The Importance Of Naturalism In Russian Realist Drama

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.

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.

Anton Chekhov hardly restrained from writing the dreary aspects of life during his writing career. Noted as one of Russia’s most prominent realist writers of the late 19th century, Chekhov’s work ranged from critical issues concerning the mental health system in “Ward No.6” to illustrating the tiresome cycle occurring for ordinary people sensing they are incomplete with their dull, normal life in “The Lady with the Dog.” “The Lady with the Dog,” in particular portrays characters of Chekhov’s facing an unreachable desire; Gurov and Anna. This desire emulates two contrasting forces represented by the double-lives the couple lives, one being that of realism and boredom, and the other of strict passion and romanticism. Gurov and “the lady with

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,

I found the differences between sentimental and realist writing strikingly obvious, but the details as of why were hidden to me until I went deeper into analyzing the text. To figure out the exact differences and similarities that set these two writing eras apart, I examined The Island of Bornholm, a sentimentalist story written by Nikolai Karamzin, and The Family of a Vourdalak, a realist piece by Alexis Tolstoy. With a gap of forty-six years between the two pieces, there is bound to be certain differences in style and word choice, but beyond this were variances in character details, scene descriptions, and tension building that made these two stories so unique to the reader.

Doestoevsky delves deep into the mind of Raskolnikov, before, during, and after the vicious murder of Alyona the pawnbroker and her sister. It is concluded that Raskolnikov is a Nihilist, one who believes he is a great man destined to perform great deeds. This Nihilistic attitude is what propels our protagonist toward murder.

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.

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).

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.

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.

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”.

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

Fyodor Dostoevsky’s Raskolnikov is criminally insane. He is unable to control his actions despite having the understanding that they are morally wrong. In addition to his illness he lives in St. Petersburg, a city that was at the forefront of Russian cultural exchange with Europe. As a result of this exchange, the mentally unstable Raskolnikov was introduced to the Nietzschean philosophy of the Ubermensch. This lead Raskolnikov to kill an elderly moneylender and her disabled sister. Using a violent mentally unstable criminal as his narrator allowed Dostoevsky to reveal the deleterious effect Western philosophy would have on Russian society if it was not counteracted by a return to traditional belief.