Chekhov turned to theater in the later stages of his creation: his major works include Ivanov (1887), the play The Seagull (1896), Uncle Vanya (1896), The Three Sisters (1901), and The Cherry Orchard (1903), which reflect the bitterness and pursuits of the intellectuals on the eve of the Russian Revolution of 1905, and are mostly drawn from middle-class Most of these works were based on middle-class characters. Their plays are rich in lyrical flavor and subtext, and they are memorable.
The Willow Tree The Representative The Fat Man and the Thin Man
At the Hypnotism Show Bad Boys (The Death of a Clerk) The Chameleon (selected for the second book of the ninth grade language book) My "Her"
The Carrot (imitation fairy tale) The Mask The Oyster The Necessary Prelude
The Necessary Prelude. Prelude"
"The Fiancé and Papa" "The Little Man" "The Premeditated Convict" "The Man Who Knew"
"Sergeant Prichibiev" "Mourning" "Affliction" "The Wonderful Ending"
"The Tale of Kashtanka" "Caught in the Act" "The Songstress" "On the Nail"
"The Woman Who Jumped Around" "The Orator" "Vanquish" "The Surgical Procedure"
"The Neck" "The Neck of the Neck"
"My "Her"
"The Carrot" (imitation of a fairy tale)
Anna at the Neck, The Beggar, The Lottery, The Precious Dog
The House with the Attic, Something Happened, The Bet, In Exile
The Nightingale in Concert, The Peasant, The Man in the Suit, The Sixth Ward
The Currant, Yonnekee, The Vulgarian
Works Appreciated
The Chameleon
The Chameleon.
Sergeant Otrudov, wearing a new military coat and holding a small bag, crossed the market square. He was followed by a patrolman, born with brownish-red hair, carrying a roving sieve filled to the brim with confiscated currants. There was silence all around ...... the square, not even a shadow of a man. The little stores and hotels were open and listlessly facing the world God created, like a hungry mouth. There was not even a beggar near the store door.
"How dare you bite, damned thing!" Otrudov suddenly heard speaking. "Guys, don't let it go! It's no good biting nowadays! Catch it! Ouch, ...... ouch!" The dog screamed. Otrubilov looked that way and saw a dog scurrying out of the merchant Petrukhin's firewood yard, running on three legs, unable to stop looking back. Behind it, a man came out after him, wearing a stiffly pulped calico shirt and an open shoulder. He was in hot pursuit of the dog, leaned forward, flung himself to the ground, and grabbed the dog by its hind legs. It was followed by the barking of dogs and the shouts of men, "Don't let it go!" Faces with sleepy faces poked out of the bunkhouse in droves, and soon a crowd gathered at the entrance to the firewood yard as if they had come out of the ground.
"As if there was a mess, sir! ......" said the patrolman.
Ochugorov turned his body slightly to the left and stepped toward the crowd. At the entrance to the firewood yard, he saw the aforementioned man with the open kangaroo standing there, raising his right hand and holding out a bloody finger to the group. His half-drunken face bore this look, "I'll skin you, villain!" And the finger itself was like a banner of victory. Otrublov recognized the man as the jeweler Khryugin. The culprit of this mess was a white-haired beagle, with a pointed face and a yellow spot on its back, which was sitting on the ground in the center of the crowd, with its forelegs splayed and shivering. Its tearful eyes showed distress and fear.
"What has happened here?" Otrudov asked, squeezing his way into the crowd. "What are you doing here? Why are you sticking up your fingers? Who is ...... yelling?"
"I was going my own way, sir, without inviting anyone, ......" Hryukin coughed into his empty fist and cracked. "I was talking to Mittery? Mittrich about firewood, suddenly, this bad thing for no reason to my finger bite a mouth. ...... I beg your pardon, I am a man of work. ...... My work is meticulous. It's going to cost me a fortune to pay for this, because I may not be able to move this finger for a week. ...... There is no such thing in the law, sir, that says a man who suffers from an animal should bear it. ...... If everyone were bitten by a dog, it would be better not to be alive in this world. ......"
"Well! ...... not bad,......" said Otrublov sternly, coughing and moving his eyebrows. "Not bad. Whose dog is ...... this? I can't let this sort of thing go unchecked. I'm going to take some color out of it and show it to those who let their dogs out to make trouble! It's time to take care of the lords who won't obey the decree! When the fines are paid, he, the bastard, will realize what happens when he lets dogs and other animals out! I'm going to show him ...... Yeldrin," said the officer to the patrolman, "you go and find out whose dog it is and make a report! This dog will have to be shot. No delay! It's probably a mad dog. ...... I ask you: whose dog is this?"
"This dog looks like General Zhigalov's!" A man in the crowd said.
"General Zhigalov's? Hmm! ...... You, Yildirim, take the coat off me. ...... It's so hot! It's probably going to rain soon. ...... There's just one thing I don't understand: how did it bite you?" Otrudov said to Khlyuchin. "Could it reach your finger? It was short, but you, mind you, grew so tall! This finger of yours has more than likely been pierced by a small nail, and then you have whimsically asked for money to pay you back. Your kind of people ah ...... anyone knows what a way it is! I can know you devils!"
"He, sir, poked his cigar smoke in its face and took it for a laugh. And it, refusing to be a fool, bit him. ...... He's a bore, sir!"
"You're talking nonsense, Cyclops! You can't see with your eyes, why are you talking nonsense? The officer is a man of understanding, and can see who is speaking nonsense, and who is speaking in good conscience, as in the face of God. If ...... I'm going to talk nonsense, let the conciliating judge judge me. It's written in his law. ...... Nowadays we are all equal. ...... I'm not going to lie to you,...... my brother is in the gendarmerie. ......"
"Cut the crap!"
"No, this dog does not belong to the General's family,......" said the patrolman thoughtfully. "The General has no such dog in his house. Most of the dogs in his house are big hunting dogs. ......"
"Can you get it right?"
"Get it right, sir. ......"
"I know it myself. All the dogs in the general's family are expensive and of good breed, and this dog, hell, I don't know what it is! Hair color is not good, the appearance is not good-looking, ...... completely lowly yuck son. Would ...... his old man raise such a dog? Where has your brain gone? You know what would happen if such a dog were to meet a man in Petersburg or Moscow? They don't care about the law there, they'd kill it in a second! You, Khryugin, have suffered, and you can't let it go. They must be taught a lesson! It's time. ......"
"But it might have been the General's dog ......" the patrolman put in his thoughts. "It's not written on its face. ...... I saw a dog like that in his yard the other day."
"That's right, it's the General's!" Someone in the crowd said.
"Hmm! ...... Yeldrin, put my coat on. ...... It seems like the wind is picking up. ...... It's strangely cold. ...... You take this dog to the general's house and ask there. ...... You will say that I found this dog and sent you to send it. ...... You said not to put it on the street in the future. It may be a valuable dog, but if every pig poked it in the face with a cigar smoke, it would not take long to trample it to death. Dogs are delicate creatures. ...... You, stupid, put your hand down! You don't have to put your stupid finger out! It's your own fault! ......"
"The cook from the General's house is here, let's ask him. ...... Hey, Prohall! Come here, my dear! Look at this dog. ...... Is it one of yours?"
"A wild guess! We've never had a dog like that there!"
"Then it won't take a lot of work to ask," said Otrubluv. "It's a wild dog! There's no need to say more. ...... Since he says it's a wild dog, it's a wild dog. ...... Get rid of it."
"The dog is not ours," continued Prokhor. "But it is the dog of the General's brother, who came to us the other day. Our general doesn't like this dog. His old man's brother likes it. ......"
"Could it be that his old man's brother is here? Uladzimir? Ivanic is here?" Otrudov asked, his whole face beaming with emotion. "But it's something, Lord! I don't know yet! He's coming to stay a while, isn't he?"
"For a while. ......"
"That's great, Lord! ...... He is thinking of his brother. ...... But I don't know it yet! So this is his old man's dog? It's delightful. ...... You take it with you. ...... This puppy is strangely good. ...... Quite articulate. ...... It took a bite out of this guy's finger! Ha ha ha ha! ...... Huh, why are you shaking? Wooo, ...... wooo. ...... It's angry, little bad bag, ...... what a little doggie ......"
Prohall called the dog over to him and led him away from the the firewood yard. ...... The pack then laughed at Hryukin.
"Sooner or later I'm going to clean you up!" Ochubanov threatened him, then wrapped his coat around him a little tighter and continued his rounds of the market square.
Reference:
Biography of Chekhov
Anton Pavlovich Chekhov ( Антон Павлович Чехов1860～1904) was a Russian novelist and dramatist, a nineteenth-century Russian writer of critical realism, and a master of the art of the short story. Born on January 29, 1860 in Taganrog, Rostov Province. Grandfather was a ransomed serf. His father owned a grocery store, but in 1876 he went bankrupt and the family moved to Moscow. But Chekhov stayed in Taganrog, working as a tutor to make ends meet and continue his studies, and in 1879 he entered the medical faculty of Moscow University, and after graduating in 1884, he practiced medicine in Zvenigorod and other places, where he came into contact with the common people and learned about their lives, which had a good influence on his literary work. in June 1904, Chekhov's condition worsened due to pneumonia, and he traveled to Baden-Württemberg, a spa resort in Germany, for treatment, and died on July 15, 1904, in Baden-Württemberg. He died on July 15th. Chekhov was one of the three great masters of the short story, along with Maupassant of France and O. Henry of the United States.
Strictly speaking, Chekhov was not "writing" a novel, or making up a novel, as we usually think of writers, he was "spitting" a novel, "flowing" a novel. He doesn't need to make up a story, he doesn't even need to conceptualize it, his story swirls around in the air. He can start from any angle, and break the flow from any chapter, but all are seamless, all are natural glue. His characters come to him uninvited, his plots are at his fingertips. He seems to just pick up the pen, like unscrewing the tap, the novel will be like a source of water flow out of ......
Chekhov can be randomly "flow" of the novel, lies in its unique narrative method. This method of narration is in accordance with the original face of life to deal with, with eyes and ears to trace, the words like a paintbrush notes like flow. The fast pace, simplicity, naturalness and simplicity of the novel constitute a pure style of writing, single-handedly, without dragging, highly concentrated and in-depth performance, which adds to the flavor of the work.
[edit]
Chekhov's experience
In the 1880s in Russia, the reactionary censorship of books and magazines was unprecedentedly strict, and vulgar and boring humor publications were all the rage. Chekhov began writing under pseudonyms such as Antonisha Chekhont, and often contributed to such magazines (e.g., Dragonfly, Broken Piece). The short story "A Letter to a Learned Friendly Neighbor" (1880) and the humorous sketch "What is Most Common in Long, Middle, and Other Novels? (1880) were his early published works. before the mid-1980s, he wrote a large number of witty sketches and humorous short stories, many of which were worthless jokes and anecdotes, but among them there were also some better works, inheriting the fine tradition of democratism in Russian literature, and criticizing the ugly phenomena of the society of that time, for example, writing about the petty officials who were mean and deceitful and strong (On the Nail, The Death of a Small Clerk, and The Victory of the Victors, all of which were written in the same way). Victory of the Victors", all in 1883), the gentry and lords who abused the weak (The Englishwoman, 1883), the slave-bone who saw the wind in his sails (The Chameleon, 1884), and the defender of the authoritarian system (Sergeant Przybyszekhnev, 1885). But he was forced to make a living and lack of experience, and at that time mainly sought only to be quick and prolific. in March 1886, the famous writer Grigorovich wrote to him to respect his talent, and he was so inspired that he began to take his creative work seriously. The novels "Vanka" and "Affliction" written in 1886 and "Thirsty Sleep" written in 1888 showed the writer's deep sympathy for the poor laborers, and the famous middle grade novel "Grassland", which came out in 1888, depicted and glorified the nature of the motherland, contemplated the destiny of the peasants, and expressed the people's longing for the happiness of their lives. The Nameday (1888) and The Duchess (1889) exposed hypocrisy, vanity and vulgarity. These works made significant progress in terms of ideological content and artistic skill. However, Chekhov, who was influenced by the petit-bourgeois environment, did not ask about politics at this time, but only "wanted to be a free artist" and to have "the most absolute freedom". From 1886 he was a contributor to the New Times, published by the reactionary literary figure Suvorin, with which he maintained relations despite the advice of the critic N. Mikhailovsky, and in October 1888 Chekhov was awarded half of the "Pushkin Prize". By this time he was the author of five collections of short stories (Tales of Melpomene, 1884; Colorful Tales, 1886; In the Dimness, 1887; Words of Innocence, 1887; Collected Short Stories, 1888). His growing reputation and status made him strongly aware of his social responsibility as a writer, and he seriously contemplated the purpose of life and the meaning of creation. He said, "A conscious life, if it lacks a clear worldview, is not a life, but a burden, a terrible thing." This thought is graphically expressed in the middle grade novel A Tale of No Meaning (1889).
From this period Chekhov began to write plays. The one-act plays Marriage (1890) and On the Dangers of Tobacco (1886), Stupidity (1888), The Proposal (1888-1889), An Involuntary Tragic Role (1889-1890), Memorial Day (1891-1892) and other light-hearted comedies are close to his earlier humorous works in their ideological content and comedy. The play Ivanov (1887-1889) criticizes the "superfluous man" of the 80s, who lacks firm beliefs and cannot stand the test of life.
From April to December 1890, the frail Chekhov traveled to the island of Kuril, where the Tsarist government housed hard laborers and exiles, and investigated all the inhabitants, "nearly 10,000 prisoners and immigrants," one by one. The trip to the Kuril Islands improved his ideological awareness and creative mood. 1891 he said in a letter: "...... If I am a literary man, I need to live among the people ...... I need at least a little bit of social and political life, even if a little bit is good. political life, even a very little of it." He began to realize that writing for the New Times brought him nothing but "mischief" and finally broke off relations with the publication in 1893. He developed a deeper understanding of the Russian dictatorship and wrote works such as The Kuril Islands (1893-1894) and In Exile (1892), and most importantly, the shocking The Sixth Ward (1892). This middle grade novel was an indictment of the ghastly horrors of prison-like Tsarist Russia, and a critique of his own Tolstoyan "do not fight evil with violence" doctrine, which he had once been so enamored of not long before. Lenin was so infected by reading it that he said he "felt so terrible" that he "couldn't stay in his room" and "felt as if he too were locked up in the 'sixth ward'".
In the 18th edition of the book, the author said that he "felt so terrible" that he "couldn't stay in the room" and "felt as if he was locked in the 'sixth ward' too.
Between 1890 and 1900, Chekhov traveled to Milan, Venice, Vienna, and Paris. From 1892, he settled in the newly acquired Merikhovo estate in the Serpukhov district of Moscow province, and in 1898, suffering from severe tuberculosis, Chekhov moved to Yalta, where in 1901 he married Olga Knebil, an actress at the Moscow Art Theater. In Yalta he often met with Lev Tolstoy, Gorky, Bunin, Kuprin and Levitan.
[edit]
Chekhov at his peak
The 1890s and early 1900s were Chekhov's creative heyday. At that time the liberation movement in Russia entered a new stage of proletarian revolution. The democratic spirit among the students and the rest of the population was becoming more and more active, fueled by the revolutionary class's excitement. Chekhov gradually overcame his apolitical tendency and became actively involved in social activities: in 1892, he provided famine relief in Nizhny Novgorod and Voronezh provinces; between 1892 and 1893, he took part in the fight against cholera in Serpukhov county; in 1897, he took part in the census; in 1898, he supported the French writer Zola's defense of Dreyfus, which led to the alienation of Suvorin; in 1902, he protested against the Tsarist regime and the revolution; in 1902, he protested against the Tsarist regime, and in 1902, he protested against the Tsarist regime. ; in 1902, in protest against the decision of the tsarist authorities to revoke the honorary membership of the Academy of Sciences from Maxim Gorky, he renounced, together with Korolenko, the title of honorary member of the Academy of Sciences, which he had received in 1900; and in 1903, he financed young students persecuted for their struggle for democratic freedoms. His democratic stance became stronger and stronger, his observation of the underbelly of social life became more and more profound, and his premonition of the brewing revolution became clearer and clearer, and he gradually saw a vague "firelight" in the dark reality. His creation entered a new stage. He emphasized that works of art should have a clear idea (the play The Seagull, 1896); and in a series of works he touched upon major social issues. For example, The Peasant (1897) reflected with sober realism the poverty of the material and spiritual life of the peasants: abject poverty, ignorance, backwardness, and barbarism; In the Canyon (1900) and depicted the rural bourgeoisie-rich peasants in their frenzy of wealth-raiding and cruel nature. These novels were powerful rebuttals to the populists who glorified rural communal life. The theme of exposing capitalism is also found in works such as The Kingdom of Women (1894) and Three Years (1895), while Out of the Clinic (1898) shows that the capitalist "devil" not only oppresses the workers, but also tortures the conscience of the descendants of the factory owners, who, realizing that life is meaningless and irrational, are y depressed. They realize the meaninglessness and irrationality of their lives, and therefore feel y depressed. The play "Uncle Vanya" (1897) depicts the sad fate of the intellectuals who have no real ideals and serious goals, and whose honest and selfless labor ends up in unnecessary sacrifices. The Woman with the Dog (1899), with love as its theme, exposes vulgarity and hypocrisy, and arouses the reader's "disgust for the muddled, half-dead life ......". The House with an Attic (1896) and My Life (1896) rejected the "trivial" theories of the 1980s and 1990s, which replaced social struggles with daily work, and criticized the liberal idea of gradualism, arguing that a "stronger, braver, and swifter way of struggle" was needed to move out of the "darkness of the world" and into the "darkness of the world". He criticized the liberal idea of gradualism and believed that there was a need for a "stronger, braver, and more rapid form of struggle," one that would go beyond the narrow circle of daily activities to influence the masses. The cry of "We can't live like this anymore!" gradually resounded in his creative work. The cry of "We can't live like this anymore! In "The Man in the Suit" (1898), he reveals the suppression of society by the reactionary forces in the 1980s and their conservatism and weakness, and denounces the habit of the man in the suit, which existed at that time. In Vinegar Chestnuts (1898) and Yao Neiqi (1898), he depicted the emptiness and degradation of the self-serving mediocrities who huddled in the small world of personal happiness, and pointed out that "what man needs is not three feet of land, nor an estate, but the whole earth, the whole of nature, and that in that vast expanse of heaven and earth man is able to develop all the qualities and peculiarities of his free spirit to the utmost. all its qualities and characteristics."
[edit]
Chekhov's curtain call
With the further upsurge of social movements at the beginning of the twentieth century, Chekhov realized that a powerful, cleansing "storm" was about to descend, and that the vices of laziness, indifference, and aversion to work in society would be swept away. He glorified labor and hoped that everyone would prepare for a better future with their work (Three Sisters, 1900-1901). The Bride (1903), written on the eve of the revolution in 1905, expresses the desire to "turn life upside down" and move on to a new life. The play The Cherry Orchard (1903~1904) shows the inevitable decline of the aristocracy and its replacement by the new bourgeoisie, and at the same time expresses the optimism of bidding farewell to the past and looking forward to a happy future: the sound of the axe in the cherry orchard is accompanied by the cheers of "Long live the new life!". The sound of the axe in the Cherry Orchard is accompanied by the cheers of "Long live the new life! However, because Chekhov's ideological position never went beyond the realm of democratism, his newcomers did not know the way to create a new life, and the "new life" they longed for was always just a hazy vision.
In June 1904, Chekhov's condition worsened due to pneumonia, and he went to Baden-Württemberg in the Black Forest, a spa resort in Germany, where he was treated for it, and died on July 15. Before he died, his wife poured him a glass of champagne, and he said in German, "I am going to die," and he smiled at his wife with his customary adorable smile, and then drank his glass of champagne calmly, and lay down on his side on the sofa, and entered into a state of eternal dreaming, and the body was brought back to Moscow. The body was shipped back to Moscow for burial.
[Edit]
Chekhov's artistic achievements
Chekhov created a unique style, concise and artistic lyrical psychological novel. He intercepted fragments of mundane daily life, and by virtue of the exquisite artistic details, he made a realistic depiction and characterization of life and characters, from which he demonstrated important social content. This kind of novel has a strong lyrical odor, expressing his dissatisfaction with the ugly reality and his desire for a better future, and melting the feelings of praise and depreciation, joy and pain into the image system of his works. He believed that "the sister of genius is conciseness" and "the skill of writing is the skill of deleting the poorly written parts". He advocated "objective" narration, saying that "the more objective it is, the deeper the impression it makes". He trusted the reader's ability to imagine and understand, and advocated letting the reader figure out the meaning of the work from the image system.
The themes, tendencies, and styles of Chekhov's dramatic creations are basically similar to those of his lyrical psychological novels. He did not strive for bizarre twists and turns, but depicted ordinary daily life and characters, from which he revealed important aspects of social life. In Chekhov's plays there is a rich subtext and a strong lyrical flavor; his realism is full of inspirational power and profound symbolism, "seagull" and "cherry orchard" are his original artistic symbols. Stanislavsky, Danchenko and the Moscow Art Theater (founded in 1898) collaborated creatively with Chekhov and revolutionized stagecraft.
Chekhov holds his own place in world literature. He is known for his short stories and Maupassant. Many writers in Europe and the United States have spoken of the impact of Chekhov's work on 20th century literature. In China, soon after Chekhov's death, novels such as The Black Cleric and The Sixth Ward were translated. His plays Hai-O, Uncle Vanya, The Three Sisters and The Cherry Orchard were also translated into Chinese by Zheng Zhenduo and Cao Jinghua in 1921 and 1925 respectively. Later, the Lu Xun Academy of Fine Arts performed "The Fool", "The Proposal" and "Memorial Day" in Yan'an. Chekhov has been discussed by Qu Qiubai, Lu Xun, Mao Dun, Guo Moruo and Ba Jin. Almost all of his novels and plays are available in Chinese translation. Chekhov (1860~1904) was a great Russian critical realist writer of the 19th century. Born into a modest family, he finished high school by working as a tutor, entered Moscow University in 1879 to study medicine, and graduated in 1884 and began to write literature.
[edit]
Chekhov's life
With the further rise of social movements in the early twentieth century, Chekhov realized that a powerful, all-cleansing "storm" was about to descend, and that the vices of laziness, indifference, and aversion to labor would be swept away. He glorified labor and hoped that everyone would prepare for a better future with their work (Three Sisters, 1900-1901). The Bride (1903), written on the eve of the revolution in 1905, expresses the desire to "turn life upside down" and move on to a new life. The play The Cherry Orchard (1903~1904) shows the inevitable decline of the aristocracy and its replacement by the new bourgeoisie, and at the same time expresses the optimism of bidding farewell to the past and looking forward to a happy future: the sound of the axe in the cherry orchard is accompanied by the cheers of "Long live the new life!". The sound of the axe in the Cherry Orchard is accompanied by the cheers of "Long live the new life! However, because Chekhov's ideological position never went beyond the realm of democratism, his newcomers did not know the way to create a new life, and the "new life" they longed for was always just a hazy vision.
In June 1904, Chekhov's condition worsened due to pneumonia, and he went to Baden-Württemberg in the Black Forest, a spa resort in Germany, where he was treated for it, and died on July 15. Before he died, his wife poured him a glass of champagne, and he said in German, "I am going to die," and he smiled at his wife with his customary adorable smile, and then drank his glass of champagne calmly, and lay down on his side on the sofa, and entered into a state of eternal dreaming, and the body was brought back to Moscow. The body was shipped back to Moscow for burial.
[Edit]
Chekhov's artistic achievements
Chekhov created a unique style, concise and artistic lyrical psychological novel. He intercepted fragments of mundane daily life, and by virtue of the exquisite artistic details, he made a realistic depiction and characterization of life and characters, from which he demonstrated important social content. This kind of novel has a strong lyrical odor, expressing his dissatisfaction with the ugly reality and his desire for a better future, and melting the feelings of praise and depreciation, joy and pain into the image system of his works. He believed that "the sister of genius is conciseness" and "the skill of writing is the skill of deleting the poorly written parts". He advocated "objective" narration, saying that "the more objective it is, the deeper the impression it makes". He trusted the reader's imagination and comprehension, and advocated that readers should be allowed to figure out the meaning of the work from the image system.
The themes, tendencies, and styles of Chekhov's dramatic creations are basically similar to those of his lyrical psychological novels. He did not strive for bizarre twists and turns, but depicted ordinary daily life and characters, from which he revealed important aspects of social life. In Chekhov's plays there is a rich subtext and a strong lyrical flavor; his realism is full of inspirational power and profound symbolism, "seagull" and "cherry orchard" are his original artistic symbols. Stanislavsky, Danchenko and the Moscow Art Theater (founded in 1898) collaborated creatively with Chekhov and revolutionized stagecraft.
Chekhov holds his own place in world literature. He is known for his short stories and Maupassant. Many writers in Europe and the United States have spoken of the impact of Chekhov's work on 20th century literature. In China, soon after Chekhov's death, novels such as The Black Cleric and The Sixth Ward were translated. His plays Hai-O, Uncle Vanya, The Three Sisters and The Cherry Orchard were also translated into Chinese by Zheng Zhenduo and Cao Jinghua in 1921 and 1925 respectively. Later, the Lu Xun Academy of Fine Arts performed "The Fool", "The Proposal" and "Memorial Day" in Yan'an. Chekhov has been discussed by Qu Qiubai, Lu Xun, Mao Dun, Guo Moruo and Ba Jin. Almost all of his novels and plays are available in Chinese translation. Chekhov (1860~1904) was a great Russian writer of critical realism in the 19th century. Born into a modest family, he finished high school by working as a tutor, entered Moscow University in 1879 to study medicine, and graduated in 1884 and began to write literature.
[edit]
Give credit where credit is due ！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！！