![Sample our Humanities journals, sign in here to start your FREE access for 14 days]({"type":"image" , "src" : "/sda/5939/TOC-Subject-Sample-2021-Humanities.jpg"})
Abstract
This article examines the functions and dimensions of Chekhovian language. The authors make observations within this analysis which apply to the playwright's major works, and The Sea Gull in particular. The analysis is performed in relationship to Chekhov's creation of dialogue, characterization, and imagery. Dialogue is seen to measure the nature of a relationship more than provide an interchange of direct literal significance. Characterization appears to develop as a function of the dynamic interaction between a character's self‐preservation and his/her situation context and to be achieved within the linguistic structure of the play through the use of dissonances between what a character says and what is known about him/her, or harmonies evident when characters demonstrate complementary tendencies, and through the creation of characteristic modes of communication. Finally, imagery is seen to evolve as a function of the spiritual life of a character, acting as a communicative device depending upon its ability to provide shared meaning with other characters. The argument is made that a communicative analysis, such as this one, allows the director insights about a literary work at a secondary level, providing a more dynamic interpretation from which to stage its production.