Essay on Multi Dimensionality in the Seagull by Anton Chekhov

Essay on Multi Dimensionality in the Seagull by Anton Chekhov

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Anton Chekhov includes many dimensions to the plot of the Seagull in order to add increased depth to the story. The conflict, climax, complications, and denouement of the play all benefit from the wide range problems that Chekhov implants through the characters. In addition, the complex character relationships add to these events, without confusing the reader. These four events all rotate around the play's four main characters, Nina, Irina, Treplev and Trigorin. The play's central conflict is between Treplev and Trigorin, who holds the love of both Irina and Nina. Complicating this conflict is the relationship between Irina and Treplev and Irina's feelings towards Nina, Treplev's love interest. The climax of the play is a fight between Irina and Treplev, who can't come to terms on her relationship with Treplev. This fight reflects the lack of care that Nina has for her son, which ultimately leads to the play's denouement, not included in the play. However, the denouement is left for the reader to imagine. Although some of the problems faced by Chekhov's characters would seem insignificant if taking place in real life, on stage, the conflicts are magnified due to the relationships between the characters and the events that take place as a result.
Boris Trigorin, a Russian author, is at the center of the play's conflict. Both Irina and Nina are in love with Treplev, who accepts them both as lovers. Although Treplev, the play's main character, never directly confronts Trigorin, he often complains to Nina and Irina about the lack of attention that he receives. He says to Nina, "There's a genius for you. Struts around like Hamlet. Carries a book too. [Sarcastically.] 'Words, words, words.' The great luminary hasn't...


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...v bases his play on the interaction between its characters, and develops the story from the results. Treplev's final unseen performance is a fitting end to a struggling dramatist. Nina's decision to pursue her acting career in Yelets results from her need to be appreciated, as she thought she was by Trigorin. Masha's life with Medvedenko is clearly aimed at ridding her of her love for Treplev, which consumes her throughout the entire play. However, she is unable to profess her love to him, and after his death never will. Dorn and Polina both squandered the latter halves of their lives, Dorn because of his extravagant way of living, and Polina because of her lost love for Dorn. All of the events of the play, the conflict, climax, complications, and denouement, are all a result of these characters personalities, and therefore, leave the reader prepared for them.

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