Plays by Anton Chekhov, Second Series — Reading Notes

Censorship and Rediscovery

The translator's introduction reveals that 'On the High Road', written in 1884 under the pseudonym 'A. Chekhonte', was rejected by the censor Kaiser von Kugelgen, who scrawled 'a depressing and dirty piece—cannot be licensed'. The play remained unpublished until a copy was found in the Censor's office after Chekhov's death. This backstory highlights the constraints under which Chekhov worked and the precarious fate of his early dramatic efforts. The inclusion of this play in the volume gives readers access to a work that was effectively suppressed for decades.

Domestic Tension in 'The Three Sisters'

In the excerpt from Act I of 'The Three Sisters', a birthday celebration is punctuated by small anxieties and superstitions. Kuligin notes 'There are thirteen at table!' and later jokes about lovers being present. Natasha, uncomfortable with the attention, flees the table, and Andrey follows to reassure her. Their private kiss is interrupted by two officers. The scene captures Chekhov's method: public festivity undercut by private unease, and characters speaking in fragments—Masha repeats a line from Pushkin tearfully, unable to explain why. The dialogue feels natural, almost aimless, yet it builds a sense of impending change.

Everyday Fears in Act II

Act II of 'The Three Sisters' opens with Natasha checking for fires, worried about a candle left burning. She frets over her child Bobby's temperature and insists on a diet. Andrey tries to calm her, but her anxieties persist. The scene is set at 8 p.m., with no fire lit, and the sisters still at work. Chekhov uses domestic details—a concertina playing outside, a candle, a child's chill—to create a mood of restless waiting. Natasha's preoccupation with household order contrasts with the sisters' absence, hinting at shifting power dynamics within the family.

Readers approaching this collection will find a playwright who builds drama from the ordinary: a forgotten candle, a superstition about thirteen guests, a humming-top given as a gift. The early farces offer a more overtly comic Chekhov, while the longer plays reward attention to repeated motifs and offhand remarks. The translator's introduction provides useful context, particularly for the rediscovered 'On the High Road'. Let the characters' hesitations and interruptions guide your reading.

There’s something touching about how Chekhov’s early farces hide their ache behind laughter—much like the games the March sisters staged, where joy and longing shared the same small stage. I keep thinking of that old Comic Tragedies volume, those handwritten plays, and how both collections feel like letters from people who knew life’s tenderness was always slipping away. Comic Tragedies Written by 'Jo' and 'Meg' and Acted by The 'Little Women' — A Closer Reading sits beside my Chekhov now, worn in the same way.