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Forty Stories
Forty Stories
Forty Stories
Ebook443 pages

Forty Stories

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If any writer can be said to have invented the modern short story, it is Anton Chekhov. It is not just that Chekhov democratized this art form; more than that, he changed the thrust of short fiction from relating to revealing. And what marvelous and unbearable things are revealed in these Forty Stories. The abashed happiness of a woman in the presence of the husband who abandoned her years before. The obsequious terror of the official who accidentally sneezes on a general. The poignant astonishment of an aging Don Juan overtaken by love. Spanning the entirety of Chekhov's career and including such masterpieces as "Surgery," "The Huntsman," "Anyuta," "Sleepyhead," "The Lady With the Pet Dog," and "The Bishop," this collection manages to be amusing, dazzling, and supremely moving—often within a single page.
LanguageEnglish
Release dateMar 9, 2011
ISBN9780307778536
Forty Stories
Author

Anton Chekhov

Anton Pavlovich Chekhov (1860–1904) was a Russian doctor, playwright, and author. His best known works include the plays The Seagull (1896), Uncle Vanya (1900), and The Cherry Orchard (1904), and the short stories “The Lady with the Dog,” “Peasants,” and “The Darling.” One of the most influential and widely anthologized writers in Russian history, Chekhov spent most of his career as a practicing physician and devoted much of his energy to treating the poor, free of charge. He died of tuberculosis in 1904.  

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  • Rating: 3 out of 5 stars
    3/5
    Checkhov is, of course, a master storyteller, and the worlds he creates are fascinating and complex. The bleakness of the landscape in all of them, though, is crushing. One comes away with the impression of a late nineteenth-century Russia that is dark, cold, drunk, dirty, emotionally starved and straitened, rigidly socially classified, and on the verge of something, anything - and of course, it was - like a teenager waiting for her life to start. Despite this, Checkhov is very, very, drily funny, mocking his characters even as he paints them a sympathetic creatures. The work itself is brilliant, but the reading is not altogether enjoyable. Not for reading when you yourself are feeling bleak, however black your sense of humor might be.

    Checkhov's women, also, tend to irritate, and feel much less real, much less three-dimensional, than his men. They are often flighty, un-self-aware, ridiculous, capricious, clinging, dependent, and melodramatic, which becomes tiresome. Payne's introduction to the Vintage Classics translation is enlightening, but it's so loaded with devotional praise of Checkhov that I was surprised to discover these caricatures inhabiting the same space as his legitimately brilliant characters. It doesn't make the stories not worth reading, but it does take away from the enjoyment one might otherwise experience.

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Forty Stories - Anton Chekhov

The Little Apples

BETWEEN the Black Sea and the Solovetsky Islands, at such and such degrees of latitude and longitude, the landowner Trifon Semyonovich had been living on his own black earth for a long time. His surname was as long as a barge pole, and derived from a very resounding Latin word designating one of the innumerable human virtues. He owned an estate comprising about 8,000 acres of black earth. This estate, being in his full possession, had been mortgaged and offered for sale. The For Sale notices were put up before he acquired his bald spot, but the estate has never been sold, thanks to the gullibility of the bank manager and the skill of Trifon Semyonovich, and so the worst has not befallen him. One day, of course, the bank will fail, because Trifon Semyonovich and all those others whose names are legion take bank loans without paying the interest. Indeed, whenever Semyonovich did pay a little interest on his loan, he always made a great ceremony of it, as a man does when he offers a penny for the repose of the souls of the dead or for the building of a cathedral. If this world were not this world, and if things were called by their proper names, then Trifon Semyonovich would be called by another name than Trifon Semyonovich: he would be given a name usually reserved for horses and cows. Frankly, Trifon Semyonovich is nothing more than a beast. I am sure he would agree with me. If he ever hears of this (for he sometimes reads The Dragonfly), he will probably not burst a blood vessel, for he is a man of considerable intelligence and is likely to be in complete agreement with my thesis, and he might also send me a dozen of his Antonovka apples in the autumn as an act of gratitude for my not revealing his surname, for on this instance I have confined myself to the use of his Christian name and patronymic. I shall not describe all his virtues: it would be very tedious. To describe Trifon Semyonovich in his entirety would demand a volume as thick and heavy as The Wandering Jew of Eugène Sue. I shall not mention his cheating at cards, or his politics, which have enabled him to avoid paying his debts and the interest on his mortgage, nor shall I mention the tricks he plays on the old priest and the deacon, or how he rides through the village streets in a costume contemporary with Cain and Abel. I shall confine myself to a single incident characteristic of his attitude towards his fellow creatures, in praise of whom, after three quarters of a century of continuing experience of their affairs, he once composed the following quick-firing couplet:

All fools, clodhoppers, simpletons,

Ruin themselves by playing at dunce.¹

One perfectly beautiful morning at the end of summer Trifon Semyonovich found himself walking down a long and narrow pathway in his magnificent orchard. Whatever it is that inspires their excellencies the poets was here generously strewn around in great profusion, seeming to say: Pluck me! Pluck me! Enjoy yourselves, for the autumn will soon come! But Trifon Semyonovich was not enjoying himself that morning, partly because he was far from being a poet, but also because his soul had suffered a particularly uncomfortable night, as always happened whenever the soul’s owner lost heavily at cards. Behind Trifon Semyonovich marched his faithful servant Karpushka, who was about sixty years old and who kept looking suspiciously from side to side. The virtues of this Karpushka almost surpassed those of Trifon Semyonovich. He had a wonderful talent for shining boots, a still greater talent for hanging unwanted dogs; he stole everything he could lay his hands on, and as a spy he was incomparable. The clerks in the village call him a bloody dragoon. Hardly a day passes but some peasants or landowning neighbors of Trifon Semyonovich lodge a complaint about the atrocious behavior of Karpushka, but nothing is ever done, for the good reason that Karpushka is irreplaceable. When Trifon Semyonovich goes for a walk, the trusty Karpushka always accompanies him: this way it is safer and more pleasant. Karpushka possesses an inexhaustible treasure of anecdotes of varying vintages, tall stories, quaint sayings, and fairy tales, and he never stops telling them. The flow of his conversation is never dammed, at least until the time comes when he hears something of interest to himself. On this particular morning he was walking behind his master, telling a long story about two schoolboys wearing white caps who had made their way into the orchard with weapons in their hands, and they had implored him, Karpushka, to let them go hunting, and even tried to bribe him with fifty kopecks, but he, knowing his true master, had rejected their proffered bribes with ignominy and contempt, and set the two dogs Chestnut and Gray on them. And having finished this story, he began to paint in bold colors a picture of the revolting behavior of the local medical orderly, but the picture was never finished, for at that moment there came to his ears a suspicious rustling in a nearby clump of apple and pear trees. So he stopped talking, pricked up his ears, and listened intently. And having convinced himself that he recognized the sound and that it had a suspicious origin, he tugged at his master’s coat and then hurried off quick as a shot in the direction of the rustling sound. Trifon Semyonovich, anticipating some pleasant excitement, went hurrying after Karpushka with an old man’s slow mincing steps.

On the edge of the orchard, under an old spreading apple tree, stood a peasant girl slowly chewing on an apple, while not far from her a broad-shouldered peasant boy crawled on his hands and knees, picking up windfalls. He tossed the unripe apples into the bushes, but the ripe ones were tenderly presented to his Dulcinea in his broad and dirty hands. Dulcinea showed not the slightest alarm over the condition of her stomach, but kept on chewing the apples with a fierce appetite, while the boy continued to collect them, crawling over the ground, taking no thought for himself, concentrating his entire attention on his Dulcinea, and no one else.

Take one off a tree, the girl whispered, deliberately provoking him.

I wouldn’t dare.

What are you frightened of? The bloody dragoon? Most likely he’s tippling in the pothouse.…

The boy jumped up, sprang into the air, plucked a single apple from the tree, and handed it to the girl. But like Adam and Eve in ancient days, the boy and girl suffered disastrously with their apple. No sooner had she bitten off a small piece of it, and given this piece to the boy, no sooner had they both tasted the sharp acid flavor of the apple than their faces became contorted and they turned pale … not because the apple was sour, but because they had observed the stern features of Trifon Semyonovich and Karpushka’s little snout lit with a smile of pure

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