...Merrill Turner Although Virginia Woolf’s critical writings pay special tribute to Anton Chekhov’s stories and plays, his role as preceptor in relation to her own fiction has not been fully explored. Not only does the manuscript of To the Lighthouse display clear affinities with Chekhov’s...

... tragicomedy of Beaumont and Fletcher or Shakespeare’s last plays. There is, however, a closer Shakespearean analogue to Chekhov’s play. The polarities of lyricism and skepticism, pathos and farce, youthful optimism and bittersweet nostalgia, community and isola- tion that are so distinctively...

... shape in The Wild Duck, in Chekhov and Pirandello, and has been more recently exploited by Anouilh and Tennessee Williams and the playwrights of the absurd. He begins, however, with Euripides (A lcestis and Helen) whose formula for mixing the grotesque and the horrible had no attraction...

.... 606 GEORGE J. BECKER 607 Pushkin at one end of the continuum and Chekhov and Sholokhov at the other, while omitting from discussion Turgenev, whose stock has fallen resoundingly since the days of Flaubert and Henry James. What links...

... to Tolstoy and Chekhov to the critics Roman.Jakobson and Iurii Lotman. As for poshlost’, Boym’s main exhibit of the way the “banal” and “sexual” are related in Russian culture comes from Chekhov’s short stories, especially “The Lady with the Dog.” Her account of the changing face of poshlost...

... but meaningless on the printed page. Yet our ignorance of what constitutes partiGpation must finally obscure our understanding of a Shakespeare or a Chekhov. lo. B. HARDISON,JR. Christian Rite and Christian Drama in the Middle Ages: Essays in the Origin and Early History of Modern Drama...

... representatives, or our fellow “patients.” As Chekhov scholars Michael C. Finke and Julie de Sherbinin ( 2007 : 14) wrote fifteen years ago, literature functions for physicians as a “comfortable venue for discussing moral and philosophical problems that are often better kept at arm’s length during actual practice...

... is not Chekhov’s forte” (p. 467) or “Point of view is not Chekhov’s forte” (p. 471). Terras’s judgments reveal a general leveling tendency; his praise is seldom unequivocal, and he finds latent weaknesses even in classics. Pushkin’s “Exegi monumentum” (1836) “does not compare favorably with Derzhavin’s” (p...

... of Chekhov's story "Gusev," the world, the universe, of A Passage to India has a beauty (and an order) "for which," to use Chekhov's words, "it is hard to find a name in the language of man." For ultimately, whatever our psychic condi• tion, that universe goes beyond rational comprehension and finite...

...”; Arvids Ziedonis, Jr., “Problems of Modernization in Blaumanis’ lndrani and Chekhov’s The Cherry Orchard”; George C. Schoolfield, “Rilke and Brandes”; Karl E. Webb, “Rainer Maria Rilke and Paul Cbzanne: A Stylistic Comparison”; Walter H. Sokel, “Kafka’s Law and Its...

... Vakhtangov production of Erik XZV in Moscow in 1921, with Michael Chekhov as the king, was a styliza- tion of history that should be entered in the log of Strindberg’s plays. Indeed, the vicissitudes of all of these plays inside and outside of Scandinavia is a mat- ter of both stage and cultural...

..., the distinguished Lindbergs father and son as the king and Erik respectively. The notable Vakhtangov production of Erik XZV in Moscow in 1921, with Michael Chekhov as the king, was a styliza- tion of history that should be entered in the log of Strindberg’s plays. Indeed, the vicissitudes of all...

... for the dramatic attitude which, in the last hundred years, took shape in The Wild Duck, in Chekhov and Pirandello, and has been more recently exploited by Anouilh and Tennessee Williams and the playwrights of the absurd. He begins, however, with Euripides (A lcestis and Helen) whose formula...

... quoted an actor or theater director, or mentioned a theater or any of those productions that established the plays on stage or screen. At least Ionesco, Chekhov, Genet, O’Neill, Rattigan, Saun- ders, Osborne, Wesker, and Simpson had been mentioned, and this was a little reassuring. Quigley’s...

... only a few-Hof’mannsthal, Orton, Middleton, Chekhov, Strindberg, Gorky, Chi-au- doux, Gilbert and Sullivan, Sheridan, the Seroiid Sh~pIierd~’Plq, PI Durrenmatt, and innumerable recent stage pieces. There are wonderful anal- yses of plays that fall between genres, such as Wilde’s Lady...

... University Press, 1983. xx + 413 pp. $40.00. Wellek, RenC and Nonna D. (editors). Chekhov: New Perspectives. Englewood Cliffs, N.J.: Prentice-Hall, Twentieth Century Views, 1984. 206 pp. $5.95, paper. 224 BOOKS RECEIVED Zholkovsky, Alexander...

... comparative studies than has Henry James. Books have been written about the literary or personal relations of James to Henry Adams, Balzac, Chekhov, Conrad, Flaubert, Hawthorne, John Hay, Howells, Ibsen, ...

..., Balzac, Chekhov, Conrad, Flaubert, Hawthorne, John Hay, Howells, Ibsen, 2 16 REVIEWS Nietzsche, Turgenev, H. G. Wells, and Edith Wharton. Ross Posnock, in his excellent recent study, convinces the reader that Browning was to James as important...

.... Whitewater, Wis.: Language Press, 197 1. xiv + 4 14 pp. Steiner, George. Extraterritorial: Papers on Literature and the Language Revolution. New York: Atheneum, 1971. xiii + 210 pp. $7.95. Styan, J. L. Chekhov in Performance: A Commentary on the Major Plays. Cam- bridge...

... University Press, 1966. xv + 188 pp. $7.50. Haugen, Einar. Language Conflict and Language Planning: The Case of Modern Norwegian. Cambridge: Harvard University Press, 1966. xvi + 393 pp. $10.00. Hingley, Ronald. Chekhov: A Biographical and Critical Study. New York: Barnes & Noble...