AN ANALYSIS PAPER ON ANTON CHEKHOV’S THE SEAGULL AND THE CHERRY ORCHARD

Lourdes School of Mandaluyong
High School Department
A.Y. 2013-2014

In Partial Fulfillment
Of the Requirements
In English IV

AN ANALYSIS PAPER ON ANTON CHEKHOV’S THE SEAGULL AND THE CHERRY ORCHARD

Submitted to:
Mrs. Joneth D. Vibar

Submitted by:
Vincent del Castillo
IV-St.Francis of Assisi

Outline of Analysis

1 Author’s Style
1.1 Anton Chekhov as a Playwright and Author of Short Stories
1.1.1 Russia’s best known Modern Playwright
1.1.1 Master of the Modern Short Story
1.2 Anton Chekhov and his Influences 1.2.1 Nineteenth Century Russia
1.2.2 His Contemporaries 1.2.2.1 Anton Chekhov and Leo Tolstoy
1.3 Anton Chekhov’s Mood Literature 1.3.1 Mood and Atmosphere 1.3.2 Subtle Literary Techniques 1.3.3 Criticisms of lacking any Plot
1.4 Anton Chekhov as a Humorist
1.4.1 Tragicomedy
1.4.2 Comic Relief
1.5 Anton Chekhov as a Realist
1.5.1 Typical Russian People
1.5.2 Metaphysical Idealism 1.5.2.1 Beauty and Art
1.6 Anton Chekhov as a Dramatist
1.6.1 Characterization and Dialogue
1.6.2 Impartial Witnesses
1.7 Anton Chekhov and his Beliefs/ Values
1.7.1 Six Principles for Writing
1.7.2 Positive Values
1.7.2.1 Freedom
1.7.2.2 Charity
1.7.2.3 Truthfulness

2. Analysis for Content and Substance
2.1 Summary/ Synopsis 2.1.1 The Seagull 2.1.2 The Cherry Orchard
2.2 Appropriate Approaches to Literature 2.2.1 Reader-Response Approach 2.2.2 Feministic Approach
2.2.3 Psycho-analytic Approach
2.2.4 Archetypal Approach
2.2.5 Historical Approach and Cultural Approach
3. Contemporary Parallelism
3.1 Effects on Contemporary Writers and their Style 3.1.1 Literary Techniques and Tools 3.1.1.1 Comic Relief 3.1.1.2 Cliff-hanger Endings 3.1.2 Modern Playwrights and Western Short Story Authors
3.2 Influence on Samuel Beckett 3.2.1 Three Sisters and Waiting for Godot 3.2.2 Dreaming for Ideal Life

Bibliography: Foster, V. (1004). Modern Tragicomedy. The Name and Nature of Tragicomedy. Ashgate Publishing, Ltd. pp. 128-129. Garcia, D. & et al. (1999). Literature: Introduction to Fiction, Poetry, and Drama. Seventh Edition. Longman Inc. p.1939. Hingley, R. (1987). Lexicon Universal Encyclopedia. Volume 4 C-Cit. Lexicon Publishing Inc. New York, N.Y. p. 310. Hingley, R. (1992). Anton Chekhov: Twelve Plays. Oxford University Press. New York. pp.1-4 Kirk, I Terras, V. (1991). The Silver Age. A History of Russian Literature. Yale University Press. New Haven and London. pp. 466-471. Fagin, B. (1921). Anton Chekhov: The Master of the Gray Short Story. Poet Lore. Volume XXXII. p. 13. Ghasemi, P. & Sasani, S. (2011). The Influence of Anton Chekhov on Samuel Beckett: Inaction and Investment of Hope into Godot-like Figures in the The Three Sisters and Waiting for Godot. Volume 13, Number 2. Shiraz, Iran. p. 222. Demenev, O. (2004). Chekhov Legacy. Taganrog, Rostov Oblast. Retrieved on January 23, 2014, Accessed from www.taganrogcity.com. Lasdun, J. (2010). The Wonder of Chekhov. The Guardian. Retrieved on February 11, 2014, Accessed from www.theguardian.com/books/2010/feb/06/anton-chekhov-short-stories. Marks, B. (2009). Russia During Chekhov’s Lifetime. Retrieved on February 11, 2014, Accessed from virtueofthesmall.com. Sandifer, C. (2011). Anton Chekhov’s six writing principles. The Letters of Anton Chekhov. Retrieved on February 11, 2014, Accessed from onewildword.com. Sorel, C.N. (1995). FIRST ENCOUNTERS: When Anton Chekhov met Leo Tolstoy. First Encounters. Knopf, New York. Retrieved on February 11, 2014, Accessed from www.independent.co.uk. Theriaut, S. (2009). Anton Chekhov and the Development of the Modern Character, Vol.1, No. 11. p. 111. Retrieved on February 11, 2014, Accessed from www.studentpulse.com. Tranter, R. (2012). Anton Chekhov on Leo Tolstoy. A Piece of Monologue. Retrieved on February 11, 2014, Accessed from www.apieceofmonologue.com.