The religious subtext of A. Chekhov’s Ward No. 6 [Palata nomer shest] and K. Kesey’s One Flew over the Cuckoo’s Nest

The article explores the religious subtext of Chekhov’s Ward No. 6 [Palata nomer shest] and K. Kesey’s One Flew over the Cuckoo’s Nest. Both depict a psychiatric facility that can be regarded as a model of a society oppressive to human individuality. The author analyses the portrayals of the main characters, both of whom represent the type of a saviour. One of them, doctor Ragin, fails his ‘soteriological mission,’ whereas the other, McMurphy, succeeds. McMurphy seems to share some features with Christ, and yet others — with an anthropomorphic trickster from Hindu mythology as well as a character of the French carnival theatre, a vestige of medieval festivities partially rooted in Christianity. Both Ragin and McMurphy are tragical characters, but while the former’s death does not bring about any positive change, the latter’s demise results in a spiritual transformation of those around him. The author argues that the compared books describe two diﬀerent reactions to violence: passive submission to circumstances, followed by social and personal degradation, and active defance of abuse, which results in an improved ‘world order.’