1. The document provides an in-depth analysis of a Chekhovian short story set in a cold, snowy urban environment in Russia. 2. It summarizes the characters, including the protagonist Iona who is grieving the death of his son, and his horse who seems to mirror his state of mind. The other characters are indifferent to Iona's suffering. 3. The narrative relies on description of setting and character actions to convey the themes of death, the futility of life, and indifference in the urban setting. Figurative language like metaphor and personification contribute to the lamenting tone.

2. 1. SETTING & ATMOSPHERE
• Urban setting
• Evening light
• Cold/ snowy/ white atmosphere in line with themes: theme of
death and coldness/ indifference of humans to the misery of fellow
humans – Pathetic Fallacy (setting and atmosphere reflect feelings
and state of mind of main protagonist).
• Typical Russian scenery
• Elaborate descriptions: extensive use of colours, details about
shapes and sounds, physical descriptions and actions.

3. 2. CHARACTERISATION
Other than Iona, the other characters are stock characters/ stereotypes (static/ 2 dimensional/ flat) that can be
found in any typical urban setting and particularly in the streets of Russia. Iona is the only 3 dimensional/
round/ dynamic character, portrayed as a lonely and dejected old man, yet with unusual inner strength as he
struggles to survive despite his immeasurable grief.
The horse is also a major character in the story; she seems to be the alter ego to her owner. Their actions,
gestures and state of mind are in synchronicity: e.g. “He sits on the box without stirring, bent as double as the
living body can be bent. If a regular snowdrift fell on him it seems as though even then he would not think it
necessary to shake it off.... His little mare is white and motionless too. Her stillness…”
Both direct and indirect characterisation: Direct characterisation – physical descriptions of characters; Indirect
characterisation: heavy reliance on dialogues/ conversations and actions of characters to provide insight into
their character.
The other sub-characters of the story (Iona and the horse being the only 2 main characters) act as Foil to Iona:
their indifference and boisterousness heavily contrast with Iona’s inner turmoil and silence.

4. 3. NARRATIVE VOICE/ TECHNIQUE
& POINT OF VIEW
• Narrative voice: Third-person omniscient narrator, but at times with self-imposed limitations.
Tries to get into the thought processes and feelings of the main protagonist, giving details about what
Iona is thinking on several occasions (e.g. “He thinks about oats, about hay, about the weather.... He
cannot think about his son when he is alone.... To talk about him with someone is possible, but to think
of him and picture him is insufferable anguish....).
But does not always succeed. (e.g. “She is probably lost in thought.” – uses tentative tone, the word
“probably”, to hint at uncertainty).
Does not enter the consciousness of any of the sub-characters.
• Narrative technique: Narrator relies heavily on actions, descriptions of the physical setting and
atmosphere, and conversations to forward the narration. Use of simple language, descriptions and
narration. (Third person objective narration)
• Narrative point of view: constant variation between sweeping/ panning technique, describing the
setting as if camera is moving across the scenery, and zooming onto characters, giving elaborate
physical descriptions and focus on their actions and movements.

5. 4. NARRATIVE TONE & PACE OF NARRATION
• Tone varies between lamenting tone, with the use of long sentences and suspension
marks; and aggressive tone, with the use of short and abrupt sentences/ phrases and
exclamation marks, as well as rude and foul language in the conversations. (i.e.
contrasting tones).
• Pace also varies between fast and slow narration, owing to the same contrast between
long and short sentences; as well as variation between still scenes and scenes packed
with fast pace, aggressive movements and actions. (i.e. contrasting pace).
• Occasionally, tone denotes uncertainty with the use of such words as “probably” – “She is
probably lost in thought.” At other times, tone denotes confidence – “Anyone who has
been torn away from the plough, from the familiar gray landscapes, and cast into this
slough, full of monstrous lights, of unceasing uproar and hurrying people, is bound to
think. “

6. 5. TYPE OF PLOT & TIME FRAME
• Time Frame: Linear narrative, events and occurrences described
chronologically; although Iona’s mind is preoccupied by his son’s
demise, there is no extensive flashback describing how his son passed
away.
• Static plot: nothing much happens throughout and till the end of the
story; no rising/ falling actions, no climax or denouement.

7. 6. LANGUAGE & FIGURES OF SPEECH
• The Preamble (first line) is a rhetorical question: “"To whom shall I tell my grief?"
• Alliteration - Use of consonance: e.g. ‘l’, ‘s’ and ‘w’ sounds– “Big flakes of wet snow are whirling lazily about the street
lamps, which have just been lighted, and lying in a thin soft layer on roofs, horses' backs, shoulders, caps. (creates a
lamenting tone).
• Use of personification: horse and atmosphere with human characteristics – “Big flakes of wet snow are whirling lazily”;
“monstrous lights”; “She is probably lost in thought. “; “And his little mare, as though she knew his thoughts…”
Contrastingly, humans are portrayed with animal traits: e.g. “silly creatures”; “cranes his neck like a swan”.
• Further use of contrast: - long v/s short sentences (e.g. “The twilight of evening. Big flakes of wet snow are whirling
lazily about the street lamps, which have just been lighted, and lying in a thin soft layer on roofs, horses' backs,
shoulders, caps. “); suspension v/s exclamation marks; motionlessness/ inertia (e.g. “If a regular snowdrift fell on him it
seems as though even then he would not think it necessary to shake it off.... His little mare is white and motionless too.
Her stillness…) “v/s abrupt and fast pace actions (e.g. “In token of assent Iona gives a tug at the reins which sends
cakes of snow flying from the horse's back and shoulders.”).
• Punctuation: extensive use of suspension marks (‘…’) to reinforce lamenting tone, in line the main character’s state of
mind, his “misery”.
• Simile (Figure of speech): “like a halfpenny gingerbread horse”; “cranes his neck like a swan”; “bent as double as the
living body can be bent”
• Repetition: e.g. the words “misery” and “still”, and their derivatives “miserable” and “stillness”.

8. 7. TYPE OF SHORT STORY
Chekovian: randomness, inexplicability, and haphazard elision
dominate — tailored conclusion is abandoned. there’s a refusal
to judge, explain or shape the material.

9. 8. THEMES
• Death: Death in multiple forms – physical death (Iona’s son), emotional death
(numbness felt by Iona), death of humanity (indifference of the other characters
towards Iona’s suffering).
• Life v/s Death: life being a misery, yet futile – futility of life depicted by futile
conversations and actions (e.g. passenger seems more preoccupied with the cap than
with the demise of Iona’s son) and reckoning death as the ultimate reality (“We shall
all die…”). Life being unpredictable (Iona didn’t expect the death of his son).
• Urbanism: in the urban setting, no one has time to listen to a fellow human being;
everyone seems to be in a hurry; insensitive, aggressive, almost cruel beings.