“Murder” as a Chekhov Story

N. V. Kapustin
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Abstract

The focus is on the story Murder which occupies a special place in Chekhov’s work (this manifests itself at the level of the central plot line, in an emotionally expressive style unusual for the writer (murder scene), in the motif of the protagonist gaining true faith, in spatial remoteness of scenes from the “big” world, in the gloomy coloring of the narrative). At the same time, the author of the article shows that thanks to a number of features — the poetics of repetition, the unobvious commonality of the characters conflicting with each other, the difficulty of their communication, the presence of typically Chekhov themes and words, the author’s axiology — Murder organically fits into boundaries of the writer’s artistic world. As a result, dialectics of the familiar and the new arises, when the familiar, typical of other Chekhov’s works, is interwoven into a new problem, theme and plot construction.
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作为契诃夫故事的《谋杀》
本书的重点是在契诃夫作品中占有特殊地位的故事《谋杀》(Murder)(这体现在中心情节的层面上,表现在作者不同寻常的情感表达风格上(谋杀场景),表现在主人公获得真正信仰的母题上,表现在与“大”世界的空间距离感上,表现在叙事的阴郁色彩上)。与此同时,作者也表明,由于重复的诗性、人物冲突的不明显共性、人物交流的难度、典型契诃夫主题和话语的存在等特点,作者的价值论《谋杀》有机地融入了作者的艺术世界边界。于是,熟悉与新事物的辩证法就出现了,契诃夫其他作品中典型的熟悉与新问题、新主题、新情节交织在一起。
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