“The Lady with the Pet Dog” is a classic story originally written by the one and only Anton Chekhov in 1899, five years before his death. Years later in 1972, an author by the name of Joyce Carol Oates wrote her own adaptation to this story. While both of these stories differ, the “love” story and adultery still takes place in each. Both of these stories are about a spouse having a taboo affair with a secret lover. While both of these stories are exceptionally satisfying to read, Chekhov’s version is more effective because of his perspective, motifs, and structure of the story.
When reading Chekhov’s version of this iconic story one will notice the tale is told through the male point of view, Gurov’s. Oates’s perspective in hers is not told from Gurov’s eyes, but rather Anna’s. One story is not better than the other, just because the perspective it is in, but rather how the perspective is told. Chekhov’s story deals with Gurov’s issues and love for Anna. Gurov’s view at the beginning of Chekhov’s story towards women is rather foul, and he views them as “the inferior race” (Chekhov 214). Oates’s version is similar to this also, but rather through Anna.
Anna in Oates’s story seems to have trust issues with men and this is supported by her saying “No, she did not really trust him (Gurov); she did not really trust men” (Oates 228). In Chekhov’s story, like Oates’s, the two protagonists fall in love. Gurov in Chekhov’s version seems rather more passionate and in love with Anna, rather than in Oates’s where Anna seems utterly confused. Anna is suicidal in Oates’s version, and due to this confusion she even “drew a razor blade lightly across the inside of her arm, near the elbow, to see what would happen” (Oates’s 230).
Through Gurov’s eyes in Chekhov’s story the plot seems much more happy, rather than in Oates’s where Anna is confused, suicidal, and depressed. The perception of the story is much more enjoyable to read through Gurov’s eyes in Chekhov’s story due to the character progression and mood, rather than in Oates’s. Not only the perspective between these two stories differ, but also the structure of each. While reading Oates’s version, the story jumps around quite a bit making it more of a circular plot and difficult to follow.
Part 1 of the story,the beginning, starts with the climax of the entire story in the theater where her lover comes to meet her. Anna faints when seeing Gurov and she then goes home with her husband. Part II opens up with Anna having a flashback of her and Gurov departing, then the climax in the theater repeats again, and lastly the falling action of them continuing their affair. Part III of the story then jumps around even more. This part opens up with how the protagonists first meet on the beach, to them departing from each other, to them seeing each other again in secrecy, and lastly to the conclusion at the hotel.
Chekhov’s original version is the opposite of Oates’s in terms of structure, making his much nicer to read. The structure and layout of his version is more of a linear approach, rather than circular. Due to this linear approach, his story begins with the exposition in Part I where the two lovers meet. Part II is where Gurov and Anna become lovers and then they separate from each other back to their original lives. This separation is the rising action. Part III is then a continuation of the rising action in which Gurov goes to Anna’s home town S– to meet her again.
Part IV finally has the falling action and resolution in which Gurov realises he is in love with Anna. Chekhov’s more simple and linear approach to this story rather than Oates’s confusing circular structure make Chekhov’s version easier to understand and enjoy. Motifs is the last literary element that separates Chekhov’s version from Oates’s. In Chekhov’s version of events the theater acts like a motif of passion and love. The theater scene is also in Oates’s rendition, however with much less meaning and strength.
The theater scene in Chekhov’s story is a very important motif, because it is when Gurov realises he really cares for Anna. In the theater scene Gurov says “All this time | have been thinking of nothing but you; I live only by the thought of you. ” (Chekhov 222). In Oates’s theater scene rather than love seeping through the pages, confusion does. When Anna sees Gurov in this version Anna is described as “going to faint… ” and saying “no–no– keep away” (Oates 227). Anna’s reaction makes the reader question who she really loves.
The mirror scene in each of the stories are also motifs. This mirror in Chekhov’s version is when Gurov learns and realizes he is in love. In this scene it says Gurov “felt compassion for this life, still so warm and lovely, but probably already about to begin to fade and wither like his own” (Chekhov 223). In Oates’s story rather than Anna looking at herself in the mirror, like Gurov did, she looks at him through the mirror. She then realises “the image of her lover fell free of her, breaking from her… ” (Oates’s 239). Similar to Chekhov’s she realises how in love she is with Gurov.
The the theater and mirror motif in Oates’s story ,still good, is not as effective at showing meaning like in Chekhov’s. “The Lady with the Pet Dog” originally written by Chekhov and later by Oates are great reads. Oates does a great job at displaying a more modern tone, however Chekhov’s original version is more enjoyable to read. The reason Chekhov’s version trumps Oates’s is due to Chekhov being more effective with the perspective, structure, and motifs. Oates’s rendition is much more complex, making the story less enjoyable.
