Brief Analysis
Before reading this analysis, we recommend that you familiarize yourself with the work itself, Man in a Case.
Year of writing : 1898
History of creation - The story was the completion of the trilogy. While the author was working on this work, he was diagnosed with tuberculosis, which led to the withering of his creativity.
Theme – The main theme of the story is a person’s avoidance of the truth of life, his isolation in his own shell. This brings up the theme of loneliness and apathy towards life. There is also a theme of love.
Composition - The story is written in an easy-to-understand language, it is divided into small fragments in which the main idea is clearly expressed.
Genre – Short story, which is one of the components of the trilogy.
Direction – Realism.
Analysis of a work of art using the example of Chekhov's stories
Content
Analysis scheme:
- Determine the theme, problem and idea of the work
- Indicate the means of creating an artistic image (paths, figures)
- Determine the form of the narrative, list the characters, noting their status in the structure of the work
- Specify the type of conflict
- Describe plot elements (exposition, plot, climax, development of action, denouement)
- Note compositional techniques
Execution example:
“Before the wedding” 1. Theme of the story: social and everyday life Problem: social inequality? Idea: exaggeration of the importance of rank in everyday life... 2. Means of creating an artistic image: Paths: - metaphor (craven psychiatry, but the soul is such a malicious passion!) - allegory (Oh man! A real Walter Scott!), - litotes (men are all fools , living with them is not very sweet), - metonymy (no one has seen her mind), - epithet (bald image, your father; too arrogant and proud; she is a kind woman, but duplicitous, free-thinking, frivolous, affected) - dysphemism (fucked with his fist), - irony (in understanding the letter "?" sees the beginning and end of all wisdom) Figures: - anaphora (I feel feelings that you have never felt!), - apostrophe (and exclaimed: “Damn it, I loved and love her!”), - paronomasia (remarkable only because it is not remarkable in any way), - rhetorical question (What? Love? What kind of love is there?), - silence (There will be moments when he... No, I’d rather keep silent; she is a noble, honest person, but... the fool is with her!), 3. Form of narration: impersonal, on behalf of the narrator System of characters: - main characters: the girl Podzatylkina, Mr. Nazarev - secondary: the mother and father of the girl? (although in terms of presence...) - episodic characters: 8th grade high school student, Vanka Smyslomalov 4. Type of conflict: social 5. Plot elements: - plot: engagement of Nazaryev and Podzatylkina - exposition: introduction of characters, description - plot development: mother’s monologues, father and Nazaryev - epilogue: the author draws a conclusion 6. Compositional techniques: - monologues: mother, father and Nazaryev - antithesis (opposition): position of the father, mother and Nazaryev
“Rural Aesculapians” 1. Theme of the story: professional, hospital in a village Problem: medical illiteracy Idea: neglect of one’s responsibilities? 2. Means of creating an artistic image: Paths: - epithet (sensitively grateful) allegory (- What a grisette she is! Tell her that she is a grisette!) - paraphrase (Our brother cannot live without vodka) - metaphor (wrinkled to death, as if flattened by evil fate; there’s a stone in the head) - hyperbole (he hasn’t washed or scratched himself since the day he was born; but he gives money for ink two kopecks a year!), - synecdoche, irony (- How can a singer be illiterate? Head!) - metonymy (Are you suffering from your stomach?) - personification (my illness occurred) Figures: - silence (so that you, with your permission, regarding my health...), - attraction? (in the absence of a doctor) 3. Form of narration: dialogue, impersonal System of characters: - main characters: Gleb Glebych, Kuzma Egorov - doctors of the zemstvo hospital - secondary/episodic: Ivan Mikulov, Mikhailo Izmuchenkov, Marfa Zaplaksina, Timofey Stukotey - episodic: Mikifor Pugolova , cook Pelageya 4. Type of conflict:? 5. Plot elements: - exposition: description of the conditions for receiving patients - development of the action: receiving patients - denouement as an epilogue?: Kuzma Egorov modestly lowers his eyes and bravely prescribes Natri bicarbonici, i.e. soda. 6. Compositional techniques: - contrast: doctors and patients - repetition: several similar techniques
"Brother"
1. Theme of the story: hypocrisy Problem: the same Idea: a change of opinion with a change in circumstances 2. Means of creating an artistic image: Paths: - comparison (It is better to lose your reputation than to see your own sister in death) - metaphor (Spit on this thick-faced anathema) - epithet (Smelling stinking kvass and rotten herrings) - paraphrase (You are marrying for convenience... for disgusting...) - pathos (You are a noble, personal noblewoman, with an education, but he is a kvass, a man, a boor! Ham!) Figures: - rhetorical question (Well, where are your dreams? Eh? My God, my God! Eh?) - antithesis (yesterday I gave him my word, and this morning he cheated our cook out of money!) 3. Form of narration: dialogue, impersonal System of characters: 4. Type of conflict: social, personal 5. Plot elements: - exposition: sister at the window, brother nearby - plot: brother turning to sister - development: dialogue between brother and sister - climax: arrival of a messenger from the groom - denouement: change of opinion about it brother's marriage 6. Compositional techniques: - antithesis: contrasting the groom with the bride - reinforcement: the brother's pumping up of arguments - introductory episode: the messenger's visit
"Thief"
1. Theme of the story: relationships between people, outcasts of society Problem: the problem of social definition Idea: rash actions lead to trouble 2. Means of creating an artistic image: Paths: - dysphemism (the exile was wandering around the city) - metaphor (he was overwhelmed by the dampness of the night) - comparison ( And the street is as wide as your square; his nose is like a gimlet; his head looked like two duck heads glued at the back of their heads) - meiosis (From under the coattails of his fur coat) - epithet (Tenor bells filled with all sorts of voices) - personification (the bells beat out sounds) - metonymy (Is that you? - the head squealed) Figures: - default (- This will hardly be convenient... - the doctor was embarrassed) - antithesis (Now there is not dirty snow under your feet, not cold puddles, but young greenery; there the wind does not blow across the face like a wet rag, and carries the breath of spring) - non-union (a table covered with a white tablecloth, with Easter cakes, snacks, vodka...) - multi-union (Without money she could neither live, nor love, nor suffer.) 3. Form narrative: impersonal System of characters: - main: Fyodor Stepanych - secondary: Barabaev, Olya - episodic: Doctor Gury Ivanovich, owner of the apartment 4. Type of conflict: social 5. Plot elements: - plot Fyodor Stepanych went out into the street - exposition: description of what what is happening on the street - development: meeting with the doctor - climax: meeting with Barabaev and Olga - denouement: the exile walks the streets 6. Compositional techniques: - introductory episode: with a bird in a cage - contrast: difference in attitude towards Barabaev and Fedor Stepanych
"Daughter of Albion"
1. Theme of the story: historical, international Problem: the problem of interaction between people speaking different languages Idea: differences in upbringing 2. Means of creating an artistic image: Paths: - litotes (Fathers burst into tears) - comparison, metaphor (with bulging crayfish eyes and a large bird with a nose that looks more like a hook than a nose) - comparison (I’m sitting like some scoundrel, like a convict; I’m standing like a scarecrow) - dysphemism (staring at the eyesores in the water; he’ll quickly learn to talk their way) - metaphor (drenched him contempt; for children I only hold this newt) - paraphrase (found myself in Adam's costume) Figures: - zeugma (a beautiful carriage with rubber tires, a fat coachman and a velvet seat rolled up) - inversion (I'm surprised, brother, I'm quite a lot!) - meiosis ( some aristocrat) 3. Form of narration: impersonal Character system: - main character: Gryabov, landowner - secondary: Otsov, Mrs. Tfais - episodic: Gryabov’s footman 4. Type of conflict: domestic 5. Plot elements: - plot: Otsov arrives - development of the action: Otsov goes to the river and talks with Gryabov there - climax: Gryabov undresses and climbs into the water - denouement: the Englishwoman doesn’t care, she’s fishing 6. Compositional techniques: - antithesis: contrasting the upbringing and behavior of Mrs. Tfais and Gryabov - strengthening : a gradual increase in complaints about Mrs. Tfais in Gryabov’s “Complaint Book” 1. Theme of the story: humorous, professional Problem: interactions between organizations and people Idea: let the goat into the garden? 2. Means of creating an artistic image: Paths: - comparison (even though you are the seventh, but a fool) - epithet (outrageous incident) Figures: - silence (Being under the fresh impression of an outrageous act... (crossed out). Driving through this station, I was outraged to the depths of my soul as follows... (crossed out)) - solecism (rudeness towards my wife) - pleonasm (I live on an estate) - antithesis, parallelism (You are a painting, I am a portrait, you are a beast, but I am not. I am your face) 3 Form of narration: quotation/thesis, impersonal System of characters: absent? 4. Type of conflict: social 5. Plot elements: - exposition: the place where the book lies is shown 6. Compositional techniques: - editing? - repetition of identical elements (quotes) “Mysterious nature” 1. Theme of the story: the tossing of personality Problem: inconsistency with oneself Idea: self.. deception? 2. Means of creating an artistic image: Paths: - comparison (it rises and then falls, like a boat among the waves) - epithet (captures this eccentric, mysterious nature) - pathos (- Oh, I comprehend you!;) - metaphor, paraphrase ( struggle for a piece of bread) - hyperbole? (I don’t kiss you, wonderful one, but human suffering!) - personification (happiness is knocking on my window; the locomotive whistles and hisses) Figures: - exergation (- Speak! I beg you, speak!) - silence (Mother... What can I say !) - mesarchy or anaphora? (I'm unhappy, unhappy, unhappy!) 3. Narrative form: impersonal Character system: - main: lady - secondary?: writer Voldemar 4. Type of conflict: social class 5. Plot elements: - prologue: scene - carriage - exposition : description of the compartment in which everything happens - development of the action: conversation between the lady and Voldemar - denouement: phrase that there was another rich old man - epilogue: the train - rushes, the lady - does not change 6. Compositional techniques: - monologue: ladies about her difficult fate - opposition: oneself, airy, - this cruel world of money and fame...
History of creation
In the year the story was written, in 1898, Anton Pavlovich was already seriously ill with tuberculosis and sought to complete work on the “little trilogy,” so the story of the creation was rushed, the writer wrote less and less. When creating his hero, the author did not have a specific person in mind; the image was collective and included the characteristics of many prototypes that had some similarities with Belikov. The same year the story was published in the magazine.
The author’s work makes a huge impression; his work amazes not only with his literary talent, but also with his subtle knowledge of human psychology.
Check out what else we have:
for the most rational -
Summary of “Man in a Case”
for the most impatient -
A very brief summary of “The Man in the Case”
for the most sociable -
The main characters of "The Man in the Case"
for the coolest -
Read “Man in a Case” in full
Chekhov's childhood
It is known that Chekhov spent his childhood in the south of Russia in the small provincial city of Taganrog, which was located far from the main cultural and political centers of the country. But nevertheless, not only trade, but also cultural life developed quite intensively here. It is amazing that in such a small city there was an Italian opera, a very good drama theater, and a good gymnasium. Even on the streets one could hear the sounds of piano, violin, cello, solos and duets from La Traviata and Il Trovatore, which came from the windows of houses, especially those where wealthy people lived. We can say that the passion for music in Taganrog was universal.
A special event in the life of the city was the tour in the spring of 1879 of the Russian opera troupe, which brought such operas as “A Life for the Tsar” by M.I. Glinka, “Rusalka” by A.S. Dargomyzhsky, “Faust” by Gounod and many other famous works. With concerts from works by P.I. Tchaikovsky famous touring singers performed here.
But was Chekhov involved in this cultural life of his native city in his childhood and youth? There is evidence that he attended the opera, often attended performances in the drama theatre, attended symphony concerts that were held in the city garden, and musical evenings that often took place in the houses of his friends from the gymnasium. So, in March 1876, in a letter to his brother Alexander, sixteen-year-old Anton writes: “I was at Alferaki’s house yesterday at a concert... A ticket to Professor Auer’s concert was given to me by the director of the gymnasium.” It is known that this was a concert by the famous violinist, professor of the St. Petersburg Conservatory Leopold Auer, to whom P.I. Tchaikovsky dedicated his "Melancholic Serenade". At that time, the young pianist and composer Sergei Ivanovich Taneyev performed with him in Taganrog. And yet it remains not entirely clear where the boy, born into the family of a simple shopkeeper, acquired such broad and serious cultural and musical interests. Was it just the influence of the general cultural atmosphere of the city, or did family play a role in this?
Subject
To analyze the work “The Man in a Case”, it is necessary to identify the problems of the story. One of the main problems described by the author is sociopathy. A person completely isolates himself from the surrounding society, trying to hide from possible attacks of life, various unforeseen situations that could harm the measured flow of his life.
One of the main themes is the isolation of man. The main character of the story is shown as such a person closed from society. He hides from people not only his essence, but also all his things, each of which has its own cover or case, he hides his feelings, trying to hide himself entirely from human eyes. Belikov is afraid of any manifestation of anything extraordinary, which, in his opinion, goes beyond what is permitted.
Belikov's indifference to life is terrible. This is a person who has completely withdrawn into himself. He is deeply alien to people's desire for something new and unusual. Belikov understands that a person surrounded by other people should not avoid communicating with his own kind, but his understanding is one-sided. The essence of his communication is that he visits his colleagues, sits silently for a while and leaves.
He behaves the same way when it comes to love. Varenka, a candidate for his wife, who is constantly with her brother and dreams of her own personal life, is trying to kindle at least some feelings in her potential chosen one. All her aspirations and attempts turn out to be in vain: Belikov is not capable of showing feelings, he runs away from communication with Varenka.
The last straw that put an end to this never-begun relationship was Varenka’s riding a bicycle. For Belikov, such behavior of a girl is the height of indecency. He went to Varya’s brother to point out to him that such behavior was unacceptable. Kovalenko’s rude and straightforward rebuff led Belikov into a state of stupor. He took to his bed and died a month later.
Thus ended a worthless life, the meaning of which the hero of the story never found or understood. Only in the coffin did his facial expression acquire features characteristic of a normal person. Only after death did the closed and tense muscles of the face relax and a smile froze on it. But this only meant that he was finally able to achieve the ideal; it lies in that case that no one will ever dare to invade.
Analysis of Chekhov's stories
0
(0)
Many contemporaries gave the stories of A.P. Chekhov a contradictory assessment. They saw in A.P. Chekhov either a successor to the traditions of realism, or a forerunner of Russian modernism. The writer strives to reveal in reality what fills human life with meaning and raises the problem of the spiritual quest of the individual.
The main characters and main ideological opponents in A.P. Chekhov’s story “The Duel” are the official Laevsky and the zoologist von Koren. Their persistent mutual hostility ultimately leads to a duel. Von Koren reflects on the reasons for mutual antipathy at the beginning of the story. He senses extraordinary deceit and debauchery in Laevsky. Laevsky recommends his former friend as a firm, strong, despotic nature. Laevsky, in a conversation with Doctor Samoilenko, characterizes himself as an empty, insignificant, fallen person who has hitherto bought life at the price of lies, idleness and cowardice. Von Koren is a supporter of Darwin's theory, he is an opponent of everything that can harm people or threaten them with danger in the present and future. HE proposes to physically destroy morally and physically abnormal people. Dr. Saoilenko assesses von Koren’s position this way: “If people are drowned and hanged, then to hell with your civilization...” He does not accept the fact that Laevsky drinks a lot, disdains service, plays cards, and lives beyond his means. It is Samoilenko who is the hero who is the bearer of the sought-after “general idea.” This kind and generous man gets money for Laevsky, although he perfectly understands that he is running away from responsibility for the fate of Nadezhda Feodorovna. In his internal monologue, he will explain in his own way why “ In search of the truth, people take “two steps forward, one step back”: they are constantly slowed down by suffering, mistakes and the boredom of life. the absence of a “general idea” not only leads a person into a moral impasse, but also kills the living personality in him.
In the story “The Jumper,” the goal of Olga Ivanovna Dymova’s life is the tireless desire to “get to know and briefly meet famous people.” The latter included all those who happened to become famous at least a little and make people talk about themselves. Olga Ivanovna idolizes famous people and is proud to know them. This unquenchable “thirst” throws her into the arms of the artist Ryabovsky, with whom she goes to the Volga “studies”. Their short relationship is soon interrupted, and Olga Ivanovna returns to her husband, who understands everything perfectly, but does not reproach his wife with a word. She herself does not think of making excuses and everywhere repeats the words that she liked so much: “This man oppresses me with his generosity.” Only the illness of Dymov, who saved the little boy at the cost of his life, and his death open Olga Ivanovna’s eyes to this man. A most talented doctor, an excellent scientist, a wonderful person, he was the only one worthy of worship, but Olga Ivanovna realizes too late that she “missed” him and he will never hear from her the words that he is a “rare, extraordinary, great man” and that she will reverence him all her life, pray and experience sacred fear.”
In the story “Darling”, analyzing the attitude towards love of Olenka Plemyannikova, the heroine of the story “Darling”, it is easy to conclude that marriage with the entrepreneur Kukin, and family life with the manager of the lumber yard Pustovalov, and a close relationship with the veterinarian Smirnin were for her way of filling the inner emptiness. In essence, it doesn’t matter to her who is next to her, but it is important that he has at least some kind of “opinion”, which is so convenient to share. Perhaps this is why, following Smirnin’s son, she repeats with confidence for the first time in many years that an island is a part of land surrounded on all sides by water. It is unlikely that she is capable of giving herself in love; rather, we can talk about imitation of this feeling.
In the story “Ward No. 6” by Dr. Ragin, who was assigned to a city hospital, a case brings him to the ward for the mentally ill. He shows a keen interest in the mentally ill Gromov. Gromov interests him only as a person with whom he can talk and who knows how to reason. In the eyes of his friends and colleagues, Ragin himself appears crazy. Ragin is declared crazy only because he violated generally accepted norms of behavior. Left in the ward among the mentally ill, he thinks: “It’s all the same... It’s all the same, what a tailcoat, what a uniform, what a robe,” and only after an hour he tries to figure out the “misunderstanding.” Beaten by the watchman Nikita, for the first time in his life he understands what “terrible”, “unbearable” pain the people in this ward experienced, and his conscience makes him feel cold from the back of his head to his toes. The hero breaks out of the circle of life, for Ragin everything stops and “eternal oblivion” sets in.
0 / 5. 0
.
Composition
The text of the story is divided into small semantic episodes that express the very essence of what is happening.
A clear and precise description of Belikov is given, his whole essence, from which the opinions of others about him are formed. With his worldview, his caution, “no matter what happens,” this small and insignificant man managed to keep all the residents of the city in suspense. They balance all their actions with his opinion, not allowing themselves anything unnecessary, that is, restraining their manifestations of real human feelings.
A new teacher, Mikhail Kovalenko, comes to the town; he is the complete opposite of Belikov. He immediately sees the essence of what is happening, and, unlike the resigned townspeople, he is not going to adapt to Belikov. Kovalenko gives a decisive rebuff to Belikov, and he cannot withstand such a stormy onslaught, his brain is not able to process such human behavior, and Belikov’s life comes to an end.
Genre
“The Man in a Case” belongs to the genre of a story that is part of the “Little Trilogy” and continues the general idea of these works.
The satirical direction of the story, its very construction, caused an ambiguous attitude of critics towards Chekhov's creation. Literary scholars were embarrassed by the very fact of combining the seriousness of the problems of the existing society with a caricatured character, more intended for farce. In the person of Belikov, the writer reflects the life and everyday life of many “little people” vegetating in their own world, useless to anyone.
Anton Pavlovich subtly and unobtrusively makes it clear the meaninglessness of a “case” life, calling for an active life position and the manifestation of initiative. Inaction and indifference are the most terrible scourge of generations, poisoning the life of not only an individual, but also the entire society as a whole.
A person’s full life is impossible without the manifestation of vivid emotions, expression of one’s individuality and communication with others, which is clearly clear from the analysis of the work “The Man in a Case.”
