Womans may portray a really naA?ve nature but their interior strength is sometimes incontestable. Women possibly sometimes vulnerable and incapacitated and controlled by work forces but they strive to liberate themselves from it. The word picture of adult females may be bound by society but their individualism sometimes triumphs. Nina and Komako, involvements me vastly as adult females. Komako is the supporter of the book Snow Country by Yasunari Kawabata whereas Nina is one of the cardinal characters of The Seagull by Anton Chekhov, as it does non hold a individual supporter. Nina is an draw a bead oning actress and Komako a geisha. Both are naA?ve, vulnerable and bound by society. Both characters are exploited by their work forces. But both have a alone strength their work forces do non hold. What we see is that persons are bound to the outlooks of the society. This essay will demo how the authors, Chekhov and Kawabata, portray the strength of these adult females against the odds.
The first common facet that I noticed about the two authors is that they bring out the individualism of adult females and their manner of populating life though they struggle throughout. In The Seagull, Chekhov shows Nina as a miss who yearns for freedom. Bound by the regulations of her parents, she still comes to execute at Treplev ‘s house though she was “ afraid male parent would n’t allow ”[ 1 ]her semen to execute. She is shown to do all her determinations harmonizing to her will. She leaves the countryside to travel to Moscow without confer withing her parents. The character of Nina is shown to be really existent, as the author has made her a really simple and apprehensible character. She comes from a in-between category, conventional and reserved household and hence has to contend this to go independent. Her parents do non esteem people in the playing or movie industry as they are “ wildly Bohemian ” and are “ afraid ” of her traveling on phase. The absence of the two characters on phase enhances the subjugation over her as we see the battle she goes through throughout the drama. Similarly, in Yasunari Kawabata ‘s Snow Country, the artlessness of the miss brings out the world in the character. The other facet of word picture that brings out the reality in the character is the fact that Kawabata has explored a existent state of affairs wherein in Japan we still find geishas. Kawabata has depicted the life of a geisha of the hot spring, Komako, who besides, like Nina, takes most of her determinations on her ain though there are some limitations to it as she is non wholly independent. She detests anyone noticing on her determinations. We can see this when she is seeing Shimamura away at the station and he tells her to “ travel on place ”[ 2 ]and non to “ be a sap ”[ 3 ], she asks him “ what say ”[ 4 ]he has in the determination that she makes. Another that brings out this point is when she tries to win his love knowing that he is traveling to return to his married woman. This shows the interior power of adult females to make what they want to but the society does non allow this. Through the word picture of the character of adult females in this book I feel that the two authors Kawabata and Chekhov support adult females in being independent and taking their ain lives and being strong. In both the books the authors make the reader connect with the characters through word picture, enunciation, phrases and words used. The authors show the similarities in civilizations though on opposite terminals of the universe, how ethical motives affect a society and how different it is from other societies. Besides the word picture of a geisha shows the cultural facet of Japan.
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The 2nd common point that I noticed in the two plants is the power of both the adult females over others be it personal or professional. In The Seagull, Chekhov shows Nina commanding Treplev unwittingly as he is in love with her. Nina and Treplev canvas on the same boat as both of them are fighting to go something in life and this helps them associate to each other. “ The really sound of her footfalls is so beautiful. I ‘m wildly happy ”[ 5 ]is what Treplev says when he hears Nina geting. What creates the suspense for the audience is the fact that he says this before Nina enters and they expect to see how Nina looks and reacts to Treplev. The other portion that I felt of import and important was when Treplev tells Nina “ I love you ”[ 6 ]and Nina hushes him and Tells him non to state it excessively aloud or person will hear. This besides, harmonizing to me, shows her laterality over him. In Snow Country, besides, we see that there is laterality of Komako but it is over Yoko and non Shimamura. When she tells Yoko to acquire her apparels and instrument from place and when she tell her to travel off, Yoko goes off at one time and does non reason. This shows the dominant side of the Komako in malice of the society she lives in. The ground for this laterality remains equivocal throughout.
Another common point between Nina and Komako is the work forces in their lives, their battle with and without them and how they came to be independent. In The Seagull we can see that Nina foremost falls in love with Treplev, though the love can non be seen through actions or enunciation. What we can detect is the intense love Treplev has for her. He takes her unfavorable judgment when she says that his drama is “ difficult to move, there are no populating people in it ”[ 7 ]The “ buss ”[ 8 ]they portion, to me, seems really formal and emotionless and besides the fact that she has the freedom to take between Treplev and Trigorin. On the other manus we see in Snow Country, Kawabata shows us that Komako had a soft corner for Yukio as Shimamura says that he was the “ merely one who saw ”[ 9 ]her off when she left for Tokyo and besides that she has written about him on the “ really first page of the really first volume ”[ 10 ]of her diary screening that he was the lone 1 in her life at that clip. This relation between Komako and Yukio remains a enigma to Shimamura and he besides wonders why she does n’t O.K. of him if he had done so much for her.
In The Seagull, when Nina returns to Treplev to state him what has been go oning in her life, she repeatedly says, “ I ‘m a sea gull ”[ 11 ]to demo how she has struggled but shows she is now independent. By adding “ No, that ‘s incorrect ”[ 12 ]it shows a important difference as even in the beginning of the drama she calls herself a seagull screening her yearning for freedom. It shows that she is now free and has a head of her ain. I feel that Nina and Komako began to fall in when they fell in love with richer and more successful work forces, Trigorin and Shimamura, severally. Both the work forces exploited them and so deserted them: Trigorin returned to his love, Irina, and Shimamura ‘s involvement grew in Yoko. In Snow Country, we foremost see Shimamura during his 2nd visit. He gets physically attracted to Yoko, demoing that rich work forces in those yearss would utilize a geisha and travel on to another. That is what we besides see in The Seagull that Trigorin uses Nina and leaves her. I feel that in those yearss and still in the present times, the rich abuse people below them. Both, Nina and Komako, battle but continue to happen their topographic point in the society.
The drama, The Seagull by Anton Chekhov, and the novel Snow Country by Yasunari Kawabata conveying out facets of the society of a water under the bridge period but the modern society besides have some of those facets for illustration the battle of adult females in a male ruling society. Womans in the present society are get downing to derive regard but they are still delicate and vulnerable in less advanced societies like small towns in distant countries in India. Chekhov breaks the conventions and has made this drama a comedy of life that trades with the battle of adult females. Kawabata uses the technique of inmedia remainder due to which the novel starts from the center. This helps make an equivocal ambiance and stirs the involvement of the reader. Both writers use word picture and enunciation to demo the civilization and their individualism. The authors have brought out the facets of their ain civilizations: Chekhov brings out Russian civilization and Kawabata brings out Nipponese civilization that is still prevailing in the present twenty-four hours. They show the reader that the adult females were determined to accomplish what they strived for and these authors besides conveying out the narrow mindedness of the people.