Chekhov between Rothschild and Uncle Vanya

We all know Chekhov. We read him in his original language, or in other languages ​​through multiple translations, including Arabic as well. Arab translators became creative in presenting Chekhov's works from time to time, to the point that we may find that each generation translated Chekhov two or three times. All of this is important and healthy, and reflects the extent of interest in the Russian writer. In this book, Chekhov is presented from a relatively different angle, that is, dealing with Chekhov as a thinker and dramaturgy. It is not a coincidence that I present his story "The Rothschild Violin," which translators usually do not approach. I don't know why?! This is a story that occupied public literary and political opinion for long periods on the verge of the nineteenth and twentieth centuries. Articles and studies were written on it, their size reaching the size of the complete works of Chekhov himself. Chekhov the dramaturg also finds here a good space in which the spotlight is focused on him as the owner of an aesthetic-philosophical trend in dramatic writing. It is not in vain that circles of "Chekhovists" have been formed in many European countries who continue the Chekhovian traditions in theatre, and work to develop them and present them in various theatrical works in accordance with the development of ideas, tools and capabilities.