Anton Chekhov

In the Ravine
and Other Short Stories
CLASSIC Read by Kenneth Branagh
FICTION

NA326112D
1 Oh! the Public 9:209
2 The Chorus Girl 13:12
3 The Trousseau 13:17
4 A Story Without a Title 10:19
5 Children 12:16
6 Misery 14:14
7 Fat and Thin 5:02
8 The Beggar 11:58
9 Hush! 7:54
10 The Orator 8:43
11 An Actor’s End 15:34
12 In the Ravine – I 10:37
13 II The elder son Anisim came home very rarely 6:56
14 III In the village Shikalovo lived two dressmakers 4:25

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15 III (cont.) The day of the wedding arrived 3:46
16 III (cont.) When they returned from the church 7:19
17 IV Five days had passed 7:45
18 V On Friday the 8th of July 8:47
19 V (cont.) By now the sun had set 6:32
20 VI News had come long before 9:48
21 VII Old Tsybukin went to the town 5:08
22 VIII Nikifor was taken to the district hospital 6:25
23 VIII (cont.) Vavila got into the cart 6:55
24 IX At the present time 9:11

Total time: 3:35:23

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 Anton Chekhov
In the Ravine
and Other Short Stories
Anton Pavlovich Chekhov, grandson of a rather than masculine plots with a strong
serf, was born into a Russia of tumult in conclusion. For a generation engaged by
1860. In 1861 the system of serfs was Maupassant (1850−1893), with his overtly
abolished, although serfdom echoed exciting storylines, Chekhov presented a
through the social order for succeeding totally different approach.
decades. He grew up in Taganrog on the He wrote:
Sea of Asov, but his family moved to “All I wanted was to say honestly to
Moscow when his father’s business failed. people: ‘Have a look at yourselves and see
There Chekhov studied medicine, which he how bad and dreary your lives are!’ The
was to practise all his life. important thing is that people should realize
In his student years he earned money by that, for when they do, they will most
writing, establishing a reputation initially for certainly create another and better life for
humorous short stories, then far more themselves.”
serious observations of Russian life. And His short stories inhabit the same
finally came the great plays, including The atmosphere as his plays. The words spoken
Seagull (1896), Uncle Vanya (1899), The and the actions which take place can
Three Sisters (1901) and The Cherry appear quite inconsequential, but it is the
Orchard − his last great play, in 1904, confusion, the yearning, the hope and the
the year of his death from pulmonary anguish behind those words which form the
tuberculosis. real story. At first reading, or hearing, they
The plays remain the works with which can seem even pallid. But gradually the
he is most clearly identified. The short depth of emotion, of intent, emerges from
stories, often gentle in their character, even the lightest of brushstrokes.
faintly elusive in their purpose, rely on the This is evident in each of the stories here.
portrayal of seemingly simple situations Oh! The Public is a typical Chekhovian
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comedy, presenting the flustered confusion response to the game, to the others, to the
of the guard who, initially, can rely on lateness. And, as we all remember, such
his position of authority and do his job in evenings are not entirely fun, for
his uniform – a contemporary figure we interwoven relationships are as strong at
can recognise even now! But gradually child level as later on; some individuals
he is undermined. And does his tormentor are caring, others selfish, ambitious or
really have a ticket? The Orator, too, is confused.
a brief comedy which also has something Chekhov wrote about the people he met
to say about the funeral process, while and observed. The cab driver in Misery is
A Story Without a Title pricks religious desperate to communicate his tragedy, but
pomposity. those he meets – his fares – are either
In The Chorus Girl the sympathies of the anxious to avoid involving themselves or are
reader/listener rock back and forth between oblivious to it. With whom can he share his
the plight of the wife and the plight of the grief? The answer is the real tragedy. On the
girl, showing so clearly the complexities of other extreme is the journalist in Hush!,
the common triangle. living a fantasy of importance as he
So many of these stories offer vivid scribbles away.
glimpses of Russian life in the closing part of Vertical or horizontal relationships
the 19th century. The sad, unfulfilled lives abound. Fat and Thin expresses with a
lamented by Chekhov seen no more clearly smile the social pecking order we impose on
than in The Trousseau, with its picture of ourselves, while The Beggar shows that
hopeless, forlorn existence. things are not always what we presume.
By contrast, Children is a bright Knowing the dynamics of a theatre
evocation of a group of youngsters having company so well, Chekhov set out to have
fun while the grown-ups are away. With fun, too, with An Actor’s End. Fun, with a
remarkable economy, Chekhov shows what dying man? The underlying plot is so very
would have been seen by an invisible but Russian − the need for a return to the roots,
sharp observer in the room during the to Vyazma, to die. But the colour of the
game. The individual nature of each child picture comes also from the characters
emerges in just a few lines, through their making their exits and entrances, dealing
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each in their own way with the situation. after he closes his eyes. For instance: you
Here is the comic actor Sigaev, here is will capture the truth of a moonlit night if
the jeune premier Brama-Glinsky, here is you’ll write that a gleam like starlight shone
the manager Zhukov, the tragic actor from the pieces of a broken bottle, and
Adabashev, the hairdresser Yevlampy. then the dark, plump shadow of a dog or
And finally, In the Ravine. In form this is wolf appeared. You will bring life to nature
more a novella than a short story, yet not in only if you don’t shrink from similes that
content. Here, in Ukleeva, in the ravine, is liken its activities to those of humankind.
an enclosed society with its own cycles of In displaying the psychology of your
power, submission, blackmail, abuse, and characters, minute particulars are essential.
profound Russian sadness. Most people God save us from vague generalizations! Be
coming into contact with the Tsybukin sure not to discuss your hero’s state of mind.
family are affected by it, some deeply, some Make it clear from his actions. Nor is it
only in passing. Grigory Petrovitch Tsybukin necessary to portray many main characters.
rules, for a while, but he cannot remain Let two people be the centre of gravity in
untouched by the shrewdness and your story: he and she.”
ruthlessness of Aksinya, his daughter-in-law, Notes by Nicolas Soames
the gentleness of Varvara, his young wife,
or his desperate pride in his wayward son
Anisim. Into this family comes the simple
Lipa, who can only talk on real terms with
the carpenter, and who can, perhaps,
understand the tragedy that befalls her son
Nikifor; even more tragically, she comes
to accept it. It is the way of the world,
Chekhov seems to say.
At the age of 26, Chekhov wrote to his
brother, Alexander:
“When describing nature, a writer should
seize upon small details, arranging them so
that the reader will see an image in his mind
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 The music on this recording was taken from the
NAXOS and MARCO POLO catalogues

RUBINSTEIN 24 MUSICAL PORTRAITS 8.223846

Joseph Banowetz, piano
CIURLIONIS PIANO WORKS 8.223549
Mûza Rubackyté, piano
TCHAIKOVSKY ALBUM FOR THE YOUNG 8.550885
Idil Biret, piano
BALAKIREV RUSSIA 8.550793
Russian State SO, Igor Golovschin

The music was programmed by Nicolas Soames

Translations by Constance Garnett

Cover picture: Old Ladoga 1969 by Andrei Bliok, by courtesy of Bridgeman Art Library
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 Edited by Sarah Butcher, SBS Studios
Recorded at Motivation Sound Studios
Selected and produced by Nicolas Soames
Anton Chekhov
In the Ravine and Other Short Shories
Oh! The Public • The Chorus Girl • The Trousseau • A Story Without a Title
Children • Misery • Fat and Thin • The Beggar • Hush! • The Orator • An Actor’s End

Read by Kenneth Branagh

Anton Chekhov is regarded by many as the most outstanding short story writer. This may be a
surprise at the first encounter with even his most famous stories, because they are rarely
driven by plot or anticipation. They are often gentle in character, elusive in purpose; but they
create a resonance in the imagination that rings long. Here are twelve stories, from the
brightly comic to the overtly tragic, each full of the sharpest observations of personality and
situation, and with implications beyond their brief form: the dying actor, the children playing a
game, the cabman with his tragedy, the orator’s mistake and, perhaps most richly of all, a
family laid bare in In The Ravine.
Kenneth Branagh, a leading figure in film, TV and on stage, is equally at
home with classic and contemporary subjects. However, as director and
adaptor, he has made a particular contribution to Shakespearean

Made in Germany.
p 2002 NAXOS AudioBooks Ltd. © 2002 NAXOS AudioBooks Ltd.
BROADCASTING AND COPYING OF THESE COMPACT DISCS PROHIBITED.
ALL RIGHTS RESERVED. UNAUTHORISED PUBLIC PERFORMANCE,
performance with his films such as Much Ado About Nothing, Henry V,
Hamlet and Love’s Labour’s Lost. His productions of Shakespeare in the
theatre have included: Henry V, Hamlet and Love’s Labour’s Lost (RSC),
Romeo and Juliet (Lyric), As You Like It, Hamlet and Much Ado About Nothing
(Renaissance), A Midsummer Night’s Dream and King Lear (World Tour) which
he also directed, Coriolanus (co-production with Chichester Festival Theatre). He has also
played Iago in Oliver Parker’s film Othello. Among his other films are: Mary Shelley’s
Frankenstein, Peter’s Friends and Theory of Flight. He has won numerous awards for his work
on stage, film and TV as actor and director. He has also recorded King Richard III and King
Lear for Naxos AudioBooks.

“The 12 stories demonstrate Chekhov’s versatility in tone – the dark comedy of

Oh! The Public contrasts with the relatively light Children. All read with feeling and
interspersed with Russian music.”
THE TIMES

CD ISBN: View our catalogue online at

978-962-634-261-9 www.naxosaudiobooks.com Total time
3:34:23