מכירה פומבית 59 חלק א' FIELD of MIRACLES with a psychiatric bias
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פריט 43:

Ivan Shcheglov. Dacha husband, his adventures, observations and disappointments. In the Caucasus mountains. Images ...

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Ivan Shcheglov. Dacha husband, his adventures, observations and disappointments. In the Caucasus mountains. Images of mineral mores.
St. Petersburg, Russia. Printing House Of A. S. Suvorin. 1888 286 p. Hardcover, reduced format (11.5 x 17 cm). Not satisfactory condition: all possible defects, including lost top cover covers binding.



[Shcheglov, Ivan Leontievich (real name-Leontiev) [6 (18). I. 1856, Petersburg-4(17). IV. 1911, Kislovodsk] - novelist, playwright.

The most productive period of Shcheglov's work is the 80's, and the most valuable part of his literary heritage is prose. But Shcheglov considered fiction almost entertainment and saw his true vocation in drama. His first plays were a significant success: for a long time became a repertory Comedy " In the mountains of the Caucasus. Pictures of mineral morals "(1884), which depicted "a motley crowd United only by equally frivolous views on all the Affairs of the world" (Russian review.- 1895. - No 1. - P. 393); the Comedy "Dacha husband" (1886; originally-a cycle of humoresques) - a Comedy of characters close to a farce, telling about a St. Petersburg official, tortured by service, and everyday squabbles, and the quarrelsome whims of his wife. The play failed in Moscow at the theater of F. A. Korsh (September 30, 1888), but was enthusiastically received in St. Petersburg and in the provinces; the concept of "dacha husband" became a household name, and S. H. was even called "the discoverer of this individual of the human race "(Sever. -- 1897. - No 3. - P. 91). According to A. p. Chekhov, "the play is written carelessly... . The "dacha husband" wants to make you laugh, and smell of tragedy, and raise the bustle to the height of a serious question" (Chekhov A. p. Letters.- Vol. III. - Pp. 8-9). A favorite dramatic form for Shcheglov was one-or two-act" jokes " of the vaudeville type, ridiculing the backstage ("Theater Sparrow", 1887; "Gentlemen theatergoers", 1889; "The author is not in the theater", 1891, etc.), as well as various everyday troubles ("the Mousetrap", 1889; "Tours on wheels", 1890; "Mamai's invasion", 1890; "Comedian by nature", 1892; "Doctor accepts", 1893; "Women's nonsense", 1893, etc.) - more than 30 works in total. Most of Shcheglov's plays are characterized by their own entertainment and simplistic moralizing, but the best of them are witty and observant. Shcheglov also wrote translations of Balzac's drama " the Stepmother "(1893) and E. Paglieron's Comedy" Marital idyll " (peredelka, 1893).

Shcheglov's literary fate is typical of the" average "writer of the petty-bourgeois type, characterized by a combination of self-assertion with dependence on the tastes of the"crowd". The variety of opportunities and breadth of interests in which Chekhov in 1888 saw "a symptom... of inner wealth" (Chekhov A. p. Letters.- Vol. II. - P. 205), turned into confusion and awkward realization of abilities.

One of the most talented members of the "artel" of writers of the eighties, Shcheglov consistently embodied the principles of subjective naturalism in his work. A subtle observer and witty commentator of specific life situations, he always tended to unambiguity of the moral conclusion, to the exhaustion of the plot, maximum clarity. A feature of his creative style was the psychological solidarity of the author and the hero, the narrative is often framed subjectively, in the form of diaries, letters, and a first-person story. These features explain Chekhov's "ability to be under the constant influence of individual phenomena and persons", "inability or unwillingness to generalize and look at things objectively" (Chekhov A. p. Letters.- Vol. II. - P. 188); an accurate image is usually combined with an optional or unfair assessment of the phenomenon, and criticism is superficial. The most valuable in Shcheglov's creative heritage are true sketches from nature, which continue the traditions of the physiological essay of the 40s and the documentary and psychological literature of the mid-XIX century.]

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