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The Psychology of Chekhov’s Creative Method and Generative Poetics
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Chekhov for the 21st Century. Carol Apollonio and Angela Brintlinger, eds. Bloomington, IN: Slavica Publishers, 2012, 211–21. The Psychology of Chekhov’s Creative Method and Generative Poetics Andrei Stepanov Scholars endeavoring to reconstruct Chekhov’s creative process inevitably en-‐‑ counter a number of serious difficulties. The writer kept practically no diaries, and after completing a work he would destroy both his preliminary notes and his drafts. Moreover, only with the greatest reluctance would Chekhov ad-‐‑ dress the writing process in his letters; sometimes he would simply note a topic (“I am describing the steppe”1 ); occasionally he would identify proto-‐‑ types or details from real life; only rarely would he analyze an already com-‐‑ pleted text. Contemporaries have left few accounts of Chekhov’s creative plans, and those accounts that do exist have primarily to do with unrealized ideas. Thus the kinds of sources that literary historians generally use to recon-‐‑ struct a work’s creative history are, in Chekhov’s case, extremely meager. It is true that the writer’s notebooks have been preserved, and they can show how some of the later texts came into being.2 These notes contain short outlines for plots, individual details, and various utterances, which represent “seeds” of future stories and plays. But, as Z. S. Paperny observed when he tried to use these data to reconstruct the writing process for individual works, in Chekhov’s case “from a grain of wheat something completely different might grow,”3 that is, ideas would change radically during the writing proc-‐‑ ess. Furthermore, the notebooks, as opposed to the drafts, do not provide an adequate basis for analyzing the writing process as a whole; there are too many lacunae, and “the scholar trying to make sense of Chekhov’s notebooks faces a multitude of unknowns.”4 These difficulties compel the scholar to seek detours, roundabout ap-‐‑ proaches to the problem. All we can do is propose hypotheses about Chekhov’s thought processes, and to support them with textual examples. The most effective of these roundabout approaches is generative poetics, which views a literary text as the result of a process whereby an initial matrix 1 “Описываю я степь” (Letters 2: 179). 2 Particularly valuable are the first (“creative”) notebook and a small number of notes on separate pieces of paper that Chekhov used during the writing process. 3 Z. S. Papernyi, Zapisnye knizhki Chekhova (Moscow: Sovetskii pisatel’, 1976), 44. 4 Ibid., 72. 212 ANDREI STEPANOV undergoes a transformation and develops under the influence of operations that A. K. Zholkovsky and Iu. K. Shcheglov have identified as “expressive de-‐‑ vices” (priemy vyrazitel’nosti). According to this principle, as they put it, “the text emerges from the theme.” Two caveats are in order. First, generative poetics is not the same as a psychology of creativity. Zholkovsky and Shcheglov, as they devised their own “poetics of expressiveness,” or “expressive poetics” (poetika vyrazitel’-‐‑ nosti), to follow models created by V. Ia. Propp, S. M. Eizenshtein, Noam Chomsky and I. A. Melchuk, stated from the outset that their principle was not to be associated with any assumptions “about the diachronic process of creation of a work of art by an artist”5 (although apparently nothing prevents the generative process described in this way from being treated as an hypoth-‐‑ esis about “what went on inside the artist’s head”). Secondly, if the initial ma-‐‑ trix for generative poetics is the “theme,” in Chekhov’s case non-‐‑thematic elements can play that role. I identify three such elements: (1) a specific transformation of a speech genre; (2) an extended (razvernutaia) metaphor (usually habitual [uzual’naia]); (3) an individual detail (usually “incidental” [sluchainaia]). My goal here is to prove this latter point, using examples from Chekhov’s works. 1. Let’s begin with the generative function of merging and “dislocation” (smesheniie i “smeshcheniie”) of speech genres. It is impossible here to provide a complete typology of speech genre transformations in Chekhov;6 I will just clarify this function using one simple example. The early story “The Philanthropist” (“Filantrop,” 1883) features a doctor and a patient who is in love with him. She summons the doctor four times in a single day, complaining of imaginary diseases, hoping he will take the first step and confess his love for her, which the doctor won’t do, because he does-‐‑ n’t love her. In the final scene the hero takes pity on the poor woman and writes her a prescription: “Be at the corner of Kuznetsky and...