Anna Sergeyevna and Gurov exhibit close similarities and differences in the story as they carried out every day’s activities before and after the meeting. Anna believed to be lost, sinful and fugitive of her own mistakes as she cheated on her husband. She accused herself of her mistakes and also mistakes done by her husband within and without their marriage boundaries (Chekhov, Anton and Ivy pg. 81). She believed to have a consciousness of sin and wanted to get to be a good wife. In the hotel, she embraces Gurov and cries out her faults to him yet made love to him irrespective of Gurov not being her husband. Anna’s character as well advances to change to consent to the affair she continues to have with Gurov and even advances to visit frequently and plan to move more, though impossible. On the other hand, portrays his unsatisfactory women urge and continues to ‘explore’ various women he meets irrespective of being married (Roberts pg. 378). He perceives Anna as an ordinary woman as his norm until he falls in love with her. Both characters have a strong affection for each other and willingly continue their affair uncontrollably (Matravers pg. 65).
Anna and Gurov, however, have a communication challenge in expressing their feelings to each other and also to their partners. Anna lies about her visits to Moscow as a plan to meet Gurov. She fails to communicate to her husband about her affection for Gurov but decides to advance with the affair. Gurov as well feels ‘possessed’ with Anna and lies to his family about his visits to Anna (Chekhov, Anton and Ivy pg. 84). The two as well have challenges communicating with each other. The often have silent dinners, delayed responses and also occasions of staring at each other instead of talking.
Chekhov, Anton Pavlovich, and Ivy Litvinov. Short Novels and Stories. University Press of the Pacific, 2001, pp 71-85.
Matravers, Derek. “Understanding Narratives.” Fiction and Narrative, 2014, pp. 59–75., doi:10.1093/acprof:oso/9780199647019.003.0005. Roberts, Brittany. “Short Fiction.” A Companion to Sensation Fiction, 2011, pp. 374–385., doi:10.1002/9781444342239.ch29.
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