Biography of Mijaíl Pávlovich Chéjov (1865-1936)

Narrator, journalist, translator and Russian scholar, born in Taganrog (in the Rostov region) in 1865, and died in Yalta (Crimea) in 1936. The great narrator's younger brother and playwright Anton Pavlovich Chekhov, not only left an original literary production in which the same stylistic and thematic concerns that nourish the work of this are well visible, but continued paying tribute to the figure of the great writer after his disappearance, focusing on the collection and cataloguing of manuscripts and the creation in Yalta, together with its sister María, the Anton Chekhov Museum.

The literary environment that breathed into your environment during your childhood and adolescence - stoked not only by Anton, but also by the elder brother Alexandr, who was also a notable writer-woke up in the young Mikhail a vivid humanistic concerns that soon led him to be interested in literary creation. He did, however, higher legal studies and law graduate once, won a comfortable place of official in the Civil Administration; but he was soon compelled to abandon the routine of the office to devote himself to the professional writing, in its double condition of journalist and literary creator. It was also another considerable source of income within the field of translation, in which life won for many years thanks to a fine academic training that included - in its ambitions cosmopolitan - perfect knowledge of English, French and Italian languages. Mijaíl Pávlovich Chéjov is, precisely, the introduction in Russia of some of the great European authors of the second half of the 19th century and beginning of the next century; but, above all, of two illustrious figures of American letters of all time, such as Jack London and Sinclair Lewis, whose major works the least of the Chekhov poured into Russian.

These humanistic concerns — reflected also in marked artistic sensibility and his remarkable skills as a draftsman - predisposed from very soon to Mijaíl Pávlovich Chéjov for the cultivation of literary creation, to surrendered it hard from some traditionalists postulates on which - as indicated above - is the footprint of his famous brother, especially in the choice of characters and a few environments that perfectly reflect provincial abulia patent and stifling the small provincial bourgeoisie. Populated rural teachers, doctors away from the main centres of culture and research, small landowners attached to their prerogatives caciques, representatives of the clergy and the militia in the interior of the country, officials accommodated in the irrelevance of the seedier destinations and, ultimately, characters dominated by the false and hypocritical placidity of the small world living (and which hardly leave)the narrations of the youngest of the brothers Chéjov delve into that deep, enigmatic Russian which remains anchored to its secular traditions as well into the twentieth century, when the rest of the advanced nations of the West have entered a dynamic of progress than - wrong or not - does not appear nowhere in these provincial environments where reigns the neglectlaziness and stagnation.

Their tales more notable within this thematic line, almost all them printed in collections entitled stories and essays (1904) and flute (1910), include "Revenge", "The General", "Back" and "The force of habit"; and, within that same tone of reflection and reporting of provincial de-marginalise abulia, it is possible to locate some his novels of great interest such as the sabionda and the orphans. At other times, the lament by poverty and the delay of the internal areas of the nation leads to Mijaíl Pávlovich Chéjov to focus on your critical lens in the miseries of the peasant population, and, in General, in the Russian agrarian life, perfectly reflected by the writer of Taganrog in several short stories as "Anyuta", "Grishka", "Sin", "misfortune" and "Unique wife".

In his facet as an essayist, Mijaíl Chéjov focused all its attention in the study of the figure and the work of his brother Antón, who wrote numerous prologues of the first editions of his works and their famous correspondence (in which can read the abundant correspondence of the great author with his other brother writer, the aforementioned Alexandr). Thanks to these Mikhail (and, in a very marked way,) contributions to pick-ups in his essays about Chekhov and Antón Chéjov and the arguments of his works, criticism, and twentieth-century readers have had access to some of the fundamental keys to elucidate the work of one of the greatest writers of world literature.