A Problem


A Problem (1887) pits a family council against a young man who has forged a promissory note. The uncles debate honor versus scandal—but the young man draws a conclusion no one anticipated. "Uncle, I’ll do it again."
Author Anton Chekhov
Portrait of Anton Chekhov by Osip Braz, 1898. Oil on canvas, Tretyakov Gallery, Moscow.

THE strictest measures were taken that the Uskovs' family secret might not leak out and become generally known. Half of the servants were sent off to the theatre or the circus; the other half were sitting in the kitchen and not allowed to leave it. Orders were given that no one was to be admitted. The wife of the Colonel, her sister, and the governess, though they had been initiated into the secret, kept up a pretence of knowing nothing; they sat in the dining-room and did not show themselves in the drawing-room or the hall.

Sasha Uskov, the young man of twenty-five who was the cause of all the commotion, had arrived some time before, and by the advice of kind-hearted Ivan Markovitch, his uncle, who was taking his part, he sat meekly in the hall by the door leading to the study, and prepared himself to make an open, candid explanation.

The other side of the door, in the study, a family council was being held. The subject under discussion was an exceedingly disagreeable and delicate one. Sasha Uskov had cashed at one of the banks a false promissory note, and it had become due for payment three days before, and now his two paternal uncles and Ivan Markovitch, the brother of his dead mother, were deciding the question whether they should pay the money and save the family honour, or wash their hands of it and leave the case to go for trial.

To outsiders who have no personal interest in the matter such questions seem simple; for those who are so unfortunate as to have to decide them in earnest they are extremely difficult. The uncles had been talking for a long time, but the problem seemed no nearer decision.

"My friends!" said the uncle who was a colonel, and there was a note of exhaustion and bitterness in his voice. "Who says that family honour is a mere convention? I don't say that at all. I am only warning you against a false view; I am pointing out the possibility of an unpardonable mistake. How can you fail to see it? I am not speaking Chinese; I am speaking Russian!"

"My dear fellow, we do understand," Ivan Markovitch protested mildly.

"How can you understand if you say that I don't believe in family honour? I repeat once more: fa-mil-y ho-nour fal-sely un-der-stood is a prejudice! Falsely understood! That's what I say: whatever may be the motives for screening a scoundrel, whoever he may be, and helping him to escape punishment, it is contrary to law and unworthy of a gentleman. It's not saving the family honour; it's civic cowardice! Take the army, for instance. . . . The honour of the army is more precious to us than any other honour, yet we don't screen our guilty members, but condemn them. And does the honour of the army suffer in consequence? Quite the opposite!"

The other paternal uncle, an official in the Treasury, a taciturn, dull-witted, and rheumatic man, sat silent, or spoke only of the fact that the Uskovs' name would get into the newspapers if the case went for trial. His opinion was that the case ought to be hushed up from the first and not become public property; but, apart from publicity in the newspapers, he advanced no other argument in support of this opinion.

The maternal uncle, kind-hearted Ivan Markovitch, spoke smoothly, softly, and with a tremor in his voice. He began with saying that youth has its rights and its peculiar temptations. Which of us has not been young, and who has not been led astray? To say nothing of ordinary mortals, even great men have not escaped errors and mistakes in their youth. Take, for instance, the biography of great writers. Did not every one of them gamble, drink, and draw down upon himself the anger of right-thinking people in his young days? If Sasha's error bordered upon crime, they must remember that Sasha had received practically no education; he had been expelled from the high school in the fifth class; he had lost his parents in early childhood, and so had been left at the tenderest age without guidance and good, benevolent influences. He was nervous, excitable, had no firm ground under his feet, and, above all, he had been unlucky. Even if he were guilty, anyway he deserved indulgence and the sympathy of all compassionate souls. He ought, of course, to be punished, but he was punished as it was by his conscience and the agonies he was enduring now while awaiting the sentence of his relations. The comparison with the army made by the Colonel was delightful, and did credit to his lofty intelligence; his appeal to their feeling of public duty spoke for the chivalry of his soul, but they must not forget that in each individual the citizen is closely linked with the Christian. . . .

"Shall we be false to civic duty," Ivan Markovitch exclaimed passionately, "if instead of punishing an erring boy we hold out to him a helping hand?"

Ivan Markovitch talked further of family honour. He had not the honour to belong to the Uskov family himself, but he knew their distinguished family went back to the thirteenth century; he did not forget for a minute, either, that his precious, beloved sister had been the wife of one of the representatives of that name. In short, the family was dear to him for many reasons, and he refused to admit the idea that, for the sake of a paltry fifteen hundred roubles, a blot should be cast on the escutcheon that was beyond all price. If all the motives he had brought forward were not sufficiently convincing, he, Ivan Markovitch, in conclusion, begged his listeners to ask themselves what was meant by crime? Crime is an immoral act founded upon ill-will. But is the will of man free? Philosophy has not yet given a positive answer to that question. Different views were held by the learned. The latest school of Lombroso, for instance, denies the freedom of the will, and considers every crime as the product of the purely anatomical peculiarities of the individual.

"Ivan Markovitch," said the Colonel, in a voice of entreaty, "we are talking seriously about an important matter, and you bring in Lombroso, you clever fellow. Think a little, what are you saying all this for? Can you imagine that all your thunderings and rhetoric will furnish an answer to the question?"

Sasha Uskov sat at the door and listened. He felt neither terror, shame, nor depression, but only weariness and inward emptiness. It seemed to him that it made absolutely no difference to him whether they forgave him or not; he had come here to hear his sentence and to explain himself simply because kind-hearted Ivan Markovitch had begged him to do so. He was not afraid of the future. It made no difference to him where he was: here in the hall, in prison, or in Siberia.

"If Siberia, then let it be Siberia, damn it all!"

He was sick of life and found it insufferably hard. He was inextricably involved in debt; he had not a farthing in his pocket; his family had become detestable to him; he would have to part from his friends and his women sooner or later, as they had begun to be too contemptuous of his sponging on them. The future looked black.

Sasha was indifferent, and was only disturbed by one circumstance; the other side of the door they were calling him a scoundrel and a criminal. Every minute he was on the point of jumping up, bursting into the study and shouting in answer to the detestable metallic voice of the Colonel:

"You are lying!"

"Criminal" is a dreadful word -- that is what murderers, thieves, robbers are; in fact, wicked and morally hopeless people. And Sasha was very far from being all that. . . . It was true he owed a great deal and did not pay his debts. But debt is not a crime, and it is unusual for a man not to be in debt. The Colonel and Ivan Markovitch were both in debt. . . .

"What have I done wrong besides?" Sasha wondered.

He had discounted a forged note. But all the young men he knew did the same. Handrikov and Von Burst always forged IOU's from their parents or friends when their allowances were not paid at the regular time, and then when they got their money from home they redeemed them before they became due. Sasha had done the same, but had not redeemed the IOU because he had not got the money which Handrikov had promised to lend him. He was not to blame; it was the fault of circumstances. It was true that the use of another person's signature was considered reprehensible; but, still, it was not a crime but a generally accepted dodge, an ugly formality which injured no one and was quite harmless, for in forging the Colonel's signature Sasha had had no intention of causing anybody damage or loss.

"No, it doesn't mean that I am a criminal . . ." thought Sasha. "And it's not in my character to bring myself to commit a crime. I am soft, emotional. . . . When I have the money I help the poor. . . ."

Sasha was musing after this fashion while they went on talking the other side of the door.

"But, my friends, this is endless," the Colonel declared, getting excited. "Suppose we were to forgive him and pay the money. You know he would not give up leading a dissipated life, squandering money, making debts, going to our tailors and ordering suits in our names! Can you guarantee that this will be his last prank? As far as I am concerned, I have no faith whatever in his reforming!"

The official of the Treasury muttered something in reply; after him Ivan Markovitch began talking blandly and suavely again. The Colonel moved his chair impatiently and drowned the other's words with his detestable metallic voice. At last the door opened and Ivan Markovitch came out of the study; there were patches of red on his lean shaven face.

"Come along," he said, taking Sasha by the hand. "Come and speak frankly from your heart. Without pride, my dear boy, humbly and from your heart."

Sasha went into the study. The official of the Treasury was sitting down; the Colonel was standing before the table with one hand in his pocket and one knee on a chair. It was smoky and stifling in the study. Sasha did not look at the official or the Colonel; he felt suddenly ashamed and uncomfortable. He looked uneasily at Ivan Markovitch and muttered:

"I'll pay it . . . I'll give it back. . . ."

"What did you expect when you discounted the IOU?" he heard a metallic voice.

"I . . . Handrikov promised to lend me the money before now."

Sasha could say no more. He went out of the study and sat down again on the chair near the door.

He would have been glad to go away altogether at once, but he was choking with hatred and he awfully wanted to remain, to tear the Colonel to pieces, to say something rude to him. He sat trying to think of something violent and effective to say to his hated uncle, and at that moment a woman's figure, shrouded in the twilight, appeared at the drawing-room door. It was the Colonel's wife. She beckoned Sasha to her, and, wringing her hands, said, weeping:

"Alexandre, I know you don't like me, but . . . listen to me; listen, I beg you. . . . But, my dear, how can this have happened? Why, it's awful, awful! For goodness' sake, beg them, defend yourself, entreat them."

Sasha looked at her quivering shoulders, at the big tears that were rolling down her cheeks, heard behind his back the hollow, nervous voices of worried and exhausted people, and shrugged his shoulders. He had not in the least expected that his aristocratic relations would raise such a tempest over a paltry fifteen hundred roubles! He could not understand her tears nor the quiver of their voices.

An hour later he heard that the Colonel was getting the best of it; the uncles were finally inclining to let the case go for trial.

"The matter's settled," said the Colonel, sighing. "Enough."

After this decision all the uncles, even the emphatic Colonel, became noticeably depressed. A silence followed.

"Merciful Heavens!" sighed Ivan Markovitch. "My poor sister!"

And he began saying in a subdued voice that most likely his sister, Sasha's mother, was present unseen in the study at that moment. He felt in his soul how the unhappy, saintly woman was weeping, grieving, and begging for her boy. For the sake of her peace beyond the grave, they ought to spare Sasha.

The sound of a muffled sob was heard. Ivan Markovitch was weeping and muttering something which it was impossible to catch through the door. The Colonel got up and paced from corner to corner. The long conversation began over again.

But then the clock in the drawing-room struck two. The family council was over. To avoid seeing the person who had moved him to such wrath, the Colonel went from the study, not into the hall, but into the vestibule. . . . Ivan Markovitch came out into the hall. . . . He was agitated and rubbing his hands joyfully. His tear-stained eyes looked good-humoured and his mouth was twisted into a smile.

"Capital," he said to Sasha. "Thank God! You can go home, my dear, and sleep tranquilly. We have decided to pay the sum, but on condition that you repent and come with me tomorrow into the country and set to work."

A minute later Ivan Markovitch and Sasha in their great-coats and caps were going down the stairs. The uncle was muttering something edifying. Sasha did not listen, but felt as though some uneasy weight were gradually slipping off his shoulders. They had forgiven him; he was free! A gust of joy sprang up within him and sent a sweet chill to his heart. He longed to breathe, to move swiftly, to live! Glancing at the street lamps and the black sky, he remembered that Von Burst was celebrating his name-day that evening at the "Bear," and again a rush of joy flooded his soul. . . .

"I am going!" he decided.

But then he remembered he had not a farthing, that the companions he was going to would despise him at once for his empty pockets. He must get hold of some money, come what may!

"Uncle, lend me a hundred roubles," he said to Ivan Markovitch.

His uncle, surprised, looked into his face and backed against a lamp-post.

"Give it to me," said Sasha, shifting impatiently from one foot to the other and beginning to pant. "Uncle, I entreat you, give me a hundred roubles."

His face worked; he trembled, and seemed on the point of attacking his uncle. . . .

"Won't you?" he kept asking, seeing that his uncle was still amazed and did not understand. "Listen. If you don't, I'll give myself up tomorrow! I won't let you pay the IOU! I'll present another false note tomorrow!"

Petrified, muttering something incoherent in his horror, Ivan Markovitch took a hundred-rouble note out of his pocket-book and gave it to Sasha. The young man took it and walked rapidly away from him. . . .

Taking a sledge, Sasha grew calmer, and felt a rush of joy within him again. The "rights of youth" of which kind-hearted Ivan Markovitch had spoken at the family council woke up and asserted themselves. Sasha pictured the drinking-party before him, and, among the bottles, the women, and his friends, the thought flashed through his mind:

"Now I see that I am a criminal; yes, I am a criminal."


Frequently Asked Questions about A Problem

What is the summary of "A Problem" by Anton Chekhov?

"A Problem" by Anton Chekhov tells the story of Sasha Uskov, a twenty-five-year-old man who has forged a promissory note and cashed it at a bank. His three uncles—the stern Colonel, a taciturn Treasury official, and the compassionate Ivan Markovitch—hold a family council to decide whether to pay the debt and save the family’s reputation or let the case go to trial.

After lengthy debate, Ivan Markovitch persuades the others to pay. But in the story’s devastating final scene, Sasha immediately demands a hundred roubles from Ivan Markovitch, threatening to forge another note if refused—proving that the family’s mercy has changed nothing.

What are the main themes in "A Problem" by Chekhov?

The central themes of "A Problem" include moral responsibility versus family loyalty, the failure of leniency without accountability, and the self-deception of the criminal mind. Chekhov explores how Sasha Uskov rationalizes his forgery as a harmless "generally accepted dodge" while his uncles debate civic duty against family honor.

The story also examines the question of free will and determinism—Ivan Markovitch even invokes the Lombroso school of criminology to argue that crime is a product of anatomy, not choice. Ultimately, Chekhov suggests that compassion without consequences enables further wrongdoing.

Who are the main characters in "A Problem" by Chekhov?

The main characters in "A Problem" are: Sasha Uskov, the twenty-five-year-old protagonist who forged a promissory note; the Colonel, Sasha’s stern paternal uncle who argues that shielding a criminal is "civic cowardice"; Ivan Markovitch, Sasha’s compassionate maternal uncle who pleads for mercy, citing youth’s temptations and the memory of Sasha’s dead mother; and a Treasury official, another paternal uncle who mostly worries about the family name appearing in newspapers.

The Colonel’s wife also appears briefly, weeping and begging Sasha to defend himself before the council.

What is the moral lesson of "A Problem" by Chekhov?

The moral lesson of "A Problem" is that shielding someone from the consequences of their actions does not lead to reform. Despite the family’s agonizing debate and Ivan Markovitch’s compassionate defense, Sasha Uskov shows no genuine remorse. The moment he is forgiven, he demands money from Ivan Markovitch and threatens to forge another note if refused.

Chekhov illustrates that mercy without accountability can embolden wrongdoing. Sasha’s final thought—"Now I see that I am a criminal; yes, I am a criminal"—reveals his chilling self-awareness, suggesting he has accepted rather than rejected his criminal identity.

What is the irony in "A Problem" by Chekhov?

The central irony of "A Problem" is that the family’s act of mercy produces the exact opposite of its intended effect. Ivan Markovitch argues passionately that forgiveness will reform Sasha Uskov, but within minutes of being pardoned, Sasha threatens to commit the same crime again unless he receives a hundred roubles.

There is also dramatic irony in Sasha’s self-justifications: he insists he is "soft, emotional" and "helps the poor," yet his actions throughout the story reveal a manipulative personality. His final recognition—"I am a criminal"—is ironic because it comes not with shame but with a "rush of joy" as he rides off to a party.

What does the ending of "A Problem" by Chekhov mean?

The ending of "A Problem" is Chekhov’s most devastating revelation of Sasha Uskov’s character. After being forgiven, Sasha immediately demands a hundred roubles from Ivan Markovitch, threatening: "If you don’t, I’ll give myself up tomorrow! I won’t let you pay the IOU! I’ll present another false note tomorrow!"

Ivan Markovitch, "petrified" with horror, hands over the money. As Sasha rides away in a sledge to a drinking party, he thinks: "Now I see that I am a criminal; yes, I am a criminal." This ending means that Sasha has fully embraced his criminal nature—the family’s compassion has not redeemed him but instead confirmed his willingness to manipulate and extort those who love him.

Is Sasha Uskov a static or dynamic character in "A Problem"?

Sasha Uskov undergoes a subtle but significant transformation, making him a dynamic character. At the beginning of the story, Sasha genuinely believes he is not a criminal—he rationalizes his forgery as something "all the young men he knew" did and insists it was "not a crime but a generally accepted dodge."

By the story’s end, however, Sasha has abandoned these self-justifications. His final thought—"Now I see that I am a criminal; yes, I am a criminal"—represents a moment of genuine self-knowledge. Yet this is not a redemptive change: Sasha accepts his criminal identity rather than rejecting it, making his character arc deeply ironic and characteristically Chekhovian.

What is the conflict in "A Problem" by Chekhov?

"A Problem" contains both external and internal conflict. The external conflict is the family council’s debate: the Colonel argues that forgiving Sasha is "contrary to law and unworthy of a gentleman," comparing it to how the army condemns its guilty members, while Ivan Markovitch pleads that "youth has its rights" and that Sasha deserves compassion.

The internal conflict lies within Sasha himself, who sits outside the study rationalizing his crime. He resents being called a "scoundrel and a criminal" yet feels "neither terror, shame, nor depression, but only weariness and inward emptiness." This emotional numbness is itself the deepest problem the story explores—Sasha’s inability to feel genuine remorse.

What literary devices does Chekhov use in "A Problem"?

Chekhov employs several literary devices in "A Problem". The story uses situational irony—the family’s mercy backfires spectacularly when Sasha immediately extorts more money. Third-person omniscient narration allows Chekhov to shift between the uncles’ debate and Sasha’s internal rationalizations, creating dramatic irony as readers see the gap between how Sasha presents himself and who he truly is.

Chekhov also uses indirect characterization, revealing Sasha’s nature through his thoughts and actions rather than direct judgment. The Colonel’s "detestable metallic voice" is an example of sensory imagery that conveys Sasha’s resentment, while the ending serves as a powerful epiphany—a moment of self-recognition that subverts the reader’s expectations.

What is the point of view in "A Problem" by Chekhov?

"A Problem" is told from a third-person omniscient point of view, which allows Chekhov to reveal the thoughts and motivations of multiple characters. However, the narrative focus shifts significantly throughout the story—the first half centers on the uncles’ debate as overheard by Sasha, while the second half moves inside Sasha’s mind.

This technique is crucial to the story’s effect. By letting readers hear Sasha’s self-justifications—that forgery is a "generally accepted dodge" and that he is "soft, emotional"—Chekhov creates dramatic irony that pays off devastatingly in the final scene. Notably, the narrator never directly judges Sasha, leaving readers to draw their own moral conclusions from his actions.

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