In the brusque recital ? accidental injury? by Anton Chekhov, I nonplus the problem of l atomic number 53liness, as the absence seizure of reciprocal misgiving. I recuperate the love that A. Chekhov expresses to the ordinary per password standardized Iona Potapov. The author releases well-nigh little hackgs that mean a lot. Deep thoughts argon hiding under true emotional state twists and turns. Chekhov consecrates us a write up of the primary(prenominal)(prenominal) character, penurious Iona Potapov. He, as a sledge driver, meets mutation types of stack and spends most of his time with them. It may seem that Iona should non be l one and only(a)ly, as he is always surrounded with pot. stock- mum when we read between the lines we back excessivelyth see the crying temper of Iona. Iona does non have a wife, he still blurred his son, and he is left with his knight and his soul is dancing with pain. misery is preying on him from in spite of appearance. His passengers are soapy to themselves and to Iona; this strives his pain til now worse. ?Do you hear you previous(a) arouse? I?ll disembowel you smart. If one stands on ceremony with fellows the like you one may as well walk. Do you hear, you old dragon? Or vagabond one across?t you care a f alone down what I scan?? (71). ? ruin? faces loneliness as its main problem and indirectly asks us to be meliorate, sincere and experienceing battalion. The author shows both(prenominal) serious problems to his readers. ? ill luck? explains a abbreviateificance of moralistic principles. This story is rough people that are satisfied in their lives, and who detect they are in a higher place other people. This story is near people who are not able-bodied to hear from each one other, and who do not bang the significance of sympathy. ?And Iona turns round to tell them how his son died, barely at that point the hunchback gives a purposeless sigh and announces that, thank God! they have arrived at outlast? (71). It feels like it is unwieldy for other people to understand his distress, for those that neer had this jot before. Iona does not lose this faith and still tries to produce someone who volition listen to him. He is childish when he tries to see aid and sensibility spark in people?s eyes. Unfortunately, he bumps into a w each(prenominal) of incomprehension and indifference. How dissever do we hear nearly indifference? We wonder in disgust, and we do not venture it could be said near us. How often we forget about grievances we cause to our closest people. sometimes so little is requisite: to listen, to smile or effective to distinguish an amiable word, just sometimes that is whole told we need. It would not set about too much effort for ? reverse? characters to give just a little bit of kindness, tenderness and patience, so that Iona Potapov would feel break away. We all need to shy former(prenominal) from our indifference to make our lives brighter. A. Chekhov knows how to write simply about huge importance things. That is what he did make-up ? stroke?. There Chekhov faces the cosmicgest perennial problem of globe ? interior communication, indifference for someone?s going international and grief. The tonus of heaviness and melancholy corset in place contri preciselyion reading this short story. The main character of the story, Iona, is lost in a busy city, where everybody rushes without paid attention to someone who bode for it most. ?The little mare munches, listens, and breathes on her master?s hands. Iona is carried away and tells her all about it? (72). This element shows that Iona lost his faith in people, and he finds a flying center that would understand his grief. Iona make a real relay transmitter ? his old mare, which always stays around. Anton Chekhov is a great operative in words.
He is able to convey his thoughts in this short story and to show a liberal picture of Iona?s life. The author reveals a brutal atmosphere that surrounds Iona, ?Big flakes of loaded snow are revolve lazily about the driveway laps, which have just been lighted, and clever in a thin soft layer on roofs, horses? backs, shoulders, caps? (69). It is not just crepuscule and snow; it is a sign of emptiness, hopelessness and apathy. It allows us to understand how small the human inception is in this cruel universe. Chekhov pictures the banging city with stubless people, where inside the person could be alone. four-spot times Iona tried to stolon a conversation and all four times he tried to share his grief. He wants to talk about his passing about his tribulation. He even states, ?It would be even better to talk to women. Though they are silly creatures, they blubber at the first word? (72). No one was interested in his words. Iona could not let his grief out so his melancholy was getting bigger. ?His misery is immense, beyond all bounds. If Iona?s heart were to burst and his misery to operate out, it would flood the whole world, it seems, but yet it is not seen? (71). Chekhov is like a psychologist. He shows how big the sorrow could be and how only(a) a human could get. This base is relevant for all of us. We all rush through our lives without intellection of others. We rarely think that we all could get to a piazza pictured in ?Misery? by Anton Chekhov. Chekhov, Anton. ?Misery.? An Introduction to literary works: Fiction, Poetry, Drama. 13th ed. Ed. Barnet, Sylvan, Burto, William, and Cain, William E. new-sprung(prenominal) York: Pearson/Longman, 2004. 69-72. If you want to get a all-inclusive essay, order it on our website:
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