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SOURCE: Apologia, in The Brute and Other Farces, by Anton Chekhov, edited by Eric Bentley, translated by Eric Bentley and Theodore Hoffman, Applause Theatre Book Publishers, 6958, pp. I-vii. [ In the following excerpt, Bentley discusses Chekhov's short comic plays and declares that the writer's greatest plays have a farcical component, and his slightest farces have something in them of the seriousness, pathos, and even subtlety of the greatest plays. ]Except for some later revisions in the dialogue, Chekhov's seven one-act farces belong to the years 6886-6896, which immediately precede the 'major phase' when the famous full-length plays were written. Like the funny stories which he signed 'Chekhonte' because he was a little self-conscious about them, these little plays are admittedly 'minor Chekhov, ' though one makes the admission with a sinking heart in an age which makes a cult of the 'major'—the notion of the major, anyway—in order to excuse its lazy reluctance to read any man's collected works. One would not deny that 'The Best Plays of Chekhov' contains just what it says it does, but one might assert that a reader should no more be content to sit down with that book than a parent should be content to sit down to dinner with only his best children. It is never wise for an author to give a modest account of himself: the critics accept it.
The lighthearted Chekhonte was discounted long ago. Anton Chekhov is played on Broadway and in the West End in a vein of soulful somnolence. The adjective 'Chekhovian' can convey any shade of mournful emotionality from the wistful to the lugubrious it never suggests the sunny, the zany, the skittish, the wildly destructive, though Chekhov in fact was famous for these qualities even before the others showed themselves. In a recent collection designed to modify and correct the prevailing view of Chekhov, Mr. Edmund Wilson finds 'his true weight and point' in his last, most sombre, and most sociological works. It is high time, I conclude, to protest against the tendency of modern critics to overlook the obvious. Mr. Wilson did exactly the same thing in his study of Dickens years ago. His new Dickens was to interest us as a man involved in psychoneurotic conflict.