The Lady With The Dog Analysis

Feelings are the most significant part of human’s creature, but what if it comes to the goal that your life is based on? would it still be that important? In the article, “Dog Lab”, Claire McCarthy discusses her own experiences as a medical student at Harvard school. McCarthy was born in 1963. She did her residency at Boston’s Children’s Hospital and she is now working as a pediatrician at the Martha Eliot Health Center in the Jamaica Plains. During college, she used to keep journal with her that provided the outline of her books which she referred to for her books such as Learning How the Heart Beats: The making of a Pediatrician and Everyone's Children : A Pediatrician's Story of an Inner City Practice. In addition to McCarthy being incredibly

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

Anton Chekhov in “the Lady with the Dog,” brilliantly displays the quest of one man to find happiness. Anton Chekhov’s short story, The Lady with the Little Dog, is the simple story of a philandering married man who finally falls in love with an unhappily married woman with whom he has an affair.  Though it is a remarkably simple plot, the story is compelling to read because Chekhov’s use of two effective plot devices with diction and symbolism.

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

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

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 Lady with the Pet Dog” written by Anton Chekhov and “The Lady with the Pet Dog” written by Joyce Carol Oates illustrate what goes through the mind when committing adultery. Both are tales of love lost and love found, including romances with adulterous spouses and secret meetings. “The Lady with the Pet Dog” written by Chekhov and Oates present the actions and decisions of two very unhappy married individuals, whom one could say meet by chance. In both short stories the plot line is extraordinarily similar; both love affairs end up finding true love from each other; however, the emotions and general idea differ from the point of view analyzed. Although both short stories illustrate immensely similar qualities, the short story by Joyce Carol Oates is more effective in three main areas. The three main areas where Oates story is more effective include the use of the female characters, the use of point of views, and the use of dogs.

“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.

Through an exploration of the boundaries between social constraint and inner compulsion, Melville and Chekov reveal the restrictions forced upon one’s personal desires as they struggle to find a balance between conflicting values and social norms. Anna and Gurov in ‘The Lady with the Dog’ are restrained by the socially expected conventions in their marriages, inhibiting their ability to express their inner compulsion of desire. Chekov reveals their yearning to escape their individual lives as they cope with personal troubles by distancing themselves from marriage

After becoming acquainted, Anna and Gurov “walked and talked of the strange light on the sea: the water was a soft, warm, lilac color and there was a golden band of moonlight upon it” (Chekov 507). Later, when he is alone in his hotel room, Gurov reflects on her “slim, delicate throat, her lovely gray eyes” (Chekov 507) and his thoughts reveal that he has determined this young, vulnerable woman to be an ideal candidate for another one of his many affairs that he just cannot help becoming involved in. And as the story unfolds, the color gray reveals itself as an integral component in the sort of comfortable, yet, unresolved feeling that the relationship between Gurov and Anna emanates.

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

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

Popular descriptions of Alexei Karenin label him as a cold and passionless government official who doesn’t care about his wife or family. Indeed, he is viewed as the awful husband who is holding Anna hostage in a loveless marriage. However, this is a highly exaggerated description, if not completely false, analysis of Karenin. Upon careful analysis of Karenin’s character and his actions, it is clear that he is not the person Anna makes him out to be. In fact, with thorough examination of the passage on pages 384 and 385 of Anna Karenina, it is clear that Alexei Karenin can be considered the hidden tragic hero of the novel.

We have always heard of the stories where people meet their future wife or husband in the most unpredictable places. These success stories presumes us to believe that love at first sight actually exists and that they're will be somebody waiting for us at the traffic light down the street. Things like this can happen I don't doubt it, but for all the people like Gurov, a known womanizer who is married to a woman he does not love or Anna, a frail, innocent woman who is married to a man she does not love makes us believe that there is hope. The story begins in Yalta; a seaport in Ukraine Gurov meets Anna. He begins to understand that she is much different than the other woman he has been with; she is both frail and innocent. Afterwards,

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.