Temperaments (According to the Latest Findings of Science)
Темпераменты (по последним выводам науки)
Headnote
1 Temperaments (According to the Latest Findings of Science) (“Temperamenty (po poslednim vyvodam nauki)” in the original) was published in 1880 in the humor magazine Strekoza (The Dragonfly), among the very earliest pieces the twenty-year-old medical student Chekhov placed under the pseudonym “Antosha Chekhonte.” It belongs to a small vein of these first sketches that parody the scientific and pseudo-scientific writing of the day – here, the fashionable theory (associated in Russia with the German physician Christoph Wilhelm Hufeland, invoked by name in the second section) of the four humoral temperaments: sanguine, choleric, phlegmatic, and melancholic.
The joke is entirely in the method. Chekhov adopts the deadpan taxonomic voice of a physiological treatise – a type, its symptoms, its habits, its characteristic death – and fills each category not with medicine but with a rogues’ gallery of Russian provincial types: the feckless sanguine forever in debt and in love, the choleric who suspects the newspapers of lying from the womb, the phlegmatic who has invented every platitude in creation, the melancholic who diagnoses himself into an early grave with quack remedies. Each of the four sections on the men is followed by a single, much shorter sentence or two on “the woman” of that temperament – the era’s casual misogyny rendered so compressed and so abrupt that it becomes part of the joke’s mechanics, a running gag of its own. A fifth type, the choleric-melancholic, closes the piece with a swipe at the Slavophiles of the day, tying the whole taxonomy back to the journalistic squabbles Chekhov’s first readers would have recognized instantly.
The piece is dense with the bilingual affectation Chekhov mocks throughout these early sketches – scraps of French, German, and Latin dropped into a young Russian’s speech and self-consciously glossed, a private joke about provincial pretension to cosmopolitan learning. It is farce built on structure and repetition rather than plot, in the fast, broad manner of the earliest Antosha Chekhonte sketches, twenty-odd years before the tender, double-edged irony of the mature stories – but the eye for the telling, damning concrete detail is already entirely Chekhov’s own.