DOCSLIB.ORG

THE JEW and OTHER STORIES by IVAN TURGENEV Translated From

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE JEW and OTHER STORIES by IVAN TURGENEV Translated From THE JEW AND OTHER STORIES BY IVAN TURGENEV Translated from the Russian By CONSTANCE GARNETT TO THE MEMORY OF STEPNIAK WHOSE LOVE OF TURGENEV SUGGESTED THIS TRANSLATION INTRODUCTION In studying the Russian novel it is amusing to note the childish attitude of certain English men of letters to the novel in general, their depreciation of its influence and of the public's 'inordinate' love of fiction. Many men of letters to-day look on the novel as a mere story-book, as a series of light-coloured, amusing pictures for their 'idle hours,' and on memoirs, biographies, histories, criticism, and poetry as the age's serious contribution to literature. Whereas the reverse is the case. The most serious and significant of all literary forms the modern world has evolved is the novel; and brought to its highest development, the novel shares with poetry to-day the honour of being the supreme instrument of the great artist's literary skill. To survey the field of the novel as a mere pleasure-garden marked out for the crowd's diversion—a field of recreation adorned here and there by the masterpieces of a few great men—argues in the modern critic either an academical attitude to literature and life, or a one-eyed obtuseness, or merely the usual insensitive taste. The drama in all but two countries has been willy-nilly abandoned by artists as a coarse playground for the great public's romps and frolics, but the novel can be preserved exactly so long as the critics understand that to exercise a delicate art is the one serious duty of the artistic life. It is no more an argument against the vital significance of the novel that tens of thousands of people—that everybody, in fact—should to-day essay that form of art, than it is an argument against poetry that for all the centuries droves and flocks of versifiers and scribblers and rhymesters have succeeded in making the name of poet a little foolish in worldly eyes. The true function of poetry! That can only be vindicated in common opinion by the severity and enthusiasm of critics in stripping bare the false, and in hailing as the true all that is animated by the living breath of beauty. The true function of the novel! That can only be supported by those who understand that the adequate representation and criticism of human life would be impossible for modern men were the novel to go the way of the drama, and be abandoned to the mass of vulgar standards. That the novel is the most insidious means of mirroring human society Cervantes in his great classic revealed to seventeenth-century Europe. Richardson and Fielding and Sterne in their turn, as great realists and impressionists, proved to the eighteenth century that the novel is as flexible as life itself. And from their days to the days of Henry James the form of the novel has been adapted by European genius to the exact needs, outlook, and attitude to life of each successive generation. To the French, especially to Flaubert and Maupassant, must be given the credit of so perfecting the novel's technique that it has become the great means of cosmopolitan culture. It was, however, reserved for the youngest of European literatures, for the Russian school, to raise the novel to being the absolute and triumphant expression by the national genius of the national soul. Turgenev's place in modern European literature is best defined by saying that while he stands as a great classic in the ranks of the great novelists, along with Richardson, Fielding, Scott, Balzac, Dickens, Thackeray, Meredith, Tolstoi, Flaubert, Maupassant, he is the greatest of them all, in the sense that he is the supreme artist. As has been recognised by the best French critics, Turgenev's art is both wider in its range and more beautiful in its form than the work of any modern European artist. The novel modelled by Turgenev's hands, the Russian novel, became the great modern instrument for showing 'the very age and body of the time his form and pressure.' To reproduce human life in all its subtlety as it moves and breathes before us, and at the same time to assess its values by the great poetic insight that reveals man's relations to the universe around him,—that is an art only transcended by Shakespeare's own in its unique creation of a universe of great human types. And, comparing Turgenev with the European masters, we see that if he has made the novel both more delicate and more powerful than their example shows it, it is because as the supreme artist he filled it with the breath of poetry where others in general spoke the word of prose. Turgenev's horizon always broadens before our eyes: where Fielding and Richardson speak for the country and the town, Turgenev speaks for the nation. While Balzac makes defile before us an endless stream of human figures, Turgenev's characters reveal themselves as wider apart in the range of their spirit, as more mysteriously alive in their inevitable essence, than do Meredith's or Flaubert's, than do Thackeray's or Maupassant's. Where Tolstoi uses an immense canvas in War and Peace, wherein Europe may see the march of a whole generation, Turgenev in Fathers and Children concentrates in the few words of a single character, Bazarov, the essence of modern science's attitude to life, that scientific spirit which has transformed both European life and thought. It is, however, superfluous to draw further parallels between Turgenev and his great rivals. In England alone, perhaps, is it necessary to say to the young novelist that the novel can become anything, can be anything, according to the hands that use it. In its application to life, its future development can by no means be gauged. It is the most complex of all literary instruments, the chief method to-day of analysing the complexities of modern life. If you love your art, if you would exalt it, treat it absolutely seriously. If you would study it in its highest form, the form the greatest artist of our time has perfected— remember Turgenev. EDWARD GARNETT. November 1899. THE JEW ...'Tell us a story, colonel,' we said at last to Nikolai Ilyitch. The colonel smiled, puffed out a coil of tobacco smoke between his moustaches, passed his hand over his grey hair, looked at us and considered. We all had the greatest liking and respect for Nikolai Ilyitch, for his good-heartedness, common sense, and kindly indulgence to us young fellows. He was a tall, broad-shouldered, stoutly-built man; his dark face, 'one of the splendid Russian faces,' [Footnote: Lermontov in the Treasurer's Wife.—AUTHOR'S NOTE.] straight-forward, clever glance, gentle smile, manly and mellow voice—everything about him pleased and attracted one. 'All right, listen then,' he began. It happened in 1813, before Dantzig. I was then in the E—— regiment of cuirassiers, and had just, I recollect, been promoted to be a cornet. It is an exhilarating occupation—fighting; and marching too is good enough in its way, but it is fearfully slow in a besieging army. There one sits the whole blessed day within some sort of entrenchment, under a tent, on mud or straw, playing cards from morning till night. Perhaps, from simple boredom, one goes out to watch the bombs and redhot bullets flying. At first the French kept us amused with sorties, but they quickly subsided. We soon got sick of foraging expeditions too; we were overcome, in fact, by such deadly dulness that we were ready to howl for sheer ennui. I was not more than nineteen then; I was a healthy young fellow, fresh as a daisy, thought of nothing but getting all the fun I could out of the French... and in other ways too... you understand what I mean... and this is what happened. Having nothing to do, I fell to gambling. All of a sudden, after dreadful losses, my luck turned, and towards morning (we used to play at night) I had won an immense amount. Exhausted and sleepy, I came out into the fresh air, and sat down on a mound. It was a splendid, calm morning; the long lines of our fortifications were lost in the mist; I gazed till I was weary, and then began to doze where I was sitting. A discreet cough waked me: I opened my eyes, and saw standing before me a Jew, a man of forty, wearing a long-skirted grey wrapper, slippers, and a black smoking-cap. This Jew, whose name was Girshel, was continually hanging about our camp, offering his services as an agent, getting us wine, provisions, and other such trifles. He was a thinnish, red-haired, little man, marked with smallpox; he blinked incessantly with his diminutive little eyes, which were reddish too; he had a long crooked nose, and was always coughing. He began fidgeting about me, bowing obsequiously. 'Well, what do you want?' I asked him at last. 'Oh, I only—I've only come, sir, to know if I can't be of use to your honour in some way...' 'I don't want you; you can go.' 'At your honour's service, as you desire.... I thought there might be, sir, something....' 'You bother me; go along, I tell you.' 'Certainly, sir, certainly. But your honour must permit me to congratulate you on your success....' 'Why, how did you know?' 'Oh, I know, to be sure I do...
Load more

Recommended publications
  • Rebellion Brothers Karamazov
    Book V, Chapter IV. Rebellion from The Brothers Karamazov (Fyodor Dostoyevsky) Trans: Constance Garnett Project Gutenber Edition “I must make you one confession,” Ivan began. “I could never understand how one can love one's neighbors. It's just one's neighbors, to my mind, that one can't love, though one might love those at a distance. I once read somewhere of John the Merciful, a saint, that when a hungry, frozen beggar came to him, he took him into his bed, held him in his arms, and began breathing into his mouth, which was putrid and loathsome from some awful disease. I am convinced that he did that from ‘self-laceration,’ from the self-laceration of falsity, for the sake of the charity imposed by duty, as a penance laid on him. For any one to love a man, he must be hidden, for as soon as he shows his face, love is gone.” “Father Zossima has talked of that more than once,” observed Alyosha; “he, too, said that the face of a man often hinders many people not practiced in love, from loving him. But yet there's a great deal of love in mankind, and almost Christ-like love. I know that myself, Ivan.” “Well, I know nothing of it so far, and can't understand it, and the innumerable mass of mankind are with me there. The question is, whether that's due to men's bad qualities or whether it's inherent in their nature. To my thinking, Christ-like love for men is a miracle impossible on earth.
    [Show full text]
  • Baudelaire 525 Released Under Creative Commons Attribution-Noncommercial Licence
    Table des matières Préface i Préface des Fleurs . i Projet de préface pour Les Fleurs du Mal . iii Preface vi Preface to the Flowers . vi III . vii Project on a preface to the Flowers of Evil . viii Préface à cette édition xi L’édition de 1857 . xi L’édition de 1861 . xii “Les Épaves” 1866 . xii L’édition de 1868 . xii Preface to this edition xiv About 1857 version . xiv About 1861 version . xv About 1866 “Les Épaves” . xv About 1868 version . xv Dédicace – Dedication 1 Au Lecteur – To the Reader 2 Spleen et idéal / Spleen and Ideal 9 Bénédiction – Benediction 11 L’Albatros – The Albatross (1861) 19 Élévation – Elevation 22 Correspondances – Correspondences 25 J’aime le souvenir de ces époques nues – I Love to Think of Those Naked Epochs 27 Les Phares – The Beacons 31 La Muse malade – The Sick Muse 35 La Muse vénale – The Venal Muse 37 Le Mauvais Moine – The Bad Monk 39 L’Ennemi – The Enemy 41 Le Guignon – Bad Luck 43 La Vie antérieure – Former Life 45 Bohémiens en voyage - Traveling Gypsies 47 L’Homme et la mer – Man and the Sea 49 Don Juan aux enfers – Don Juan in Hell 51 À Théodore de Banville – To Théodore de Banville (1868) 55 Châtiment de l’Orgueil – Punishment of Pride 57 La Beauté – Beauty 60 L’Idéal – The Ideal 62 La Géante – The Giantess 64 Les Bijoux – The Jewels (1857) 66 Le Masque – The Mask (1861) 69 Hymne à la Beauté – Hymn to Beauty (1861) 73 Parfum exotique – Exotic Perfume 76 La Chevelure – Hair (1861) 78 Je t’adore à l’égal de la voûte nocturne – I Adore You as Much as the Nocturnal Vault..
    [Show full text]
  • The Origins and Operations of the Kansas City Livestock
    REGULATION IN THE LIVESTOCK TRADE: THE ORIGINS AND OPERATIONS OF THE KANSAS CITY LIVESTOCK EXCHANGE 1886-1921 By 0. JAMES HAZLETT II Bachelor of Arts Kansas State University Manhattan, Kansas 1969 Master of Arts Oklahoma State University stillwater, Oklahoma 1982 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY May, 1987 The.s; .s I q 8111 0 H~3\,.. ccy;, ;i. REGULATION IN THE LIVESTOCK TRADE: THE ORIGINS AND OPERATIONS OF THE KANSAS CITY LIVESTOCK EXCHANGE 1886-1921 Thesis Approved: Dean of the Graduate College ii 1286885 C Y R0 I GP H T by o. James Hazlett May, 1987 PREFACE This dissertation is a business history of the Kansas City Live Stock Exchange, and a study of regulation in the American West. Historians generally understand the economic growth of the late nineteenth and early twentieth centuries, and the business institutions created during that era, within the perspective of "progressive" history. According to that view, Americans shifted from a public policy of laissez faire economics to one of state regulation around the turn of the century. More recently, historians have questioned the nature of regulation in American society, and this study extends that discussion into the livestock industry of the American West. 1 This dissertation relied heavily upon the minutes of the Kansas City Live Stock Exchange. Other sources were also important, especially the minutes of the Chicago Live Stock Exchange, which made possible a comparison of the two exchanges. Critical to understanding the role of the Exchange but unavailable in Kansas City, financial data was 1Morton Keller, "The Pluralist State: American Economic Regulation in Comparative Perspective, 1900-1930," in Thomas K.
    [Show full text]
  • National FUTURE FARMER, Insurance Company 14 Columbus Cycle Company
    The National Futuie Farmer Owned and Published by the Future Farmers of America Livestock Judging—Where skills are tested! October -November, 1960 In This issue: • Corner Your Fencing Problems • Mechanizing iVIanagement o A Farm Visit With Your Vice Presidents • How Would You Vote? ip X :>--f-"%.^<^' Doors are double-sealed against weather, cabs seat three passengers comfort- ably. Standard V-8 engines are true-truck designed . plenty of power for pulling, passing or any purpose. Specialized highway units transport any farm com- modity with dependable gas, diesel or LPG power. For family pleasure ...farm profit! International Trucks arc still ready to go, even when a full day's work is done. You'll find they're styled for easier, safer driving, across country and through town. Wide, fully-adjustable seat and more glass front and rear make this .so. These hard-working models range from INTERNATIONAE pickups with standard or Bonus-Load bodies to husky road haulers that handle big loads at least cost. So see your International Dealer TRUCKS or Internalional Harvester Co Branch now to learn how . ChicaRO International Motor Trucks • Crawler Tractors Construction • 5 Tnicks s i\ (' you money on every job. Equipment McCormick Farm Equipment ant] Farmall'i^ Tractors WORLD'S MOST COMPLETE LINE Raymond Hetherington. Ringtown, Pennsylvania Farmers you look to as leaders look to Firestone for farm tires Mountains and ridges in the heart of the Pennsylvania coal country are laced with level valleys. In Schuylkill County's Ringtown Valley, modern methods and irrigation help Raymond Hetherington wrest high yields of quality vegetables and other crops.
    [Show full text]
  • Virginia Woolf's Portraits of Russian Writers
    Virginia Woolf’s Portraits of Russian Writers Virginia Woolf’s Portraits of Russian Writers: Creating the Literary Other By Darya Protopopova Virginia Woolf’s Portraits of Russian Writers: Creating the Literary Other By Darya Protopopova This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Darya Protopopova All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-2753-0 ISBN (13): 978-1-5275-2753-9 TABLE OF CONTENTS Note on the Text ........................................................................................ vi Preface ...................................................................................................... vii Introduction ................................................................................................ 1 Russia and the British Search for the Cultural ‘Other’ Chapter One .............................................................................................. 32 Woolf’s Real and Fictional Russians Chapter Two ............................................................................................. 58 Woolf and Dostoevsky: Verbalising the Soul Chapter Three ........................................................................................
    [Show full text]
  • Department of Russian and Slavonic Studies 2016-17 Module Name Chekhov Module Id (To Be Confirmed) RUS4?? Course Year JS
    Department of Russian and Slavonic Studies 2016-17 Module Name Chekhov Module Id (to be confirmed) RUS4?? Course Year JS TSM,SH SS TSM, SH Optional/Mandatory Optional Semester(s) MT Contact hour per week 2 contact hours/week; total 22 hours Private study (hours per week) 100 hours Lecturer(s) Justin Doherty ECTs 10 ECTs Aims This module surveys Chekhov’s writing in both short-story and dramatic forms. While some texts from Chekhov’s early period will be included, the focus will be on works from the later 1880s, 1890s and early 1900s. Attention will be given to the social and historical circumstances which form the background to Chekhov’s writings, as well as to major influences on Chekhov’s writing, notably Tolstoy. In examining Chekhov’s major plays, we will also look closely at Chekhov’s involvement with the Moscow Arts Theatre and theatre director and actor Konstantin Stanislavsky. Set texts will include: 1. Short stories ‘Rural’ narratives: ‘Steppe’, ‘Peasants’, ‘In the Ravine’ Psychological stories: ‘Ward No 6’, ‘The Black Monk’, ‘The Bishop’, ‘A Boring Story’ Stories of gentry life: ‘House with a Mezzanine’, ‘The Duel’, ‘Ariadna’ Provincial stories: ‘My Life’, ‘Ionych’, ‘Anna on the Neck’, ‘The Man in a Case’ Late ‘optimistic’ stories: ‘The Lady with the Dog’, ‘The Bride’ 2. Plays The Seagull Uncle Vanya Three Sisters The Cherry Orchard Note on editions: for the stories, I recommend the Everyman edition, The Chekhov Omnibus: Selected Stories, tr. Constance Garnett, revised by Donald Rayfield, London: J. M. Dent, 1994. There are numerous other translations e.g.
    [Show full text]
  • LAND REFORM and NEW MARRIAGE LAW in Chlna
    LAND REFORM AND NEW MARRIAGE LAW IN CHlNA by NOBORU NIIDA Preface ARRIAGE Iaw has always been the frst to be enacted and pro- mulgated after the great revolutions in history. This was the case with both t.he French and Russian Revolutions, and so it was in the case of the Communist Revolution in China. This phenomenon was not coincidental but natural. Revision of the marriage law in China is contingent on a revision of the land law and other economic reforms. In the case of the Chinese Revolution, the revision of the marriage law was inseparably related to a reform of the land law. The present writer discussed the development of the landownership system in China since the eve of the revolution in the chapter on land reform in Cht~goku Ho~seishi Kenkyiz (The Study of the History of Chinese Legal System), (1960). In this paper, he intends to discuss the salient points of the new marriage law in connec- tion with the land reform and subsequent developments. I. COMPARISON OF OLD AND NEW SAYlNGS RELATlNG TO MARRIAGE LAW The new Marriage Law enacted in May 1950 is based on a phi- 10sophy negating the old Chinese marriage system, the nature of which may be inferred in the various expressions given below. An old Chinese proverb says, " Noodles do not make a meal likewise, women are not counted as human beings." In numbering children, girls were not taken into account. Lack of of{:spring used to be cited as a conventional ground for divorce, but even in this case girls were not reckoned with.
    [Show full text]
  • Stories of Russian Life
    CORNELL UNIVERSITY LIBRARY UNDERGRADUATE LIBRARY Cornell University Library PG 3456.A15F31 Stories of Russian life, 3 1924 014 393 130 The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924014393130 STORIES OF RUSSIAN LIFE STORIES OF RUSSIAN LIFE BY ANTON TCHEKOFF TRANSLATED FROM THE BtTSBIAN BT MARIAN FELL NEW YORK CHARLES SCEIBNER'S SONS 1914 -% r" 70 7 (> COFTBZGHT,A 1914, BT CHABLES SCBIBNER'S SONS Published May, 1914 CONTENTS FAOB 3 |. Qyeese4B^ed The Night befobe Easter 10 At Home 26 ''•^ ' Champagne *1 ^' The Malepactob ^0 Mtjbdeb Will OtTT 56 §3-' A" The Tbottsseau ' \&" ' The Decobation The Man in a Case 76 Little Jack ^' Dbeams ^ * ' The Death of an Official 118 Agatha ^^^ TheBbogab '^^^ Children 148 J^ The Tboublesome Guest 1^''' "^ Not Wanted ^^ "The RoBEEms l77 Fat 2°^ , . Lean and V vi CONTENTS PAPB On THE Wat 208 v/ The Head Gabdenek's Tale *3* -Hush! 240 t- WlTHOITT A TnUE 5-«» ^ In the Eavinb 252 STORIES OF RUSSIAN LIFE STORIES OF RUSSIAN LIFE OVERSEASONED ON arriving at Deadville Station, Gleb Smirnoff, the surveyor, found that the farm to which his business called him still lay some thirty or forty miles farther on. If the driver should be sober and the horses could stand up, the distance would be less than thirty miles; with a fuddled driver and old skates for horses, it might amount to fifty. "Will you tell me, please, where I can get some post-horses.'' " asked the surveyor of the station-master.
    [Show full text]
  • Adjustment to Misfortune—A Problem of Social-Psychological Rehabilitation
    Adjustment to Misfortune—A Problem of Social-Psychological Rehabilitation Dedicated to the memory of Kurt Lewin TAMARA DEMBO, Ph.D.,2 GLORIA LADIEU LEVITON, Ph.D.,3 AND BEATRICE A. WRIGHT, Ph.D.4 AT PARTICULAR times in the history of To investigate the personal and social science, particular problems become ripe for problems of the physically handicapped, two investigation. A precipitating event brings groups of subjects were needed—people who them to the attention of a single person and were considered handicapped and people sometimes to that of several at the same time. around them. Therefore, as subjects of the It is therefore understandable that during research both visibly injured and noninjured World War II the need was felt to investigate people were used. Interviews were employed as the problems of social-psychological rehabilita­ the primary method of investigation, the tion of the physically handicapped and that great majority of the 177 injured persons someone should look for a place and the means interviewed being servicemen or veterans of to set up a research project that would try to World War II. More than half the subjects solve some of these problems. In pursuit of had suffered amputations and almost one such a goal a research group was established fourth facial disfigurements. The injured man at Stanford University on February 1, 1945. was asked questions designed to elicit his expectations, experiences, and feelings in his Conducted partially under a contract between dealings with people around him. Sixty-five Stanford University and the wartime Office noninjured people also were interviewed in of Scientific Research and Development (rec­ regard to their feelings toward the injured man.
    [Show full text]
  • Betrothed : a Collection of Love Stories Reflecting an Ancient Faith Pdf, Epub, Ebook
    BETROTHED : A COLLECTION OF LOVE STORIES REFLECTING AN ANCIENT FAITH PDF, EPUB, EBOOK Waller Family | 264 pages | 14 Feb 2015 | Olive Press Publisher | 9781941173053 | English | none Betrothed : A Collection of Love Stories Reflecting an Ancient Faith PDF Book Open Preview See a Problem? And the angel said to her in reply,. As I read the Bible and the sayings of the Desert Fathers, I understand that there is a strong emphasis against judging others. The Making of a Memory by Kathleene S. My question has to do with interfaith marriage. The Bad Christian's Manifesto. See All - Shop by Language. It can mean corruption, decay, ruin, corruptibility, and mortality. Olive Press rated it it was amazing Feb 01, In his letter 93 to the Patrician Caesaria, he writes:. My questions:. In some cases, this expression of consent spread to the Byzantine rite, but today it is included in some of the Slavic but none of the Byzantine versions. Consequently, one is unable to see or understand clearly the self as needing to be in union and communion with the other. United Kingdom. While not all the lists of canonical books agree with one another, there is a consistent attempt in the East to remain within the number of books found in the Hebrew canon. Jesus Calling. We live and thrive in the worst of circumstances. Is it possible? Those sins that would preclude one from approaching the Chalice would include: murder, apostasy, adultery, fornication, and character assassination. Design by Point Five, NY. But it is only recently that the Orthodox began to construct comprehensive theologies of marriage.
    [Show full text]
  • Elisaveta Fen's Chekhov Translations Claire Warden Since The
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Loughborough University Institutional Repository “A Glimpse of Another Russia”: Elisaveta Fen’s Chekhov translations Claire Warden Since the first British production of Anton Chekhov’s play The Seagull in 1909, audiences have found the Russian’s plays both beguiling and frustrating in seemingly equal measure. After living in Britain some years, Russian translator Elisaveta Fen began to recognize the problem: These plays are tragi-comedies: they are the stuff life is made of. They do not fit into any conventional category. Awkwardly presented, they can disappoint, baffle, irritate, or they can cast their spell over the spectator and make him feel 1 he is watching real people, living real lives—on the stage.0F Despite their ubiquity in twentieth- and twenty-first-century British theatre, Chekhov’s plays continue to bewilder audiences: they are tricky to define in terms of genre, and full of unpronounceable names and obscure references to places and cultures. Fen, the primary focus of this article, took up the unenviable challenge of making these plays more accessible to British audiences. Yet, she remains a marginal figure in British theatre historiographies; her name appears as ‘translator’ on numerous programmes and playbills but is rarely acknowledged further. This article claims Fen as an overlooked figure, recovering her work in order to place her within narratives of British theatre. In so doing it identifies her distinct semi-autobiographical, empathetic approach to the translation process. Her translations attempt to resolve a number of personal tensions—homesickness, her despair over the perceived destruction of her Russian idyll (and her frustration at British misunderstandings of this), and her concerns about fitting into British life.
    [Show full text]
  • ANTON TCHEKHOV a RESUME of HIS WORKS and of HIS CAREER by B
    ANTON TCHEKHOV A RESUME OF HIS WORKS AND OF HIS CAREER By B. BARKER BEESON, M.D. CHICAGO, ILL. ANTON PAVELOVITCH laborers, artisans and sailors. An / TCHEKHOV was born at ignorant and brutal Greek acted as Taganrog, a port on the Sea the schoolmaster. He used the whip **"■ of Azov, Southern Russia, freely. In the lower grades Anton January 17, i860. He was one of six was a dull, lazy scholar and the butt children. His parents were of peasant of many practical jokes. With the stock, the paternal grandfather hav- advent of manhood and his entrance ing been a serf who by the most rigid into the College of Taganrog a radical economy had saved enough to pur- change took place in him. He became chase the freedom of his family and a clever student and kept his fellows himself in 1841 or almost twenty roaring with laughter at his jokes years before the general liberation and witty retorts. Tchekhov aided in of the serfs by Alexander 11. This editing a school paper called the cost him about 3500 roubles then Little Star and also worked on a equal to about $1750.00. Tchekhov’s humorous journal. About that same father while employed in a Taganrog time he wrote a farce “The Little commercial house had saved up a Chickens Do Not Sing In Vain” modest sum with which he opened a and also a piece called “The Orphan.” store devoted to the sale of colonial After the departure of his family for products. Adverse conditions resulted Moscow he was forced to take up in the failure of this enterprise in tutoring which continued until 1879 1876.
    [Show full text]