. Among these important characters are Putin’s wife, Lyudmila, Anna Chekova, Anna Akhmatova, Alexei’s current wife, Ludo, and Alexei’s ex-wife, Julia. These women are often seen in an unfavorable light and treated poorly by their male counterparts, but the reader can admire their strength and independence. The complexity of this play leads to complex characters, and each of these women are unique and portrayed in a different light than the other women. In the 2013 play, Lyudmila is a strong-willed and sympathetic character and Anna is talented but used, while in the 1930’s play, Akhmatova is seen as disrespected and unreliable, Ludo is superficial and submissive, and Julia is bold and has a strong sense of self.
His conflict shows us the peasant’s dignity in the depths of deprivation. His full tolerance of his new identity and of his camp life, and his remarkable ability to build a worthwhile existence for himself out of the capricious camp system, make him a spiritual hero. His intensity in living, eating, and working puts him in control of his world. This is exemplified when Shukhov labors on a brick wall, the narrator says that he concentrates on it as if he owned every inch of it. In a way, although he is a slave, he is still the leader of his own small dominion. He is not an aristocrat by birth, but inwardly he is proud, dominant, and invulnerable. Accordingly, immortalizing Shukhov through publication will paint a poignant portrait of survival to the Soviet people, with the added bonus of expediting the liberalization of the national political and intellectual climate.
The concept of an extraordinary man is described and expressed in multiple ways within Dostoevsky’s novel, Crime and Punishment. Dostoevsky creates a protagonist who believes in the theory of the extraordinary man, and also thinks he is to be considered thisby others. Raskolnikov lives in St. Petersburg, Russia, but commits a serious crime. He had to go through with the murder of the Ivanova sisters to reassure himself that the extraordinary man theory was realistic. Raskolnikov fights with internal conflicts because of his speculation of being above all in society after committing a crime and the guilt, or punishment, to follow.
In “Queen of Spades” written by Alexander Pushkin and in the novel Crime and Punishment written by Fyodor Dostoyevsky the main characters struggle with committing a crime that leads to their downfall. This essay carefully analyzes the similarities and contrasts between the two main criminals, focusing mainly on the planning structure of the crimes, the aftershock on both criminals, and the justifications for their crimes. These details of each character will show the two different classifications of criminals; the obsessed and the martyr. In the “Queen of Spades” Hermann is considered the obsessed since the murder of the Countess was only committed because of his obsession with the cards. In Crime and Punishment, Raskolnikov is considered the
From declaring he wanted to become a Napoleon to wishing for financial independence to murdering for his own sake, he rattles off various motives, showing his obsessive rationalization (394-397). By presenting his conflicting intentions, Dostoevsky exhibits the chaos within Raskolnikov’s mind.
Aristotle follows Plato on several points; he agrees art is a kind of techne, that there is a measure appropriate to the creation of techne, and that the most important human arts are “imitative of human souls, bodies, and actions.” (79) This, however, is where their likeness ends. While Plato condemns the tragic drama and finds it detrimental to his ideal society, Aristotle believes that it can be an instrument of learning and an outlet for the emotions felt by all men. Aristotle finds the tragic dramas true purpose or nature as “the natural later development of a human religious activity.” (80) In the Poetics, Aristotle defends the tragic drama completely and proves that it is useful. He
However, Valente uses this as a backdrop to set the tone of the myth, giving reader’s a subtle undertone of history without it turning into a history lesson. Thus, Deathless gives insight to the development of Russian history during the twentieth century while simultaneously developing a contemporary lens to the myth: “Koschei the Deathless”.
In this paper, I plan to explain Dostoevsky’s criticism of Western Individualism. Dostoevsky’s first criticism resides in the idea to “love life more than the meaning of it, “which is presented by the character Alyosha (Dostoevsky 3). Allowing this character to discuss this topic, along with the commentary of Ivan, demonstrates their mindset to solely focus on their own lives, opposed to caring for others. This leads to them living for the now, and not focusing on how their decisions will affect their future or others. Dostoevsky disapproves of this notion because living by this mentality encourages the guidance of logic, which is dangerous because it could tell you to kill yourself. From Dostoevsky’s Eastern Orthodox background, he believes that the only way from living from this situation is to deny it. By denying this way of living, the focus toward life will not be directed toward yourself, but toward the way you can impact the environment around you. Ivan clearly does not believe in these values, due to his intentions to commit suicide at the age of thirty. As said before, living by the idea to “love life more than the meaning of it” leads to death, and Ivan indulges in this to the fullest (Dostoevsky 3).
During this interactive oral, it was pointed out that the dreams in this novel are very influential to a character’s state of mind and actions. We discussed the graphic dream in which Raskolnikov, as a child, watches a mare as it is beaten to death. This dream is interpreted by Raskolnikov as a cue to murder the old woman. The mare seems to be a parallel to the