II
Chekhov was born on January 16, 1860, a year before the freeing of the serfs. He was the son of a man born into slavery, and would himself have been born a serf if it had not been that his grandfather, who managed the vast Chertkov estates, was able to buy his freedom for 3,500 rubles. Chekhov’s father was a heavy-set, deeply religious man, with a talent for painting icons and violin playing, who made his living as a grocer in the small seaport town of Taganrog. At home the father was gruff and unbending, a stern disciplinarian, loving his children but keeping at a distance from them. Chekhov’s mother was the daughter of a cloth merchant, a quiet, beautiful woman, very gentle with the six children, five boys and a girl, born of the marriage. She made all the children’s clothes, and she liked to tell them stories of the days when she traveled with her father in a carriage over the length and breadth of Russia. She had a deep feeling for the Russian countryside, and for people. Chekhov inherited from her his tenderness and sweetness of character, and from his father he inherited his artistic gifts and a formidable capacity for hard work and a kind of stubbornness which enabled him to overcome any obstacles in his path. He had his father’s forehead and eyes, and his mother’s mouth and chin. And they said that in his way of walking and talking he was most like his grandfather, the estate manager who pulled himself out of slavery.
In later years Chekhov would often talk of his childhood, which was neither happy nor unhappy, but curiously somber. Life revolved around the shop and the church. Outside the shop a sign announced in gold letters: “Tea, coffee, soap, sausage, and other colonial products are sold here.” The “colonial products” referred to imports from Turkey—Turkish delight, halva, and dried currants—but in fact the shop sold very nearly every kind of grocery: herbs, dried fish, macaroni, olive oil, vodka, wine, beer, small packets of tea: everything in fact except livestock. Herring swam in barrels of pickling brine. In summer there were flies everywhere, and in winter it was strangely dark and menacing. As soon as he could walk Chekhov had to help out. He hated the long hours and the beatings he received from his father when he was inattentive, but it was in this dark and squalid room, with its overwhelming smell of fish, with strings of peppers and sweetmeats hanging from the roof, with the sacks of flour and meal crowding the wall, and the religious medallions sold to pilgrims glinting in the candlelight, that Chekhov came in contact with men and women of all classes, seeing them pass in an endless procession through the shop as later they were to pass through his stories. He came to know their faces, their smells, the way they dressed and quarreled and haggled and got drunk, and very early in his life, employing the defense mechanism of sensitive children everywhere, he learned to mimic them. Deeply impressed on his imagination were the faces and characters of two or three hundred Russian types.
There was a Greek colony in Taganrog, and for some reason he was sent to the local Greek school, where he learned Latin and ancient Greek, and modern Greek well enough to speak it, but he showed no particular brilliance in his studies. There was talk of sending him later to Athens University, but nothing came of it. Chekhov’s father seems to have had little business sense, and when the family finances became increasingly precarious, there occurred a marked change in the character of the shopkeeper. He became more obsequious to the Greek merchants and began writing begging letters to important dignitaries; and from being a father he became a toadying, wheedling shopkeeper with a reverence for uniforms and an incapacity to think of anything except money. With disgust and fury Chekhov watched his father decline into a kind of senility.
Meanwhile the boy was developing his gifts of mimicry and acting. One day, dressed as a beggar, he walked through the streets of Taganrog and entered the house of his uncle Mitrofan, who failed to penetrate his disguise and gave him three kopecks. This success elated him. Thereafter he began to think seriously of a life as an actor, or perhaps as a clown in one of the traveling circuses. He wrote sketches and plays and acted them out in a barn with his brothers and his sister, taking the part of a bishop or a pompous official or a bearded professor delivering a ludicrous and incomprehensible lecture. He adored false beards and mustaches, and he fell hopelessly in love with the stage when he was thirteen and attended a production of Offenbach’s La Belle Hélène at the local theater. He was also developing as a writer, and stories written when he was twelve show him already in full command of the Russian language, with a style as direct and simple as the works of his maturity. He edited the family magazine, which he characteristically called The Stammerer. Many of the stories and sketches written in his early teens were later reworked—“Surgery,” one of the most famous of his early stories, was a reworking of some clownish nonsense performed when he was scarcely more than ten years old, with Chekhov himself playing the role of a dentist extracting with a pair of tongs an enormous tooth, made of cork, from his brother’s mouth.
Many of Chekhov’s stories are quips, jokes, boutades, which can be traced back to the events of his childhood and the days when he was studying medicine. When the stories were printed in book form, he usually omitted the slighter anecdotes, but a surprisingly large amount of purely anecdotal material was retained, perhaps because these casual stories represented an important element in his character. He was happy in his impudence. He reveled in telling stories which are not very far removed from “shaggy dog” stories, and he especially enjoyed farce. He would tell a story about a visit to a graveyard, joking prodigiously, and while still laughing he would suddenly unfold a landscape where the laughter mysteriously changes, becomes frozen, dies on a clap of thunder, but before the story was over he would be laughing again. The great comedians laugh for the sake of tragedy, and Chekhov was of their number. How he would have laughed at Charlie Chaplin!
True comedians can usually be recognized by their tragic air, but there was nothing in the least tragic about Chekhov’s life until he contracted tuberculosis. Though he raged against his father, and remembered with painful accuracy every whipping he received, his childhood was immensely satisfying. He grew up tall and straight, handsome and popular, with a gift for telling stories to admiring schoolboys and schoolgirls. He enjoyed a succession of love affairs, including one with the wife of a teacher, and he remembered later that these love affairs were all “happy and gay.” He was growing quickly, too quickly for his strength. Once he dived into the sea and cut his head on a rock, and the scar remained for the rest of his life. He was fifteen when he caught a chill while bathing, and peritonitis set in. For a few days his life was despaired of. A German doctor who attended him during his convalescence told him about a doctor’s life; and from wanting to be a clown he changed direction and determined to be a doctor. A few words from an obscure German doctor changed his whole life.
In the following year his father’s business, which had been failing for many years, suddenly collapsed, and the father fled to Moscow to escape a debtors’ prison. The two older brothers were already in Moscow before the collapse. Chekhov remained in Taganrog to finish his schooling. He was perfectly cheerful, and perhaps glad to be alone. Earning a pittance from tutoring, he sent every ruble he could spare to Moscow, and with the money went letters full of jokes to keep them amused. He made some extra money by capturing goldfinches and selling them in the market. Soon he was making money by selling short sketches to the newspapers. Long before he left school and enrolled in the faculty of medicine at Moscow University, his writing career had begun.
Most of the early sketches are lost, hidden in obscure newspapers under a baffling array of pseudonyms. He continued to write as a medical student, and he continued to invent more and more pseudonyms depending on his mood at the moment. A teacher in Taganrog had given him the name of Antosha Chekhonte, and this name with its variations (A. Ch-te, Anche, A. Chekhonte) was largely reserved for the stories which gave him the greatest pleasure. He signed lesser stories with sardonic descriptions of himself—Blockhead, A Man Without a Spleen, My Brother’s Brother, A Quick-Tempered Man, A Prosaic P
oet, A Doctor Without Patients, Ulysses, Starling. About thirty pseudonyms are known, and there are perhaps thirty more which remain to be discovered. He was writing stories nearly every day to pay for his tuition fees and to provide for his family, which soon came to accept him as its perennial benefactor, and since Chekhov was the soul of generosity, he accepted the burden of providing for them with astonishing gaiety.
He matured quickly, and his early full-length stories published in Moscow while he was struggling with the first year of his medical course have the gay, sardonic, impudent, passionately human quality of the stories he wrote in the last years of his life. There is always the sharp cutting edge, like the bright gleam of a plow breaking through the soil. There is always laughter, and the trace of melancholy. He sets his scenes in the cloudy afternoons, or in the evenings when the lights are coming up, or in the dead of night when his characters are warming themselves over a fire. After spending the day in the anatomy laboratory, he would spend his evenings writing about the quiet villages of southern Russia and the country estates where he sometimes spent his holidays during the last years of his schooling. Gaiety and impudence keep creeping in. “The Little Apples,” written in 1880, when he was twenty, describes a landlord and a farm bailiff who discover two young peasant lovers stealing apples in an orchard; to punish them the landlord makes the boy flog the girl and the girl flog the boy. The story is not in the least sadistic. Chekhov is amused, and only a little horrified, for the young lovers can do no harm to each other, and the landlord is a grotesque vaudeville character blundering among the windfalls. “St. Peter’s Day,” written in the following year, is an excursion into the wilder shores of lunacy, with the author bubbling with good humor as he describes a perfectly ridiculous shooting party, where nothing happens as the hunters expect it to happen, and everyone is at odds with everyone else. “Green Scythe,” written in 1882, is a more serious matter, for though it deals with the lighthearted escapades of a group of young people staying on the estate of a Georgian princess of impeccable ancestry, Chekhov for the first time created characters in three dimensions: the bullying matriarchal princess, the young and beautiful Olya, and Lieutenant Yegorov are all completely credible, and these characters, or characters very similar to them, will appear again and again in his stories. There is a sense in which “Green Scythe” is the first of his stories of character, and in its background and development it is oddly similar to “The Bride,” the story Chekhov was writing in the last year of his life. Once more we see the bullying matriarch and the beautiful daughter and the young suitors vying for her hand, but now the chill of winter has set in, the gardens are fading, and there is very little laughter.
Chekhov put himself into “Green Scythe,” and indeed he put himself into most of his stories. He is present in a surprisingly large number of them, perhaps all the more present because he was so determined to be absent. He is the boy in the shop, the keeper of goldfinches, the peasant wandering across the plain, the family doctor, the dying bishop. We see him in his various disguises, and more often than not the disguise is transparent. Very few of the current translations of Chekhov give the stories in their proper order. Once they are printed in the order of development, we become aware of the autobiographical thread running through them. Far from being the neutral observer, Chekhov was a man who portrayed himself endlessly.
But while Chekhov is abundantly present in the stories, so that we can nearly always detect one person who wanders through the story like a representative of the author, taking the author’s part, he never insists upon himself. Dostoyevsky and Tolstoy continually portrayed themselves and gave themselves the more important roles. Chekhov gives himself comparatively unimportant roles. Very often he is content to watch, delighting in the people of his invention, his wit blending with his profound sympathy for his fellow men, without rancor and without remorse, hating only obsequiousness and human indignity. Early in 1879 his brother Mikhail wrote a letter which he signed: “Your worthless and insignificant little brother.” In cold fury Chekhov replied: “Do you know where you should be conscious of your worthlessness? Before God, if you please, before the human intellect, beauty, and nature, but not before people. Among people one must be conscious of one’s human dignity. You are not a swindler, but an honest fellow! Then respect the honest fellow in yourself and remember that no honest man is ever insignificant.” So he wrote when he was nineteen, and nine years later he announced his credo to his friend the poet Alexey Pleshchev: “My Holy of Holies are the human body, health, intelligence, inspiration, love, and the most absolute freedom from violence and lying in whatever forms they may manifest themselves.” Against human indignity, and against those who would build walls around human freedom, he waged implacable war.
Mostly he waged war with weapons of laughter and mockery, with lighthearted rapier thrusts against the pomposity and silliness of officials. In 1883 he wrote over a hundred short descriptive pieces, most of them satirical, and nearly all of them directed against officialdom. Chekhov was inclined to regard uniforms as badges of servility. He had no patience with the government clerks who were always attempting to catch the eyes of their superiors in order to humble themselves publicly and perhaps receive a promotion if they bowed deeply enough, and in “Death of a Government Clerk” he wrote the classic story of the fawning official in the presence of an exalted and godlike superior. We are not, of course, intended to believe the story. The poor wormlike clerk is no more credible than Gogol’s Ivan Yakovlevich, who found the nose of the Collegiate Assessor Kovalyov in a loaf of bread. “Death of a Government Clerk” is a grotesque and glorious parody until we reach the last word of the story, and then quite suddenly, with shattering effect, the life of this obscure clerk, whose one offense was that he sneezed at the wrong time, comes into sharp and final focus. It is a trick which Chekhov uses often. A paragraph, a phrase, a sentence, sometimes only a word, has the effect of raising the story to another plane, one which we had never suspected and could hardly have hoped for. With that word, that paragraph, Chekhov isolates a fragment of experience and casts such a blinding light on it that the rest of the story shines in its light.
Chekhov was a conscious artist from the beginning. It amused him to say that he wrote easily, but the evidence of the surviving manuscripts suggests that he often wrote with extreme care, continually revising and amending, his quick mind working hurriedly to destroy any impression of speed. A few sketches and quips written in 1883 and 1884 when he was taking his final medical examinations seem to have been dashed off in a few minutes, but generally his stories are carefully worked over. “At the Post Office,” which has almost nothing to do with a post office, is a devilishly cunning evocation of an entire social landscape in two startling pages. There is not a word too many. Those odd and wonderful creatures attending the funeral feast are outrageously funny in the same way that the government clerk is funny: they are grotesque, but they are also desperately human. These stories written while he was studying at Moscow University are often dismissed as juvenilia, and until recently they were rarely included in collections of his works. But Chekhov was not a writer who developed in a normal tentative fashion. From “The Little Apples” onward we are aware of a constant and steady power, and a mind already formed. The light does not flicker or flare up: it is strong from the beginning.
Yet sometimes it happened that he produced in a single year so many stories of great and undeniable brilliance that he gives the impression of a man tapping unsuspected sources of strength. 1885 was the annus mirabilis. In that year he produced at least four masterpieces—“The Huntsman,” “The Malefactor,” “A Dead Body,” and “Sergeant Prishibeyev.” “The Huntsman” simply tells the story of a meeting along a forest pathway of a man and the wife he had discarded long ago. The man is sketched in lightly. His shoulders, his red shirt, his patched trousers, the white cap perched jauntily on the back of his head—this is all we are told, but it is enough. The woman is sketched in even more lightly. She
is a pale peasant woman of thirty with a sickle in her hand. In a few pages the whole absurd, lamentable history of these people is revealed: the indifference of the husband, the yearning of the wife, the infinite spaces which separate them even when they are standing together. The wife is intoxicated with joy at the sight of her husband. In describing her happiness, Chekhov adds the simple sentence which is like the moment of truth, illuminating all that has gone before and all that comes afterward—Ashamed of her happiness, she hid her smiles with her hand. It is with such simple means that he succeeds in conveying a whole character. He gives us no indication of what she looked like, or what she was wearing, or what gestures she made. The color of her eyes and her hair are never mentioned. He is utterly uninterested in all the details of her physical appearance; instead, he is able to suggest the quivering life within her, and her human grandeur. At the end the husband thrusts a crumpled ruble in her hand and wanders down the forest path until his white cap is lost among the green of the trees.
Chekhov uses an astonishing economy of means. It is the same in “The Malefactor,” where the peasant Denis Grigoryev is put on trial for stealing nuts from railroad ties to use as sinkers for his fishing lines. Clearly the peasant has endangered the lives of hundread of people traveling on the trains. Chekhov tells the story without taking sides, amused by the confrontation of the baffled peasant and the armed might of justice, uninterested as always in the political implications of his stories. Gorky relates that a lawyer made a special visit to Chekhov to determine whether Denis Grigoryev was guilty or innocent in the eyes of his creator. The lawyer made a long speech about the necessity of punishing those who damaged state property and asked Chekhov what he would have done to the prisoner if he were the judge.
Forty Stories Page 2