Like any number of Chekhov stories, “At a Country House” is a tale of class and classism.
Pavel Ilyitch Rashevitch is an unremitting snob and a full-blown racist, believing that the members of the upper class are truly superior. He unfurls his racist theories at length to his guest, a traveling magistrate, who after listening to Rashevitch’s tripe, reveals himself to be the son of a workman.
It’s a crisp “gotcha” story, and well done. The only real problem with it is that, at least to a modern reader’s ears, Rashevitch is so painfully racist and snobby, he’s unpleasant to spend time with – even for the few pages that Chekhov devotes to him. It’s good that he got his comeuppance, but I can’t help but wonder if I wouldn’t have preferred never to have made his acquaintance.
READ THIS? READ THAT!
Chekhov enjoyed skewering snobs, hypocrites and bullies, and his readers, especially in the early part of his career, say 1882-1886, were looking for quick, entertaining sketches (like this one) in popular magazines. Stories like this were, essentially, the sitcoms of their day. (And I don’t mean that as an insult to Chekhov; I love good sitcoms.) In “At An Hotel” (sic), a prim and judgy mother proves to be, in fact, willing to overlook just about anything to make a match for her daughters. These two stories, written in 1885 and 1886, are perfect examples of the brief sketches that made Chekhov’s name – and gave Tolstoy great pleasure.
A Chekhov Circus 