: Anton Chekhov
: The Horse Stealers and Other Stories
: Seltzer Books
: 9781455392476
: 1
: CHF 0.10
:
: Erzählende Literatur
: English
: 717
: DRM
: PC/MAC/eReader/Tablet
: ePUB
This collection includes: THE HORSE-STEALERS, WARD NO. 6, THE PETCHENYEG, A DEAD BODY, A HAPPY ENDING, THE LOOKING-GLASS, OLD AGE, DARKNESS, THE BEGGAR,
A STORY WITHOUT A TITLE, IN TROUBLE, FROST, A SLANDER, MINDS IN FERMENT,
GONE ASTRAY, AN AVENGER, THE JEUNE PREMIER, A DEFENCELESS CREATURE, AN ENIGMATIC NATURE, A HAPPY MAN, A TROUBLESOME VISITOR, and AN ACTOR'S END. According to Wikipedia: 'Anton Pavlovich Chekhov (1860 - 1904) was a Russian short-story writer, playwright and physician, considered to be one of the greatest short-story writers in world literature. His career as a dramatist produced four classics and his best short stories are held in high esteem by writers and critics Chekhov practised as a doctor throughout most of his literary career: 'Medicine is my lawful wife,' he once said, 'and literature is my mistress.' Chekhov renounced the theatre after the disastrous reception of The Seagull in 1896; but the play was revived to acclaim in 1898 by Constantin Stanislavski's Moscow Art Theatre, which subsequently also produced Uncle Vanya and premiered Chekhov's last two plays, Three Sisters and The Cherry Orchard. These four works present a special challenge to the acting ensemble as well as to audiences, because in place of conventional action Chekhov offers a 'theatre of mood' and a 'submerged life in the text.' Chekhov had at first written stories only for the money, but as his artistic ambition grew, he made formal innovations which have influenced the evolution of the modern short story. His originality consists in an early use of the stream-of-consciousness technique, later adopted by James Joyce and other modernists, combined with a disavowal of the moral finality of traditional story structure He made no apologies for the difficulties this posed to readers, insisting that the role of an artist was to ask questions, not to answer them.'

 OLD AGE


 

UZELKOV, an architect with the rank of civil councillor, arrived in his native town, to which he had been invited to restore the church in the cemetery. He had been born in the town, had been at school, had grown up and married in it. But when he got out of the train he scarcely recognized it. Everything was changed. . . . Eighteen years ago when he had moved to Petersburg the street-boys used to catch marmots, for instance, on the spot where now the station was standing; now when one drove into the chief street, a hotel of four storeys stood facing one; in old days there was an ugly grey fence just there; but nothing--neither fences nor houses --had changed as much as the people. From his enquiries of the hotel waiter Uzelkov learned that more than half of the people he remembered were dead, reduced to poverty, forgotten.

 

"And do you remember Uzelkov?" he asked the old waiter about himself."Uzelkov the architect who divorced his wife? He used to have a house in Svirebeyevsky Street . . . you must remember."

 

"I don't remember, sir."

 

"How is it you don't remember? The case made a lot of noise, even the cabmen all knew about it. Think, now! Shapkin the attorney managed my divorce for me, the rascal . . . the notorious cardsharper, the fellow who got a thrashing at the club. . . ."

 

"Ivan Nikolaitch?"

 

"Yes, yes. . . . Well, is he alive? Is he dead?"

 

"Alive, sir, thank God. He is a notary now and has an office. He is very well off. He has two houses in Kirpitchny Street. . . . His daughter was married the other day."

 

Uzelkov paced up and down the room, thought a bit, and in his boredom made up his mind to go and see Shapkin at his office. When he walked out of the hotel and sauntered slowly towards Kirpitchny Street it was midday. He found Shapkin at his office and scarcely recognized him. From the once well-made, adroit attorney with a mobile, insolent, and always drunken face Shapkin had changed into a modest, grey-headed, decrepit old man.

 

"You don't recognize me, you have forgotten me," began Uzelkov."I am your old client, Uzelkov."

 

"Uzelkov, what Uzelkov? Ah!" Shapkin remembered, recognized, and was struck all of a heap. There followed a shower of exclamations, questions, recollections.

 

"This is a surprise! This is unexpected!" cackled Shapkin."What can I offer you? Do you care for champagne? Perhaps you would like oysters? My dear fellow, I have had so much from you in my time that I can't offer you anything equal to the occasion. . . ."

 

"Please don't put yourself out . . ." said Uzelkov."I have no time to spare. I must go at once to the cemetery and examine the church; I have undertaken the restoration of it."

 

"That's capital! We'll have a snack and a drink and drive together. I have capital horses. I'll take you there and introduce you to the church-warden; I will arrange it all. . . . But why is it, my angel, you seem to be afraid of me and hold me at arm's length? Sit a little nearer! There is no need for