Anton Chekhov was living in a time of social unrest in the final decades of
Czarist Russia. Although one can see Chekhov's writings as being about
individual struggles, one can also see reflections of Russia's society as a whole. During this time, Russia was being torn between a way of life ingrained over centuries and a new way of life developing through economic and social changes. As Russian scholar Edvard Radsinsky explains, one of the greatest changes is how people viewed the Czar. Before, the Czar (also spelled tsar) maintained complete power over the people, either by force or through belief in divine rights in rulership. All of Russia belonged to the tsar, and the citizens lived by the grace of the tsar. This was to change, however, with Nicholas II. Although Chekhov wrote The Bear in 1888, six years before Nicholas II became tsar, the last tsar's short rule exemplifies the state of Russia during this time. Ill-prepared for his role as czar, Nicholas was a wimp as a ruler and prone to severely bad judgement calls. He, too, was torn between what was traditionally expected of a tsar (as his mother constantly reminded him) and trying to keep the Russian citizens content. His actions reflected this conflict, and he was labeled as "wishy-washy." For example, he enacted a constitution that gave the people a representative body called the Duma; he maintained the right, however, to dismantle the Duma at any time he did not like the direction it was going. Russia was beginning to turn away from the tsar, but not without some apprehension. Nicholas' confusion and feeling of being torn between two ways mirrored all of Russia in the late 1800s and early 1900s (Radzinsky, 1992). Chekhov's The Bear serves as a symbol of the difficult transition from loyalties to a past to the need to live in the present and for the future.

The play opens with the footman Luka scolding Mrs. Popov for her continuous mourning for her husband. When his wife died, he "wept for a month, and that was enough for her." Obviously Luka felt that a little mourning was expected, but one should focus on the future instead of dwelling in the past. When this play was written, Russians were torn in a similar way. Many historians will argue that in the late 1800s Russia was heading toward a western-style democracy. Others contend that Russia was so loyal to an old way of life that the citizens did not know how to live otherwise; Russia was simply in a crisis (Riasanovsky, 1993). As Mrs. Popov was mourning her late husband, many Russians were mourning for their traditional way of life; like Luka, however, others were caught up in the changes being made and mourned very little for the past.

Mrs. Popov's husband was cruel to her; "You deceived me, you made scenes, for weeks on end you left me alone...." (WAL 333). She forcefully mourns him so that she may prove how loyal and good she is, and perhaps to cause her late husband shame. Just like Mrs. Popov's husband, many tsars were cruel; Ivan IV was even granted the title "Ivan the Terrible" because of his cruel ways. And yet Russia remained loyal to the tsars, just like Mrs. Popov remains loyal to her late husband. For others, the tsar represented a past that many citizens wanted to severe their present lives from.

One of the reasons Russia remained loyal to the tsar is the belief in the divine right to rule. Russia has a strong history of religion. Since the time when Vladimir forced baptism upon the people in the late 900s, Russia has considered herself the continuation of the Byzantine style of Christianity. Mrs. Popov also mentions religion. "But it's obvious I'll have to go live in a convent...(Thoughtfully.). Yes, a convent...." (333). To suggest that she would qualify for a convent, the reader may assume that she is also driven by religion, or at least belief in a spiritual world on some level. She wishes to do as a "good girl" should.

But what defines a good girl? Smirnov mentions several times the issue of equal rights for women. Indeed, in addition to many other social changes, Russian women were also experiencing a change in their societal roles ("The feministki...", p. 44). He is obviously frustrated by this movement. He decides to test this equality by going so far as challenging Mrs. Popov to a duel. By accepting this duel, even though she never fired a pistol before, Mrs. Popov begins to step out of the "good girl" role. This is a point of transition for her character, and it leads to her stepping farther away from what she defines as her proper role than the reader ever expects!

Smirnov's role in goading Mrs. Popov to this point is similar to the role many advocacy groups played in Russia during this time period. They helped propel Russia into a state of mind that primed the country for the revolution that would later follow. Smirnov attacked Mrs. Popov's traditional ways in much the same way. He scoffed at her determination to remain a grieving widow, and he even challenged her motive as being more self-serving than self-sacrificing.

The surprise ending does not have one person overcome the other as the complete victor; instead, they merge. Smirnov becomes captivated by Mrs. Popov and decides that he is in love with her. She returns these sentiments, as is evidenced by her allowing him to kiss her. Before allowing the kiss, however, Mrs. Popov struggles as she says, "Nothing... you can go...go away...wait...No, get out, get out! I hate you! But - don't go!..." (340). Russia was also struggling with such contradictory feelings. Many say that a new overcame the old in Russia. Those who know better will claim otherwise. Russia is changed, true. But the old ways never truly left. Instead, Russia's rich history has merged with great changes over the last century (Pipes 31). Just as one wonders what ever became of Mrs. Popov and Smirnov, the world is still waiting to see the fate of Russia as she continues to struggle between the past and the new. Works Cited: "The Feministki are coming: Russia" (1995). The Economist, p. 44. Pipes, R. (1996). "Russia's past, Russia's future." Commentary, pp. 30-38. Radzinsky, E. (1992). The Last Tsar, Achor Books Doubleday, New York. Riasanovsky, N.V. (1993) A Historu of Russia, Oxford University Press,U.S.A.