A.P. Chekhov and the eternal questions of being

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The reception of Russian literature today beyond the borders of the Russian Federation is primarily influenced by the political landscape. According to Joseph Šaur, who has extensively studied this phenomenon, “Czech reviewers tend to prioritize the political stance of the authors over the artistic merits of their literary works” (Šaur, 2018, 599). Nevertheless, this trend is not novel; fiction has long been recognized as a potent instrument in shaping spiritual values, and its manipulation for political ends is inherent to any ideology.

The contemporary state of consciousness is characterized by a pervasive and complete disregard for the principle of historicism, as evidenced by the tendency to judge 19th century writers based on the standards of the 21st century. The Adventures of Huckleberry Finn and The Adventures of Tom Sawyer by Mark Twain (1835–1910) find themselves as non-recommended books, while in the novels of Eudora Welty (1909–2001), the esteemed classic of the 20th-century American literature, the word “nigger” is substituted with more politically correct alternatives. Furthermore, A.S. Pushkin (1799–1837) is often criticized for his views that aligned with the great-power empire. In the present era, both men and women lay claim to the likes of M.Yu. Lermontov, F.M. Dostoevsky, L.N. Tolstoy, and numerous other literary greats. Remarkably, it appears that A.P. Chekhov (1860–1904) has managed to escape this fate for the most part. His works are revered and studied worldwide, and in terms of the sheer number of stage adaptations and productions of Chekhov’s plays, they rival the works of William Shakespeare. As V.B. Kataev succinctly summarized, Chekhov, who was once “ours,” has long since become embraced as “theirs” (Kataev, 2017, 13). With “the acceptance of the Russian writer into the national cultural pantheon of Japan” (Kataev, 2015, 8), the sun literally does not set over the countries where Chekhov is read and studied. There are reasons for this phenomenal global popularity.

In November 2018 “The New Yorker” Magazine features a comedic cartoon by Sydney Harris titled “Influences”.¹ This mini-comic consisted of three drawings, each showcasing a different professional – a writer-philologist, an auto-mechanic, and a baseball player. When asked about the greatest influence on their formation, each profession listed individuals within their respective fields, followed by addition of “and, of course, Chekhov.” This whimsical paradox highlighted by the cartoonist accurately reflects the reality of Chekhov’s impact. It is challenging to find any aspect of life that remains untouched by the great writer’s works. Furthermore, it is rare to encounter another Russian writer who is revered and widely read across the globe in the same manner as Chekhov.

Today, the words spoken by the narrator-artist in “The House with a Mezzanine” feel eerily prophetic: “Scholas, writers and artists are working away – thanks to them life’s comforts increase with every day. Our physical needs multiply, whereas the truth is still far, far off and man still remains the most predatory and filthy of animals and everything conspires towards the larger part of mankind degenerating and losing its vitality” (Chekhov, 2002, 16). The insatiable craving for consumption instilled by society has resulted in an unparalleled decline of our natural world and the devastation of our surroundings. The creation of scientists, predominantly sought after by the military-industrial complex, are designed for the annihilation of all living beings. In their pursuit of pleasure and excitement, individuals poison themselves with drugs and consume unhealthy foods, falling ill and perishing in the toxic environment that they have single-handedly crafted.

Thomas Newlin’s comprehensive article (2015) sheds light on ecology, encompassing not only the interconnectedness and interdependence of all life on Earth, but also the character’s attitudes toward nature. Furthermore, Newlin expands the ecological lens to encompass the intricate web of relationships among the characters in the play. These relationships are seen as deteriorating, indicating a sense of degeneration: a lack of effective communication, where individuals speak abundantly, but fail to truly engage with one another, as if their worlds pass by in parallel rather than connecting.

A.P. Chekhov is not only regarded by the global community as one of the most exemplary representations of Russian literary genius, but also as a figure, akin to great teachers of mankind like Christ, who, rather than dictating rules in writing, demonstrated through his own life the values of patience and tolerance, resilience and bravery, empathy and active assistance, love and concern for both close and distant individuals and a deep-rooted desire to leave behind a flourishing world for future generations. At the core of the writer’s work lies the portrayal of ordinary individuals navigating the complex and contradictory realm of their inner emotional and mental lives, grappling with profound existential questions concerning God, the purpose of existence, death, suffering, love, marriage, and friendship – themes that continue to captivate all inhabitants of planet Earth. A.P. Chekhov is often seen as the epitome of true wisdom, which goes beyond simply asking the right questions, but also in offering profound answers. As the above-mentioned artist from “The House with the Mezzanine” said: “It isn’t literacy that we need, but freedom to develop our spiritual faculties as widely as possible. <…> Genuine science and art don’t strive towards temporary, personal ends, but towards the universal and eternal: they seek truth and the meaning of life, they seek God, the soul” (Chekhov, 2002, 16).

The enduring fascination with A.P. Chekhov persists not only in our nation but also across the borders, as the writer continues to resonate with new generations of scholars and readers. His works provide answers to their most profound existential inquiries, and the selection of articles presented here serves as yet another testament to this ongoing relevance.

In this issue of the journal, all references to the works and letters of A.P. Chekhov are made according to the publication: Chekhov, A.P. (1974‒1983). The complete collection of works and letters. Moscow: Nauka Publ. (In Russ.) References are given in the text in parentheses first comes the indication of the series (C. – works, П. – letters), the first, Roman numeral denotes a volume, Arabic – a page.

^{1 Influences by Sidney Harris. URL: https://images.cartoonstock.com/lowres_800/education-teaching-anton_chekhov-writer-short_story-russian_writer-mechanic-shr0481_low.jpg (accessed: 20.10.2019).}