ABSTRACT
. . . ‘The Sea-Gull’, which has not been seen in London for some years, may fitly be compared with Ibsen's ‘The Wild Duck’ by reason of the symbolism as well as of the ornithological titles possessed by both of them. ‘The Sea-Gull’ of Anton Chekhov, shown stuffed at the end, stands also for Nina, the heroine, who becomes an actress after going wrong with a popular writer, Trigorin, and who gains faith in her artistic capabilities, unlike her unfortunate young lover, Konstantin Treplev, who, at a second attempt, succeeds in committing suicide. The latter's mother, Irina Arkadin, another actress of the conventional type against which the Russian dramatist of ideas, so called, inveighs in his advocacy of new forms of expression, had for tame cat Trigorin, with whom she and the yielding Nina have both scenes of passion.
