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The peculiarities of reception of Shakespeare’s works in Russia have been the object of many studies. A number of researchers devoted their attention to the interpretation of Shakespearean themes, ideas, images in Chekhov’s works. The analysis of the stories of the 1890s (“Fear”, “Ward 6”) shows that the allusions to genre dominants of Shakespeare’s plays in plot situations in Chekhov’s stories essentially change their genre structure. We approach this problem by means of the “preference rules” method (as developed by E. Spolsky). Preference rules are chosen on the level of perception. When studying Chekhov’s reception of Shakespeare’s works, it is important to take into consideration that the allusions to the plays represent not only a narrator’s or a character’s point of view, but the one of a “naive” reader, which can be expressed implicitly. If from the point of view of the narrator of “Ward 6” “Hamlet” is a drama, not a tragedy (since, according to his perception, the conflict develops as an external confrontation with the circumstances but not as the character’s internal struggle, and the character himself is seen as indecisive and weak), then Shakespearean allusions and reminiscences in the story reveal this particular way of the perception of the play. Thus, the analysis of the allusions to “Hamlet” in Chekhov’s stories of the 1890s widens our understanding of the peculiarity of Chekhov’s stories and their genre specificity, as in their structure the “dramaturgic” style of the writer’s thinking prevailed.

Аллюзии на драматургию У. Шекспира в прозе А. П. Чехова 1890-х годов: «правила преференции» в идентификации жанра