本卷包含契诃夫经典名剧《万尼亚舅舅》《三姊妹》和《樱桃园》，按创作时间排序，并收录焦菊隐写于1943年的《<樱桃园>译后记》。这三个剧本，虽然故事不同，所表达的都是契诃夫始终关注的主题：他憎恶十九世纪末俄国社会随处可见的、只知道用一些不连贯的空谈，对“未来”的空想，以充实当下空虚没落偷懒的生活的灰色的人群，他同情勤苦劳动却被毁灭了幸福和希望的另一群人，他用抒情诗一般的结构和台词、背景描述，创造了现代戏剧的开端。舅》的前身，是完整呈现契诃夫戏剧创作不可或缺的组成部分。

Writing towards the close of the nineteenth century, Chekhov - himself a country doctor - recorded in his fiction the symptoms of a diseased society. The seven stories collected here are a bleakly savage indictment of a society paralysed by spiritual malaise, and morbidly conscious of evils which can neither be killed nor cured. This volume also contains an Introduction by Ronald Hingley. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

The ever maturing art and ever more ambitious imaginative reach of Anton Chekhov, one of the world's greatest masters of the short story, led him in his last years to an increasingly profound exploration of the troubled depths of Russian society and life. This powerful and revealing selection from Chekhov's final works, made by the legendary American critic Edmund Wilson, offers stories of novelistic richness and complexity, published in the only formatp edition to present them in chronological order.

Overwhelmed by what he felt was the worthlessness of his great success as a writer, Chekhov (1860-1904) decided to leave everything behind him and go to the far reaches of Siberia - to the terrible Russian penal colony on Sakhalin Island. This book mixes his witty, charming letters back to friends on his long journey with his grim account of the reality of life in one of the worst places on earth. Great Journeys allows readers to travel both around the planet and back through the centuries - but also back into ideas and worlds frightening, ruthless and cruel in different ways from our own. Few reading experiences can begin to match that of engaging with writers who saw astounding things: great civilisations, walls of ice, violent and implacable jungles, deserts and mountains, multitudes of birds and flowers new to science. Reading these books is to see the world afresh, to rediscover a time when many cultures were quite strange to each other, where legends and stories were treated as facts and in which so much was still to be discovered.

Peu de pièces auront été autant jouées que
, depuis sa création en 1904. Et supporté des éclairages, des commentaires aussi contradictoires. Pièce-testament (Tchekhov meurt l'année même de la parution de la pièce), œuvre charnière,
referme doucement une porte sur un monde agonisant, tandis qu'une autre s'entrouvre, par où pénètre, comme par effraction, l'aube d'une ère nouvelle.
Aube ou crépuscule ? Tchekhov ne tranche rien. Il décrit le neuf et l'ancien, le passé comme l'avenir, avec les mêmes couleurs indécises, fluctuantes. Ses personnages ont l'allure de fantômes, d'ombres blanches, de marionnettes aux fils brisés. Leurs dialogues décousus, hésitants, laissent surgir des plages de silence, un vide soudain mis à nu où résonnent d'étranges échos. On ne peut ici s'accrocher à rien. Même la mort paraît incertaine, quand « la vie a filé, et on dirait qu'elle n'a pas commencé ». Ainsi posée en suspens, la voix de Tchekhov, son murmure, ne cesse de nous interroger, avec une douce insistance. --Scarbo

This structurally and psychologically compact drama takes place on an estate in 19th-century Russia, exploring the complex interrelationships between a retired professor, his second wife, and the daughter and brother-in-law from his first marriage. Interwoven themes of weakness, delusion, and despair–balanced by an underlying message of courage and hope–make this one of the most expressive of Chekhov’s works.

萨哈林岛是北太平洋上介于鞑靼海峡和鄂霍次克海之间的一个长条形岛屿，四面环水，俄罗斯帝国把它当作是罪犯无法逃脱的天然监狱，从19世纪60年代起，将成千上万的政治犯和刑事犯流放到这里，从事苦役劳动。
1890年，契诃夫决定前往萨哈林考察，虽然此时他已出现疑似肺结核症状，多次咯血，身体十分虚弱；但是他坚持说“有必要”到这个“不可容忍的痛苦之地”，去研究苦役犯的生存状态。
他参观监狱、和苦役犯谈话，用卡片记录了近一万个囚徒和移民的简况，甚至目睹了死刑和种种酷刑，深受震动，“以致后来多次在噩梦中看见这些场景”。三个月后，他回到莫斯科，花了三年的时间，写出《萨哈林旅行记》。

The Lady with the Dog and Other Stories
1. The Lady with the Dog
2. A Doctor's Visit
3. An Upheaval
4. Ionitch
5. The Head of the Family
6. The Black Monk
7. Volodya
8. An Anonymous Story
9. The Husband

Five masterful dramatic works from one of the world's best-loved playwrights, Anton Chekhov's Plays is translated with notes by Peter Carson, and an introduction by Richard Gilman in Penguin Classics.
At a time when the Russian theatre was dominated by formulaic melodramas and farces, Chekhov created a new sort of drama that laid bare the everyday lives, loves and yearnings of ordinary people. Ivanov depicts a man stifled by inactivity and lost idealism, and The Seagull contrasts a young man's selfish romanticism with the stoicism of a woman cruelly abandoned by her lover. With 'the scenes from country life' of Uncle Vanya, his first fully mature play, Chekhov developed his own unique dramatic world, neither tragedy nor comedy. In Three Sisters the Prozorov sisters endlessly dream of going to Moscow to escape the monotony of provincial life, while his comedy The Cherry Orchard portrays characters futilely clinging to the past as their land is sold from underneath them.
Peter Carson's moving translations convey Chekhov's subtle blend of comedy, tragedy and psychological insight. In his introduction, Richard Gilman examines how Chekhov broke with theatrical conventions and discusses each play in detail.

本书为契诃夫戏剧全集中的一卷，收录《林妖》、《没有父亲的人》两部多幕剧，是契诃夫戏剧创作早期的代表作品。《没有父亲的人》据考证创作于契诃夫大学时代，较不为人知。剧本描写外省贵族庄园的没落，描绘了以主人公普拉东诺夫为代表的一群无事可做，在忧郁烦闷中打发日子的知识分子形象，是日后契诃夫作品中塑造的一系列世纪末“多余人”角色的前身。《林妖》叙述以一个脾气怪异、自私的教授为中心的家族故事，并成功塑造了“林妖”这一思想独特却不被众人理解的医生形象，被视为“优美的戏剧化的中篇小说”。研究界公认《林妖》是《万尼亚舅舅》的前身，是完整呈现契诃夫戏剧创作不可或缺的组成部分。

A collection of short Christmas stories by some of Russia’s greatest nineteenth and twentieth century authors—several appearing in English for the first time.
 
Running the gamut from sweet and reverent to twisted and uproarious, this collection offers a holiday feast of Russian fiction. Dostoevsky brings stories of poverty and tragedy; Tolstoy inspires with his fable-like tales; Chekhov’s unmatchable skills are on full display in his story of a female factory owner and her wretched workers; Klaudia Lukashevitch delights with a sweet and surprising tale of a childhood in White Russia; and Mikhail Zoshchenko recounts madcap anecdotes of Christmas trees and Christmas thieves in the Soviet Era—a time when it was illegal to celebrate the holiday in Russia.
 
There is no shortage of imagination, wit, or vodka on display in this collection that proves, with its wonderful variety and remarkable human touch, that nobody does Christmas like the Russians.

Fifty-two stories spanning Chekhov’s career. Anton Chekhov’s Selected Stories contains a wide spectrum of classics and new favorites, including “Ward No. 6,” “The Lady with the Little Dog,” “Anna on the Neck,” “The Name-Day Party,” “The Kiss,” An Incident at Law,” and “Elements Most Often Found in Novels, Short Stories, Etc.” This edition features twenty-five brand-new translations, commissioned expressly for this volume from Richard Pevear and Larissa Volokhonsky, Peter Constantine, Rosamund Bartlett, Michael Henry Heim, among others. Twenty translations have been selected from the published work of such master translators as Patrick Miles and Harvey Pitcher, Ann Dunnigan, and Ronald Hingley. Seven additional translations are by Constance Garnett, substantially revised by Cathy Popkin. All stories are annotated to clarify unfamiliar material and to point out differences in the translators’ strategies.

"Life and Letters" includes a rich selection of Chekhov’s letters, some in English for the first time, some with previously redacted passages restored, as well as Aileen Kelly’s portrait of Chekhov.

“Criticism” explores the wide range of approaches and interpretations in two sections. “Approaches” juxtaposes five different perspectives on how to read Chekhov, represented by Peter Bitsilli, Alexander Chudakov, Robert Louis Jackson, Vladimir Kataev, and Radislav Lapushin. “Interpretations” contains ten divergent readings of stories in this edition. Case studies include Michael Finke on “At Sea”; Cathy Popkin on “[A Nervous] Breakdown”; Julie de Sherbinin on “Peasant Women”; Liza Knapp on “Ward No. 6”; Robert Louis Jackson on “Rothschild’s Fiddle” and “The Student”; Wolf Schmid on “The Student”; John Freedman on “Man in a Case,” “Gooseberries,” and “About Love”; Caryl Emerson on “A Calamity,” “Anna on the Neck,” “About Love,” and “The Lady with the Little Dog”; and Rufus Mathewson on “The Lady with the Little Dog” and “The Beauties.”

A Chronology and Selected Bibliography are included, as is a postscript on the translators and their work. A special section, “Comparison Translations,” gives passages from selected stories in multiple translations.