Tuesday, December 22, 2015

Christianity, The Bible and the Development of the Indian Languages:
                                                                                                                        Rajen Barua
          In spite of critical observation of disdain against religion of philosophers like Bertrand Russell and many others, we must admit that religion is, after all, responsible for some of the good things of our civilization. Besides astronomy and mathematics, the two prominent areas where religion had contributed indirectly, we may add that religion has also contributed immensely, to the development and spread of languages in general in the world. We may even say that religion was also mainly responsible for the spread of culture itself. From earliest times, people travelled to far off places mainly for two basic reasons: for business and for belief. Starting from the Hindu Vedas down to the Bible and the Koran, religion had been making a great impact on language and culture. Buddha did not name any of his followers to take his place after his death. Instead, he left his disciples only with one basic axiom: In my absence, the Law (Dharma) will be your guiding light; follow the Law, be a light unto yourself, and travel and spread the Law in unknown lands.
               True to the Law, the Buddhist monks from India travelled far and wide to unknown countries to spread Buddhism. The same Silk Road, which brought Chinese silk and Chinese noodles to the West, also was used to carry Buddhist sutras from India into China. It was with a religious zeal that King Ashoka adopted Buddhism and not only sent Buddhist monks all over Asia and the West to spread the Law, but he built hundreds of stone pillars, in a land spreading from India to Afghanistan, where he wrote his royal decree in Brahmi script to spread the Law. Today, it is these written words of Ashoka in Brahmi script which throw the first light on writing in India. We read of many Buddhist monks from India who went, lived and died in China only with one goal in mind: to translate the Buddhist sutras into Chinese language for the purpose of spreading the Law. We read of the prolific Indian writer Kumarajiva, who travelled to China in 401 AD, lived there, learned Chinese and wrote a total of about 47 books on Buddhist sutras in Chinese. Jinagupta, another Indian monk, went to China in the sixth century AD, and translated about 37 original Sanskrit works into Chinese. His great knowledge was so admired by the emperor of the T’ang dynasty who became his ardent disciple. Today, these Chinese books written by the Indian monks are considered jewels of Chinese Buddhism.
In similar line, Hindu priests went to many countries in southeast Asia and established the basic structure of local languages based on Sanskrit and Pali. From Burma (Myanmar) to far off Korea, religion carried the Devanagri script based on which the local scripts were developed. Religion also carried the popular story of Rama to all these southeast Asian countries. With the development of written words, the Sanskrit Ramayana was translated in almost all these southeast Asian countries — Ramakien (Thailand), Hikayet Seri Rama (Malayasia), Ravana Badham (Indonesia), Ramakavacha (Bali), Phra-Lak/Phra-Lam (Laos), Kakawn Ramayan (Java), Maradia Lawana (Philippnes), Yama Zatdaw (Burma), etc. Today, many of these countries have different religions. However, whether it is Islamic Indonesia or Christian Philippines, all these countries owe it to Hinduism and Buddhism for the development of their languages.
                    It was with the same religious zeal that we saw a new revolution of travel activities from the West to spread the words of Jesus Christ in the eighteenth century. Along with the British East India Company, came the Christian missionaries to India to spread the words of Christ. They came from different parts of the Christian West including America. Some important assumptions of the missionaries had been that non-Christian peoples must be approached in their own language; the missionaries must be persevering to acquaint themselves with the mind and customs of the people among whom they dwell; and in a country like India, where the vast majority of the inhabitants are illiterate, the spread of Christianity can be achieved only by oral proclamation. These basic principles led to the Christian missionaries not only to learning the local languages but also to writing the languages in Roman script or vernacular so that they can read it to the people.
               If we have to name a single person who is responsible for the total revival of Indian languages in writing, we must name Dr William Carey. Carey was born in England in 1761. It is his love of Jesus for which he arrived in India in 1793 and started the Baptist Mission in Serampore, a former Danish colony, near Kolkata. Carey died in Serampore in 1834. Along with Carey, several other missionaries joined the Mission from England, other parts of Europe and America. Over the years, their love for the people and Jesus prompted them to learn several Indian languages besides enabling them to translate the Bible into many languages of India.
                      The missionaries acted with diligence and love. They soon realized that while Sanskrit is the mother language, the Indian vernaculars were yet to be fully developed as vehicles of learning. But Carey and his team had ambitious plans. As a first step, Carey not only learned Sanskrit, but also translated the Bible (New Testament) into Sanskrit in 1808. He hoped that after the translation of the Bible into Sanskrit, “the work could now be extended to all the languages”. From Serampore, they travelled all over India. Eventually, Carey was instrumental in translating the Bible into Marathi, Hindi, Oriya, Punjabi, Assamese, and Gujarati. Carey also learned Telugu and Kannada to bring out the translations of the Bible in these languages. Later on, work on Pashto and Khasi were undertaken. On a rough estimate, we may say that Carey either worked or influenced heavily the translation of the Bible into as many as 35 languages.
                It, however, remained a great question whether these translations actually helped the spread of Christianity at all. Because there was also another school of thought that the translations were not only imperfect but distributing the translated copies of the Bible among the Hindus and Muslims often actually stopped the Hindus from wanting to know more about Jesus because they did not find anything therein that would make them to give up their religion in preference to Christianity. In fact, they found that the stories of Ramayana and the Mahabharata were much more exciting and romantic compared to the story of Jesus Christ. In fact probably the same logic went against the Buddhist Jatakas compared to the stories of Ramayana and the Mahabharata. Anyway, the Christian missionaries were not very successful in converting the Hindus and Muslims to the Christian faith in large numbers. In fact, Carey’s personal score on this count is next to nothing! That however did not deter him an iota from finding other avenues of service to His Lord and to the people he came to serve.
                  However, in the process, the missionaries achieved something in Indian regional languages, which was not achieved before. Their efforts have started the important process of modern prose writing in the vernacular languages. Although prose writing was not uncommon in the vernacular languages, till then the traditional practice of saying profound things was through the medium of poetry. It is Carey, more than any other European scholar-missionary, who really showed to the natives of India that prose could be an effective medium. They chose the medium of prose for his translation much against the traditional practice of saying profound things through the medium of poetry. It was the necessity to preach the goodness of Jesus Christ to all, not just the educated or upper classes that made him to choose the medium of prose for the translation of the Bible. It was the very same necessity that forced these translators to base their translation on the colloquial language rather than on the formal style of the language. Just this act of choosing prose as the preferred form for expressing messages in long texts enabled the modern Indian vernaculars to cross the traditional boundaries and break into a new world and establish their identity. It enabled every literate Indian to compose his thoughts in writing without the cultivated sophistication of poetry and express himself in much easier way.
                  Through the translation of the Bible and through various other publications the missionaries enriched modern Indian languages, encouraged prose as the preferred medium of expression for education, introduced a strategy of translation based on Sanskrit, and established procedures of translation as a team work. And in all these languages and dialects, Carey was breaking new grounds and laying the path for the development of these languages as a vehicle of education. It is no wonder than that Rabindranath Tagore, himself a master of Bengali, wrote: “I must acknowledge that whatever has been done towards the revival of the Bengali language and its improvement must be attributed to Dr Carey and his colleagues. Carey was the pioneer of the revived interest in the vernaculars.”
                    We may now look closely how the missionaries’ work helped in the revival of the Assamese language. The mission in Assam was opened in 1836 by Nathan Brown, Miles Bronson and OT Cutter. Nathan Brown, who was an American missionary, was born in the year 1807 in New Ipswich, New Hampshire. He was associated with the Haystack Movement that began unofficially at Williams College in Williamstown, Massachusetts. He attended Williams College at the age of 16, graduating at the top of his class in 1827. After finishing missionary training, he travelled with his wife to Burma, with an intent of translating and publishing the Bible in Burmese. However, as fate would take them, he along with Rev Oliver Cutter and Rev Miles Bronson was asked to go to Assam.
The first station of the mission was in Sadiya. They selected Sadiya mainly for geographical reasons; located on the eastern part of Assam, Sadiya is only 400 miles north of Ava, the old capital of Burma, near present Mandalay, and about 200 from Yunnan in China, on the borders of China. In Assam, the Christian missionaries began a much more successful mission at least so far as publication work was concerned. A printing press was established by Cutter, and the translation of the New Testament into Assamese was begun by Dr Brown in 1838. Miles Bronson published the first Assamese-English Dictionary in 1846, and Nathan Brown published an Assamese grammar in 1848, and a translation of the New Testament in Assamese in 1850. In 1851, the second edition of the New Testament was issued, and a revival of religion, with large additions to the churches, followed.
                    Mr Bronson then took initiative to open a mission amongst the Nagas, in their hills, but on account of the unsuitability of the climate, he changed his residence to Nowgong (Nagaon), where he baptized the first Assamese convert on June 13, 1841. The Nowgong Orphan Institution was for several years a fruitful part of the mission work, for in it many were converted and trained for usefulness. The school was dispersed after twelve years, but more native helpers were brought out of this school than from any other source. Other stations were occupied in succession by new missionaries — Ward, Whiting, Danforth and others, whose labours were crowned by abundant blessings. In 1857, at the time of the Sepoy Mutiny, much apprehension was felt; but the storm passed, and not a hair of the head of any missionary was touched. Perhaps the most interesting outcome of the mission was the association of the Assamese writer-philosopher Dr Hemchandra Barua, who studied English at the mission. Dr Barua later became editor of the mission’s local language magazine Orunodoi and went on to become the publisher of The Assam Times, wherein he did much crusading for equal education of women and men, elder rights and other issues. As a reformer, Dr Barua was an influence and inspiration for Nathan Brown. In the process, the Christian missionaries did two great services to the Assamese language. First, the missionaries along with many Assamese educated people convinced the British that Assamese is not a sibling of Bengali. Most probably, Dr Nathan Brown was the first grammarian to dismiss the idea that Assamese could be a dialect of Bengali. It was at their insistence and convincing arguments that the British finally lifted Bengali from the schools of Assam and introduced the Assamese language.
                The second great contribution the missionaries did was to revive the Assamese language itself from its deathbed in the wake of the Burmese aggression. They did it with the simple act of
translation of the Bible into Assamese in prose. The prose they used was the conversational prose which was not used for literary purpose in Assamese before. A review of the text will prove the point. Dr Brown edited Dr Carey’s translation of the New Testament and published the first Bible in Assamese in Roman script in 1837.
                Following is an excerpt from this Bible in Assamese (Sermon on the Mount — in Ásámese. Yéshu Khrístor Upadehor Kothá) in Roman script.
“Olubhimani manuhbilak h’ukhia; kionu horogor raijy h’ibilakor. H’uk kora manuhbilak h’ukhia; kionu h’ibilake h’antona pabo. Namro manuhbilak h’ukhia; kionu h’ibilakor prithibir odhikar hobo. Jibilak poromarthor nimitte bhuk and aru piah lagishe, h’ebilak h’ukhia; kionu h’ibilakke trpti pabo. Daialu manuhbilak h’ukhia; kionu h’ibilake daia pabo. H’uddh-sit manuhbilak h’ukhia; kionu h’ibilake Ishworok dekhibo, don bhanguta bilak h’ukia; kionu h’ibilake Ishworor lorahout buli prokhyat hobo. Jibilak poromarthor nikune bipokhyato pai, h’eibilak h’ukia; kionu sorogor raijy h’ibilakore. Jetia manuhonte tumalokok ninda kore, aru khede, aru mur nimittr tumalakor falor atai beya kotha misakoi bule, tetia tumalak h’ukia; h’e bela anondit hua, aru bor rong kora, kionu sorogot tumalakor bor fol ase. Jibilak bhobishyad-bokta tumalakor agoi asil, h’ebilakok h’ibilake enekoie bipokhyota korisil...”
যিশু খৃষ্টৰ উপদেসৰ কথা
"অলুভিমানি মনুহবিলাক সুখীয়া; কিয়নো সৰগৰ ৰজ্য সিবিলাকৰ। শোক কৰা মানুহবিলাক সুখীয়া; কিয়নো সিবিলাকে সান্তনা পাব। নম্ৰ মানুহবিলাক সুখীয়া; কিয়নো সিবিলাকৰ পৃথিবীৰ আধিকাৰ হʼব। যিবিলাক পৰমাৰ্থত কাৰনে ভোক আৰু পিয়াহ লাগিছে, সেইবিলাক সখু ীয়া; কিয়নো সিবিলাকে তৃপ্তি পাব। দয়ালু মানুহ বিলাক সুখীয়া কিয়নো সিবিলাকে দয়া পাব। শুদ্ধ চিত মানুঅহ্বিলাক সুখীয়া; কিয়নো সিবিলাকে ঈশ্চৰক দেখিব। দন ভঙা মানুহবিলাক সুখীয়া কিয়নো সিবিলাক ঈশ্চৰৰ লʼৰাহত বুলি প্ৰখ্যাত হʼব। যিবিলাকে পৰমাৰ্থৰ নিকুনে বিপখ্যাতো পাই, সেইবিলাক সুখীয়া সৰগৰ ৰাজ্য সিবিলাকৰে হʼব। যেতিয়া মনুহহতে তোমালোকক নিন্দা কৰে. আৰু খেদে, আৰু মোৰ নিমিতৃ তোমালোকৰ ফালৰ আতৈ বেয়া কথা মিছকৈ বোলে, তেতিয়া তোমালোক সুখীয়াঃ সে বেলা আনন্দিত হোৱ, আৰু বৰ ৰঙ কৰা, কিয়নো সৰগত তোমালোকৰ বৰ ফল আছ। যিবিলাক ভৱিষ্যত বক্তা তোমালোকৰ আগত আছিল, সেইবিলাকক সিবিলাকে এনেকৈয়ে বিপখ্যতা কৰিছিল ..."
               The missionaries tried to use the colloquial pronunciation of the Assamese language as spoken by the common people. Among other sounds, they used the letter ‘h’ to denote the Assamese sound: xa.
             In order to understand the impact of this prose writing in Assamese, we must understand that although prose writings were there in Assamese long before, those were in Guru Charit and other books, and the language was different. The Christian missionaries were the first who started Assamese prose in colloquial conversational style. This simple pioneering act of writing Assamese prose in colloquial language freed the language and brought it to the common people. Till then the literary works were the exclusive property of the Assamese scholars who knew Sanskrit too. This process of writing prose in conversational language started the great revival of the Assamese literary writings through the newspaper Orunudoi, published from Sivasagar. The impact of this revolution may be seen in the creation of the Assamese novel. A great literary form, the novel is a western tradition. Before the Christian missionaries, most Indian writings were in poetry. The first Indian novel was written in Bengali, and it was due to the foundation of prose established by the missionaries. It was again due to the Christian missionaries that Assamese did not lag far behind. The Christian missionaries wrote a book in Assamese 1860s titled Kaminikanta. Many consider that book to be the first Assamese novel. It is also due to such writings that eventually we find Rajani Kanta Bordoloi who wrote the first full-fledged Assamese novel titled Miri Jiori in 1892 only 25 years after  the first Indian novel Kapalkundala in Bengali.
                    Those were the critical times for the Assamese language, and this achievement itself seems amazing, especially when we consider that Assamese language has been suppressed for fifty years by the Bengali language. I think in case of the Assamese language, we should go a bit beyond crediting the Christian missionaries for revival of the language, because it is almost impossible to imagine what fate would have been for the Assamese language without the active participation of them.
(Article published in The Assam Tribune, Guwahati, Assam, India, 11 June, 2005)

Sunday, December 20, 2015

T.S.Eliot
Space and Time
If space and time, as sages say, Are things which cannot be,
The fly that lives a single day Has lived as long as we.
But let us live while yet we may,
While love and life are free,
For time is time, and runs away,
Though sages disagree.
The flowers I sent thee when the dew
Was trembling on the vine,
Were withered ere the wild bee flew To suck the eglantine.
But let us haste to pluck anew
Nor mourn to see them pine,
And though the flowers of love be few
Yet let them be divine.

মহাকাশ আৰু মহাকাল
বিজ্ঞানীসকলল ককাৱামলে যবি মহাকাশ আৰু মহাকাল িবু ল িটু া বিন্ন িস্তু নাই, কেলনহলল এবিন মাল ান জীযাই    কা পবিলা এটাৰ জীৱন    হি আমাৰ সমালনই।
মঠুলেজীৱনআৰুকেমমকুবলিালিকপাৱালললক জীৱনলটা আবম বযমান পালৰা    ালকা আহক জীযাই, বকযলনা বিজ্ঞানী সকলল ক ালটা কনমাবনললও সময হল সমলযই, আৰু ই উবৰ গৈলে সিালযই।।
বনযৰৰ কটাপাল পবৰ কবপ    ালকালেই ডাল বিবি কোমালল পলঠাৱা ফু ল বিবন কৈালাপে কমৌ সুবহিলল কিালমাৰা আবহ পৰাৰ আৈলেই কয ৈল মৰবহ।
বপলে অকলনা পলম নকবৰ আৰু আলকৌ মৰবহ ৈলল অকলনা িিু

Saturday, December 27, 2014

Give me the Splendid Sun = Walt Whitman

~~আমাকে দিয়ো সেই প্রচণ্ড মৌন সূর্য (হুইটমেন)~~

আমাকে দিয়ো সেই প্রচণ্ড মৌন সূর্য
তার পূর্ণ জ্যোতিষ্মান রশ্মির সাথে;
আমাকে দিয়ো রসে ভরা বাগানের ফল
লাল পাকা সতেজ শরতের;
আমাকে দিয়ো একটা খোলা মাঠ যেখানে থাকে না কাটা ঘাস;
আমাকে একটা গাছ দিয়ো, দিয়ো চাং পাতা আঙ্গুরের থোপা;
আমাকে দিয়ো গোমধান আর ঘেহু
দিয়ো সন্তুষ্টির শিক্ষা, দিয়ো শান্ত হবে থাকা জন্তুদের;
আমাকে দিয়ো সম্পূর্ণ নি:শব্দ রাত্রিগুলো
মিচিচিপি পশ্চিমের উচ্চভূমির মতো,
আর আমি যেন মাথা তুলে দেখি তারকামণ্ডলে;
আমাকে দিয়ো সূর্যোদয়ের সুগন্ধি সুভাসে ভরা একটি ফুলের বাগান
যেখানে আমি খোজ দিতে পারি নির্বিবোধে।

An Introduction to Buddhism

Assam, Oxom aru Ahom Namor Utpotti

Assam - The Ethnic Corridor of Asia

Thursday, December 25, 2014

Chekhov and the Seagull



 Chekhov and the Seagull

The great Russian writer, Anton Pavlovich Chekhov, is generally considered the greatest short story writer of
the world. Like that of millions of other fans, he is also my most favorite writer. So when my wife one day
suggested that we may go to watch the ‘Seagull’, a play of Chekhov that was being staged in the Alley
Theatre in our home-city, Houston, I jumped on the idea. Besides the joy of entertainment from a famous
play being staged in a world renowned stage, my interest was also literary. So far I was mostly familiar with
Chekhov’s narrative fictions, the short stories, some of which I also have translated into Assamese.
However, I was not quite familiar with any of his dramatic form of literature. So to make the best of things, I
hurriedly picked up, on our way to the show, a copy of Chekhov’s ‘Five Major Plays’ so that I could equip
myself fully well to peek into his literary world while watching the play.


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very close as if the play was performed in our very own drawing room.
I cannot explain the in words the joy
and thrill that I derived from the whole experience of watching the ‘Seagull’.
However, before we talk about the play, we must talk about Chekhov and his life. Chekhov was born in 1860
in Taganrog, a small and declining port on the Sea of Azoz, six hundred miles south of Moscow. In his
childhood, he had to work hard to make living for himself and for his brothers and sisters.
Working on odd jobs, he studied on his own, and graduated from grammar school in 1879. Then he managed a scholarship and studied medical at the Moscow University from which he graduated in 1884. He was a man of many talents and interests. During his short life, Chekhov (1860-1904) played many roles – medical doctor, landowner, environmentalist, social activist and others. In 1890 he made a journey to the Sakhalin island, across Siberia and returned by sea; and in 1891, he completed a tour of Europe where he ‘drank excellent wine and ate oysters’.    e started writing short stories to make a living.    I began to write in 1879. My collected works include short stories and a novel, the Duel. I have also sinned in the realm of drama, although in moderation. Among writers my preference is Tolstoy.” As a matter of fact his prose output was
extraordinary, and he wrote about 600 short stories, thousands of letters, and some dramas.
Literature was however never Chekhov’e main profession. According to his own confession, “Medicine is my lawful wife and literature is my mistress. When I get tried of one I go to the other”. It is interesting to note his remarks about his dramas, “I have also sinned in the realm of drama, although in moderation.” He always considered short story as his main stay and whereas drama was merely his ‘flamboyant, rowdy, impudent, exhausting mistress.” This remark is interesting in view of the fact that today he considered the best playwright next only to Shakespeare.
So far as his short stories are concerned, Chekhov has an uncanny and incomparable ability to write pages where virtually nothing happens. In fact, in many stories, Chekhov’s heroes, like Hamlet of Shakeaspeare, fails to take decisive actions. Yet as you finish the story you are aware that something deep and wonderful about human character has been revealed. Chekhov's sense of mood and characters practically overrides his need to provide a predictable plot. This elusiveness – a feature of both the life and the work – is a large part of what gives him his enduring fascination, as well as his striking modernity. In Chekhov, literature seems to renounce the magic of artifice, ceremony and idealization, and we are faced with a reflection of ourselves in our own ordinariness as well as our strangeness. This ordinariness seems to some extent Chekhov’e birthright. Needless to say that in this he is inevitably the forerunner of many of the later modern writers including Ernest Hemingway and many other modern American writers.
If we analyze his plays, we find that although the form is different, the affect may be similar. Although he was not initially successful in drama, today the modern critics think of him otherwise. Of his seven full-length plays, four (Seagull, Uncle Vanya, Three Sisters and the Cherry Orchard), are most frequently translated and widely produced all over the world, second only to Shakespeare. The influence they have on modern theatre is incalculable. Today, many critics consider Chekhov arguably “the greatest playwright of the modern period”, and they try to find precisely what are secrets of his literary success, and what constitutes his originality as a dramatist.
One of the riddle of this dramas may lie in Chekhov’s failure to adopt a conventional moralizing attitude. Yet some plays have its own unconventional, paradoxical, characteristically Chekhovian moral: Do not moralize. In his dramas, characters move among shadows; the ground is nowhere firm beneath their feet; virtue goes wholly unrewarded. It may be said that like most great writers for theater, Chekhov seems more interested in illuminating the human condition in general than presenting the specific problems of his own society. And Chekhov did indeed have his own special view of mankind. To him human affairs were flatter, duller, less eventful, and less heroic, than they were to earlier playwrights. As a dramatist and short story writer, it may seem that he implies an acceptance of Henry Thoreau’s thesis that “the mass of men leads lives of quiet 

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Literature was in his blood, an interest he inherieted from his parents. Initially, h
About his own writing he wrote “
desperation.” Chekhov continuously suggests the opposite that human existence is more pointless, more frustrating, less heroic, less satisfying than members of his audience may privately conceive.
Some of these, we may try analyze in the Seagull from a close encounter. The plot of the Seagull is indeed very simple. Arkadina, a famous and successful actress, is spending the summer on her brother Sorin’s country estate, accompanied by her lover, a well-known novelist, Triggorin. Her son, Konstantain, himself an aspiring writer, has written a play which is to be performed that evening by Nina, daughter of a neighboring landowner, with whom he is rapturously in love. Masha, the daughter of the state manager, is secretely in love with Konstantain, but Medvedenko, a schoolteacher in the small town, in turn loves her. She confesses this to Dorn, a doctor, who himself has been secretly the lover of her mother Paulina. The Seagull begins with the preparations for the performance of Konstantain’s play...
Thus in one way, we may say that Seagull is a romantic play where almost everybody is in love with somebody else. In another way we may say that it is a play where all the characters are dissatisfied with their lives. Some desire love, some desire success and some desire artistic genius; and no one, however, ever seems to attain happiness. Thus the Seagull may be said to be a tragic play about eternally unhappy people. Then again, others see it as a humorous albeit bitter satire, poking fun at human folly. In fact the play is something more than all these. Behind all these, it deals with human love, human life, art, artists and writers. Typical of many of his plays, the Seagull does not have a single hero or heroine. Instead it has multiple heroes and heroines; the play has two actresses, two heroines, two writers and many lovers. Thus as we go through the drama, we find enough material that deals with basic human love, human life and human folly. Following highlights may make the case more clear.
Love too is inevitably frustrating whether in his stories or in his plays. Chekhov tries to depict the real life instead of what we normally find in books. Thus in Seagull, we find Masha talking to Trigorin about her frustrated love with Konstantain, “I am quite brave so I decided to wrench this love out of my heart and uproot it. Do you know how? By getting married to Medvedenko. Because, when I am married I shan't bother about love, new worries will drive out the old, and anyway it will make a change.”
As said, the cast consists of two writers; one a successful writer and the other a upcoming writer who ultimately committees suicide. Chekhov himself being a sucesfull writer, we find some rare insight into the life of a writer, and allow us to see what stuff writers are really made of.
Nina asks Trigorin the writer to speak how it feels to be a successful writer. Well, the response was again allusive. Trigorin speaks, “Well I am a bit moonstruck too. Haunted day and night by this writing obsession. I must write, I must – Hardly have I ended one story when somehow have to tackle another then a third and fourth on top of that. I am always writing, never stop, can’t help it. What is wonderful and brilliant about that? It is such a barbarous life. Here I am talking to you and getting quite excited, yet I can’t forget for a second that I have an unfinished novel waiting for me. ...I can never relax and forget, I feel I am wasting my time. ... I feel I am taking pollen from my best flowers, treating them tearing them up and stamping on roots – all to make honey that goes to some vague, distant destination. I am mad, I must die. ...Yes writing is pleasant enough... “ At other parts, the play also talks about the upliftment that an artist feels when he is creating. At one point, Dorn talks about what a writer must need to have, “And then work must express a clear, precise idea. You must know why you write or else if you take this picturesque path without knowing where you are going you will lose your way and your gifts will destroy you.” From the above, one would feel as if one is getting the no nonsense real nuts and bolts of a writers life which is a hard life.
And then the Seagull is about common human life and shows that while love may be frustrating, there is enough common love and affection for everybody.


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After seeing the Seagull I suddenly got not only an illuminating light about love and life, Chekhovian style, but also got a very clear sense of the difference in style between his short stories and the dramas. The short story generally deals with a hero, an event or so to say a vertical slice of lie. The Seagull, on the other hand gave us a series of horizontal slices of several many lives. Is that then the basic difference between the two literary forms: the short story and the drama? I would like to explore. If it is, Chekhov’s plays may have more for us because it is no wonder that some critics call his plays ‘centrifugal’ by contrast with other ‘centripetal’ dramas. Anyway, after watching Seagull, I now eagerly wait how and when I see his other major plays such as the ‘The Cherry Orchid,’ and anticipate the joy and thrill it will bring to me.
In conclusion, we may try to see what Chekhov really thought of art itself. He said, “One fine feature of art is that it doesn’t let you lie. You can lie in love, in politics, in medicine; you can fool people and God – such cases do exist – but you can’t lie in art”. The great Russian master, Leo Tolstoy (1828-1910) whom Chekhov considers as the ideal master, also said the same thing about literature according to whom art tells the truth because it "expresses the highest feelings of man." Tolstoy who was much older than Chekhov had great love for Chekhov, but he did not like Chekhov’s plays. Tolstoy told Chekhov once, “A playwright should take the theater-goer by the hand, and lead him in the direction he wants him to go. And where can I follow your character? To the couch in the living-room and back—because your character has no other place to go.” They both—Tolstoy and Chekhov—laughed at these words. Needless to say, Chekhov was hurt. It is said that Chekhov’s only consolataion was that Tolstoy also did not like the plays of Shakeaspeare.