out of young Russia. The intellectuals were deprived of every outlet: all the social channels were closed to them, and they found themselves without hope or faith, not having yet learned to make common cause with the people.
Tchekhof could not escape the atmosphere which darkened the horizon of almost the whole of Russia. It was because he so intensely felt its oppressive weight that he longed for air, for light, for new and vital ideas. To awaken the same yearning and faith in others, he had to picture life as it was, in all its wretchedness and horror.
This he did in "the Seagull," while in "The Cherry Orchard" he holds out the hope of a new and brighter day.
In "The Seagull" the young artist, Constantine Treplef, seeks new forms, new modes of expression. He is tired of the old academic ways, the beaten track; he is disgusted with the endless imitative methods, no one apparently capable of an original thought.
Constantine has written a play; the principal part is to be acted by Nina, a beautiful girl with whom Constantine is in love. He arranges the first performance to take place on the occasion of his mother's vacation in the country.
