NOTE: Sorry for the delay--my internet was out for a good part of the day and I couldn't post this until now. We'll discuss these two plays next week, and I'll post another lecture video on the nature of comedy on Friday. ALSO--don't forget to turn in your Rough Paper #1 on Friday by 5pm.
Answer 2 of the following:
Q1: Both of these short plays are considered 'farces,' meaning they're geared for easy laughs and broad social satire. In many ways, they're the equivalent of sketch comedy like what you find on SNL or shows like Schitt's Creek, etc. However, Chekhov claimed that The Seagull was also a comedy (if not a farce), so they must have some things in common, too. What does reading these two short plays help you see or appreciate about the humor of The Seagull? Are these plays like miniature Seagulls? Could you call them a trial run for the later play?
Q2: Both plays have unmarried women (though one is technically a widow) receiving proposals of marriage: why is the very idea of a proposal humorous? How does it allow Chekhov to take a jab at some of society's most sacred (and secret) taboos? You might also consider why in "The Proposal," the father is willing to marry off his daughter to a man he seemingly hates and is telling to "go to hell."
Q3: In The Bear, Smirnov mocks Popova by saying "take a good look at any one of these romantic creatures: petticoats and hot air, divine transports, the whole works; then take a look at her soul. Pure crocodile" (27). How might The Seagull explain where he got these unflattering views on women and feminine behavior? Who might he be referring to from that play?
Q4: Typically, a comedy is a play that ends in a marriage or the promise of a marriage, so both plays qualify. But beyond the technical definition, are these really happy endings? Do the plays restore the promise of happiness for both parties? Or do they break off early (only One Act, after all) because extending it into a second or third act would veer into tragedy?
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