The motif of mystery in calendar short stories of A. P. Chekhov 1883-1887

The article traces the changes in the mystery motif in Chekhov’s calendar short stories of 1883-1887. The motif of mystery is frequent in Chekhov’s works, but still it is quite underresearched in studies dedicated to his calendar short stories. In his early calendar short stories ( Fortunetellers and Wisewomen (pre-New Year pictures), (1883), The Mirror (1885), The False Mirror (1883) etc.), that are dedicated to the Church and the secular system of the calendar, the mystery motif of the world correlates with the everyday level: characters vainly try to peek behind the veil of creation mystery, because they are obsessed with legends and superstitions in their minds, as well as various nontraditional (esoteric and spiritual) practices. A. P. Chekhov mocks the concept of mystery that is frequently found in his earlier stories. Chekhov condemns those who believe in demonic powers and spiritism, opposing logic and common sense to mysticism. In 1886-1887 A. P. Chekhov’s manner turns to psychological realism. There begins a revision of his creative work. The motif of unknowability also evolves, acquiring ontologistic features.