In Chekhov the actions that occur are irrelevant to the willed desires of the characters. What is scrupulously denied is a catharsis of any recognizable sort, even a true dramatic climax. When climaxes are provided they are always out of focus, for Chekhov's people cannot see clearly enough to do what might be expected of them by ordinary standards … The climax of The Cherry Orchard—the merchant Lopakhin's revelation that it is he who has bought the estate on which his father was once a serf ("I bought it," he announces with pride and awe)—initiates wrong reactions from everyone, for Lopakhin is the central character and had wanted in some confused way recognition for what he had done; this leads into the strange fourth act, an act of abandonment and leave-taking conducted with the most banal of conversations. Technically, a climax occurs in each play, but thematically, it is somehow not the right climax. The true issues are always avoided.
A contribution by Émile Durkheim always commands attention. His Les règes de la méthode sociologique, De Is division du travail social, and Le Suicide have exercised an appreciable influence on sociological theory and are still remembered and read. As editor of L'Année sociologique, Durkheim deserves credit for a methodical and extensive survey of anthropological and sociological literature. In this task he was ably assisted by his disciples and sympathizers, Hubert, Mauss and others. It is to be regretted that this excellent annual has now gone out of existence, its place having been taken by a triennial publication supplemented by occasional monographs constituting a series of Travaux de L'Année sociologique, of which La vie religieuse is the fourth volume.
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