Oh tormented people. One may read 'The Seagull' and wonder what's that all those things about death and killing, and failing love stories. So sad! But in Chekov's world this is a comedy, and it doesn't take too much to get why. It is indeed funny in some parts-- well, not the kind of funny we are used to, but nevertheless, it makes us laugh.

The tragicomic play is of paramount importance in modern teather. Rarely has a playwriter written such a realistic piece analyzing the life of an artist and his/her role in the society. In 'The Seagull' Treplieff is a writer wanna be, who is trying to grow over the shadow of her mother --an aging actress--, and to get an actress wanna be to love him. But above all, he has to deal with feeling jelous of Trigorin a youger and successful writer. There aren't many characters, but there is so much going on, personal dilemas, that the story grows to a placeless dimension.

Chekov can write with such a confidence that for not a second you doubt the existence of these people. His words are vivid. More than 100 years later, his play is up to date dealing with issues that are universal and timeless-- that can make you either cry or laugh.

Russian plays aren't for everyone--they are dense, heavy affairs, packed full of ideas and slow moving characters. If you are looking for a fast-paced potboiler with lots of action, etc. then stay away from Chekhov. But if you enjoy reflection and having something to talk about when you finish a book then Checkhov will serve you well--and, most improtantly, if you want to read "The Seagull" this IS the translation to get--Stoppard has done a wonderful job, making this classic even more readable and enjoyable.

"The Seagull," is also about how the constraints of society restrict us from achieving our goals. Constantin is not appreciated by the masses for his "experiemental" writing. Masha (?) feels trapped by her social position and unwanted by Constantin thus marries a schoolteacher who she doesn't love. Although Trigorin achieved success through his mediocre novels, he feels unsatisfied by not creating "real" art and compelled to anihilate anyone who attempts to create real art, such as Constantin. It is interesting to note that Constantin is secretly envious of Trigorin for his success and Trigorin is envious of Constantin for maintaining his integrity in his art. Maybe that's why they're always at each other's throats. Just my two cents.

This collection of stories and tales are drawn from the years 1883-1898 and offers the reader a good sampling of Chekhov's prose style, as well as his insight into the nineteenth century Russian character. The characters that occupy places in these stories represent every segment of Russian society: from land owner to peasant, from the scholar to the merchant, from the honest to the perfidious. Chekhov was a doctor by education and training, and this scientific background allowed him to approach his subjects with an objective detachment with little inclination to make his characters "grow." Therefore, Chekhov portrays his characters as they actually were, and never makes a moral judgement as to any weaknesses that might be uncovered.

Chekhov wrote hundreds of these stories and tales in addition to his work as a dramatist, and this element of detachment runs through both genres. If, however, the author assumes a detachment from his characters, he never loses hope for a better day when poverty and ignorance will be eliminated. This theme is also repeated in his dramatic works.

The translation by Ann Dunnigan is a good one and enables the non-Russian reader to fully enjoy Chekhov's simple but beautiful style.

Chekhov may have been from a different culture and era, however, his legacy still leaves an impact on millions of readers and writers worldwide. No storyteller thus far, has been able to blend humor and tragedy in the fashion that made Chekhov so universally loved. Selected Stories is a sampling of some of his finest works. With compassion and delicacy, Chekhov writes of the lives of ordinary people who are struggling to overcome conflict, however trivial their problems may be. One story deals with a man who must teach his young son not to smoke even though he himself is a smoker. Another story describes how a middle-aged man is thought peculiar by family and friends because he has never married. These are just a few examples of how this century-old Russian literature is still relevant to today's frame of mind. Chekhov's talent cannot be overstated. His life was short but what he left behind was majestic and grand.

In the introduction to this book, some compare Chekhov's writing to lace: the beauty of his stories are as much about what's left out as what's left in. Indeed, to a certain extent, that is true. In this book you will find some of the most gently funny and heartbreakingly poignant stories ever written. His writing is almost that of a parish priest recounting the tales of his town, in that he passes no judgement on even the most vile of the characters he has created, but instead allows us to judge each character for ourselves. It's a wonderful glimpse, not only at late-Czarist Russia, but at humanity in general. I highly recommend this book.

this is a must have collection (the 3 volumes), for anyone intersted in writting short stories or the russia of 1900's, it contains his most important works of this type, the translation is made by one of the foremost experts on russian literature 'Constance Garnett', although is to notice that it does not include any references in the footnotes of changed russian words that do not exist in english.

Read one of these stories a day (and perhaps chow down on an apple) and... your happiness is assured!

Highest possible recommendation!

Marvelous is the only word to describe this first of three volumes of Anton Chekhov's short stories published by the Modern Library. While the following two compilations are each superlative in their own way (thank you again, Shelby Foote), this Early Short Stories 1883-88, is a thrilling peek at genuis not only flowering but seemingly mature; a self-assured young artist at play in his medium, inventing a new(then) approach to emotions as easily as passing off a serf's bromide or a bishop's benediction. This is lesson one in the art of the short story, boys & girls, and it doesn't get much better....ever.

I've said it before, and I'll say it again: Constance Garnett ruins Chekhov for me.

Her work is reprinted for financial reasons, not artistic ones. Want to read "good" Chekhov? Read Robert Payne or Ann Dunnigan's translations. Yarmolinsky is good too.

Rosa La Luna

This collection will expose you to not only some of the best short stories by Anton Chekhov, but some of the best stories ever written in any language. Chekhov's sense of mood and characters overrides his need to provide a predictable plot. He is the forerunner for America's beloved Hemingway, Raymond Carver, and may others in between. People may criticize some of Chekhov's Romantic devices and tendencies, but no one can deny the exactitude of his writing. His work is simple and does not rely heavily on existential characters and events, creating a timeless air.

For writers (and interested readers), there is an appendage of letters that Chekhov wrote to friends about writing. His advice is so right and simple that you'll wonder why your favorite author, or even you, didn't think of them first. Chekhov turns out to be a rather arrogant guy, claiming he never spent more than a day on a story and that his only job was "to be talented," but that is part of his charm. He is the link to modern fiction that is often forgotten. Buy or check out this book. It is a must.

In over 35 years of reading adult literature, these are my all-time favorite works. Chekhov has an uncanny and incomparable ability: virtually nothing happens in many of his stories, yet as you close the book you are aware that something deep and wonderful about human character has been revealed. Chekhov has often been described as being unsurpassed in describing the RUSSIAN character, but I find his descriptions of people, their insecurities and their relationships, to be universal.

If you read books for the action, the color, or the conflict, you will find little of it here. All you will find is quiet and penetrating insight into what it means to be a human being living with other human beings.

"The Duel" by Anton Chekhov, is a classic exploration of the human mind. One reason I would recommend this book is it's moral. This book is an incredible story told through the eyes and minds of many completely different people all striving for the same thing; to forget the days they lost and make the best of the days they still have. This is a good wake up call to all those who waste time, telling then to appreciate the little things and not waste life on petty squabbles. But most importantly, it's intriguing story. Anton Chekhov pits a general, an adulterous doctor, a zoologist, a deacon, and a mistress against each other in a small town in the Caucasus. He tells the story through their eyes, and the reader find out all of these people, whether they are in love, friends, rivals, or just acquaintances, all just wish for wings to fly away and escape the tediousness of everyday life. All this centers around the hatred between the zoologist and the doctor which eventually explodes into a duel. When faced with possibility, the doctor comes to reason with his faults and his future and in the face of death, he resolves his life and what he must do to make his life right.

Those seeking a dramatic duel should go for A Hero of Our Time. This, like the best Russian literature, is about how to live, a drama of outlooks on life and love. The superficial couple at the story's centre are less offensive than most of the "respectable" figures. The zoologist in particular, is truly shocking in his callous view of "inferiors". Only the character of the doctor is absolutely likeable. In its evocation of the stultifying atmosphere of a time and place, this is both lyrical and profound. ...

While other Amazon.com reviewers of Chekhov's plays have been concerned with the quality of the translation, I would like to place my emphasis on the quality of the plays. These four great plays: The Sea Gull, The Cherry Orchard, Three Sisters, and Uncle Vanya represent some of the most influential drama written at the turn of the twentieth century; their impact on the development of modern theater is well documented.

Chekhov brought drama out of its conventional Victorian setting and made human character the pivotal point of his work. Plot becomes secondary and what is important is how the various characters respond to situations which usually take place off stage. There are no convenient denouements or deus ex machinas with Checkhov. His characters are flesh and blood and do not undergo dramatic character changes during the play; they are usually the same at the end of the play as they were at the beginning.

Common threads run through these four plays. The dramas are set in provencial Russia with the recurring theme of a longing for a life that is just out of the reach of its characters. Especially moving is the masterful Three Sisters in which the sisters become more and more certain that their dream of returning to Moscow is never to be realized, and that they will spend the rest of their lives in an isolated garrison town where their talents will never be recoginized. Also, for the first time that I am aware, nature is given central stage. Chekhov takes his plays out of the drawing room and sets them in nature with detailed set descriptions describing the time of day and the nature of the weather - all of which gives his plays a palpable realism.

The five masterpieces in this collection deal with the dizzying pace of an industrializing world. Although the plays were written a hundred years ago, they are still very relevant to our modern existence. Chekov's questions about the place of class in a world in which class boundaries rapidly shift, the value of money in a world in which life has no meaning, and the meaning of existence in which experience is absurd still open our eyes to the many layers of existence which we uncover (or choose not to) every day.

In today's world, which, like Chekov's, is changing every day, it would behoove all of us to sit down for a while every day and ponder the infinite wisdom of "The Cherry Orchard" (which is in this collection) and try to understand ourselves.

This is a wonderful translation and it happens to be the translation reccomended to me by Miss Joan Potter. (Voted one of the five utmost speakers on Chekov) She has traveled all over and has all the translations ever. It's an easy read compared to most translations and very actable.

Sorry, I have to differ from my fellow reviewers.

The translations here by Constance Garnett are tired and clunky and way too literal. The art of translation has evolved light years from the "word-by-word" school. To compare how much more "modern" Chekhov can sound (and Chekhov was, is, and will remain always MODERN), read Robert Payne's translations. Payne eliminates the clumsy clauses and unnecessary commas and lets the story shine through.

Ford's introduction is interesting, but note: he says NOTHING about the translations. He must know they are abominable. Personally, I have no respect for Richard Ford and Ecco Press for reprinting these. Screw the reader, right?

with Chekhov. Whatever volume (happily, there are lots in print), whatever translation you start with, you'll want to keep reading and keep discovering. But, Chekhov may require some getting used to. His stories are melancholy, funny, laconic, ironic. Not many of his characters could be called heroic. His plots do not end neatly. He asks many questions but doesn't answer them. My personal favorites in this volume: An Anonymous Story, Ward 6, The Grasshopper, The Lady with the Dog.

For a great critical essay on Chekhov, read Nabakov's in his Lectures on Russian Literature.

Anton Chekhov was a student of Leo Tolstoy, and thank God he wasn't as long winded, otherwise we would not have all these wonderful short stories.

Short stories before Chekhov were plot oriented and sensationalized. Enter Chekhov, the ultimate master. Now the short story is liberated, it has become more of an art of the moment, an art which reflects deep insights into the social environment of his day - our day too!

Present day short story writers with their overly descriptive styles, their lack of real characterizations, and their general ignorance to the importance of brevity and directness would do much to ponder the intricacies of Chekhov's short masterpieces.

The Bear by Anton Chekhov was one the most interesting yet provokative stories I've ever read. This play shows the interesting relationships between men and women. I am 16 yrs. old and my acting class is doing this play for competition. This play is the first one that the entire class fully enjoyed.

The Bear by Anton Chekhov is one of the best plays that I have read in my entire life. It features funny prose which makes the reader think about the nature of mankind and how he will go to any lengths to have what he wants. Smirnov (the main character) at first wants the money that an old colleague of his owes him from his wife and then falls in love with the mourning widow. He is spured on by the insesant denial from the woman that he can not have the money and falls for her fiery nature. A great read and I urge all readers of his plays to read this little beauty

This play was a great description of how men react to women. It's a great laugher and I recommend it fully!

This translation is a nice effort -- at rewriting the original, extremely subtle text as a modern English drama according to the tastes and limitations of the translator. If you're looking to capture the true genius of Chekhov, try another.

There are only two modern dramatists that are masters one is Peter Shaffer who wrote the maliciously marvelous Amadeus and the plays of Anton Chekhov the best of which is uncle vanya, the best dipiction of real life its tragedy, its joy and its drama. From the Tolstoyan Astrov, to the depressed Vanya, to the beautiful but vain Yelena. This is a play about life...all people can relate to it in some way and I think Chekhov's philosophy of life is...sublime

Anton Chekhov was a writer who was able to capture the essence of life and inter-personal relationships in his stories. His writing is simple yet powerful and emotionally affecting. Uncle Vanya deals with envy, male-female relationships, despair, and takes a look at life from a realist perspective.

Anton chekhov's "the cherry orchard" is a captivating, but somewhat confusing tale of an aristocratic household that comes face to face with adversity. His impressionistic portrayal of characters delivers a power packed package of meaning that both appeals to and appalls every human heart. Through a subtle messages and powerful passages chekhov purveys his sentiments about a world that is tainted by a dark cloud of selfishness. Although the play itself is tragic-like the characters are not tragic. They seem to blindly stumble upon the pages of life accomplishing absolutely nothing. Through checkhov's genius they still remain human, with dreams and fears like the rest of us. It is through these characters that chekhov's beliefs are made known.

The cherry orchard is symbolic of the old order in rural Russia, and Chekhov's short play illustrates the social transformation started in the 19th century in a simple and impressive manner. I find it interesting that one previous reviewer calls the Cherry Orchard an "effective allegory of the Bolshevik revolution", since it was written long before 1917. This goes to show exactly how in tune with his times Chekhov was. Character development is limited in this play as there are many roles and few pages, but we are introduced to the classic types also found in other pre-revolutionary Russian literature: the arriviste businessman, the radical escapist student, the obnoxious clerk, the nostalgic aristorcrat, the loyal peasant. In the play, Madame Ravensky leaves her good-for-nothing husband in Paris and returns to the family estate, which she owns with her brother Gayev. The economy of this aristocratic family is fledgling, but they are unable to change their spending patterns and accumstom themselves to a lower living standard. They are also unwilling to cut down the cherry orchard and use the land for villa development, as they are urged by the crude but business-savvy businessman Lopakhin. Lopakhin eventually buys their entire property at an auction, and the reality of the new age eventually dawns on everyone except the ancient servant who takes his last breath still repeating 'young wood, green wood'. An almost spooky dialogue occurs in the last act between Lopakhin and the radical student Trophimov, with the 20th century future of Russia clearly in the balance: work and money, represented by Lopakhin, is rejected by the young utopian idealist. In retrospect, this single scene gives a mind-boggling perspective on Russian history; and some sense of why Russia is still a barbarous country of 'dirt, vulgarity and boredom' as described by the disgruntled characters in Chekhov's play.

"How should one live?" is the fundamental question driving most of Chekhov's work, and it is very overtly laid bare in The Cherry Orchard. Should the aristocratic family in decline stick to owning their cherry orchard (representative of the grandiose trappings of Russian aristocracy), or give in to modern commercialization in order to survive? What is the value of tradition, and how many trees should one own? Chekhov will not answer these questions for you, but he poses them in most interesting ways. In addition to wise insights into such fundamental dilemmas, Chekhov also provides a lot of witty banter, and a great slice-of-life view at 19th century Russian high culture. But this is not just a Russian play or a 19th century play; its themes, questions, and prospective answers are relevant for individuals coping with society and history in any place, and at any time.