By Radislav Lapushin
«Dew at the Grass»: The Poetics of Inbetweenness in Chekhov is the 1st complete and systematic learn to target the poetic dimensions of Anton Chekhov’s prose and drama. utilizing the concept that of «inbetweenness», this booklet reconceptualizes the imperative features of Chekhov’s variety, from his use of language to the origins of his inventive worldview. Radislav Lapushin deals a clean interpretive framework for the research of Chekhov’s person works and his œuvre as a whole.
Radislav Lapushin is Assistant Professor of Russian Literature on the college of North Carolina at Chapel Hill. He got his Ph.D. on the collage of Chicago. he's the writer of diverse scholarly guides on Chekhov, either in Russian and English, and of a number of volumes of poetry.
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Extra info for "Dew on the Grass": The Poetics of Inbetweenness in Chekhov
6: 421) Camp life began…The days flowed by, one very much like another. All those days Riabovich felt, thought, and behaved as though he were in love. Every morning when his orderly handed him water to wash with, and he sluiced his head with cold water, he thought there was something warm and delightful in his life. The juxtaposition brings into association such apparently non-comparable concepts as “cold water” (the literal/the concrete) and “something warm” (the figurative/the abstract). Furthermore, in the vicinity of real water, a hackneyed expression “the days flowed by” becomes revived and partially literalized.
In turn, this “fleeting liaison” corresponds differently to, on the one hand, “the eternal sleep that awaits us” and, on the other hand, with “our eternal salvation” from Gurov’s meditation in Oreanda. This opposition (the eternal–the fleeting), however, also reveals not simply a contrast between but rather the interpenetration of opposed elements that begin flickering through each other. Gurov’s remark addressed to his club partner, an “official,” is yet another sample of this flickering nature of Chekhov’s word: “If you only knew 18 .
She bowed to me and pulled up the blinds. At once, enveloped in the bright sunlight, the rats and water in the picture came to life and movement, Tarakanova awakened, and the old chairs frowned gloomily. “Her honour will be here in a minute, sir…” sighed the old lady, frowning too. First of all, one can notice a careful orchestration of this passage. In the very first sentence, for instance, there are seven occurrences of a stressed o. In four of them it appears after p, and these sound sequences are themselves like the road signs on the narrator’s way “from the gates to the house” (note also the general persistence of p in the sentence): “От ворот к дому нужно было The Concept of Inbetweenness and the Poetry of Chekhov’s Prose ...
"Dew on the Grass": The Poetics of Inbetweenness in Chekhov by Radislav Lapushin