Writers frequently make usage of imagination to convey significances. Colour is one of the chief types of imagination used by Anton Chekhov and Yasunari Kawabata in their creative activities The Seagull and Snow Country severally. The universe around us is full of colorss. Colour is something which affects or reflects one ‘s temper. Colour adds deepness to the nature of the object and makes the reader associate the emotions with it. There is an intrinsic usage of coloring material in both the books to propose non lone emotions but besides thoughts. Therefore, I will be researching “ The usage of black, white and ruddy in the plants The Seagull by Anton Chekhov and Snow Country by Yasunari Kawabata. ”
Anton Chekhov opens his drama The Seagull with the line being said by Medvedenko inquiring Masha a inquiry: “ Why do you have on black all the clip? ”[ 1 ]This portrays that there is a sense of unhappiness prevailing in the beginning of the drama itself. Chekhov uses this coloring material to demo the unhappiness of the character Masha and her attitude towards life picturing it as dejecting and humdrum which is obvious by her self-contradictory answer “ I ‘m mourning for my life, I ‘m unhappy ”[ 2 ]. Here Masha is characterized to be glooming. We subsequently know that because she loved Treplev but it is unanswered love. He uses a paradox to picture her reply to the inquiry asked in the old line. This is enhanced when Trigorin, the celebrated author notes down points about Masha in his book: “ Always wears black. ”[ 3 ]He brings into play the civilization of this Russian community where black vesture is unusual and is used for mourning. Chekhov once more makes usage of black in the conversation between Trigorin and Nina. Chekhov smartly illustrates Nina ‘s status of her household and friends disliking her to the readers by the maxim “ I ‘d populate in the loft on black staff of life. ”[ 4 ]Through this maxim, the dramatist depicts a society where actresses were considered to be ‘wildly Bohemiour ‘[ 5 ]. To foreground the demoralizing state of affairs, Nina ‘s duologue includes her preparedness to populate in a loft if she could be a successful actress, even if her household and friends disapproved of her profession. Chekhov intellectually describes the fortunes of the demoralized Nina caught between her passion for moving and her household ‘s disdain of it.
In both these illustrations, ‘black ‘ has been used to foreground the soul-destroying state of affairss of Nina and Masha in The Seagull.They both accept the letdown in life and go on to last despite the wretchednesss in their life. Nina even pursues her dream at the terminal of the drama.
Similarly Yasunari Kawabata in his book Snow Country besides uses black as a symbol to picture the sadness and solitariness of Komako when it was clip for Shimamura was to go forth for Tokyo. This is a natural feeling felt by all worlds when a close one departs. Alternatively of straight picturing the solitariness felt by Komako, Kawabata makes usage of personification and the thing that he incarnates here is her black hair. This can be seen when he says “ Komako ‘s excessively black hair was a small touching, a small sad, in the solitariness of the shady mountain pocket. ”[ 6 ]This depicts the sense of solitariness Komako is already experiencing even before Shimamura had already left in malice of being surrounded with snowy mountains and cool zephyr. It in a manner shows her love for Shimamura and the feeling of emptiness in her bosom for him by the idea of his going although they were ever excessively far despite the fact of being close together. “ A black shawl was thrown over the full flesh of her shoulders, and her cheeks were fantastic fiery ruddy ” .[ 7 ]He makes usage of black to depict the garb of the miss who sat besides Shimamura in the train when he was go forthing for Tokyo. The above quotation mark gives us the thought of how cold it was at the Snow Country. The consequence used by Kawabata to depict the conditions makes even the readers shiver. Here black is non been used to stand for glumness but alternatively to add strength to the conditions. It besides shows how Shimamura is tie ining this alien to the geishas Yoko and Komako.
In contrast to black, the two authors Anton Chekhov and Yasunari Kawabata make usage of white coloring material. Yasunari remarks on the scene of his work in the 2nd line “ The Earth lay white under the dark sky ” .[ 8 ]He uses the color white to lighten up the scene which is dark as it occurs at dark. There is a contrast drawn between the dark skies and white which is wholly different and opposite to each other. He contrasts the two facets to portray the beauty of the nature by the usage of paradox. In another illustration, “ She started to smile through the midst, white geisha ‘s pulverization ”[ 9 ], Kawabata describes the manner Komako smiled cutting furrows through her geisha pulverization and in a polite manner remarks on the exposure of Komako. White symbolises pureness. Again in the description, “ The idea of the white linen, spread out on the deep snow, the fabric and the snow glowing vermilion in the lifting Sun, was adequate to do him experience that the soil of the summer had been washed off, even that he himself had been bleached clean. ”[ 10 ]depicts the civilization of Tokyo where people wore Chijimi linen. Yasunari uses the color white to depict the beauty and pureness of the linen. The limpidness of the fabric can be felt when the author expresses Shimamura experiencing fresh holding thought about the white linen. This parallels his determination to cleanse himself by returning to Tokyo, and his married woman. The readers notice his development of the geisha, Komako.
Chekhov makes usage of the coloring materials white non in the beginning of his drama but in the beginning of his character ‘s Treplev ‘s drama. He uses white to picture the pureness of the character Nina in this drama within the drama. “ The drape rises, opening on to the lake. The Moon has risen above the skyline and is reflected in the H2O. NINA ZARECHY, dressed in white, is sitting on a bowlder. ”[ 11 ]Treplev uses this to picture the World Spirit. At the same clip, to make a scene of simpleness and pureness and heighten the personality of his character, Nina, Chekhov makes usage of white. This image is strengthened when Trigorin tells Nina in Act 3 that he would retrieve her in the frock she wore when they were walking near the sea gull: “ We were speaking and there was a white bird lying on the bench. ”[ 12 ]This links up with rubric of the drama. The audience sees that the Seagull is a symbol of Nina at this point.
Apart from the two contrasting colour the two above authors besides make usage of ruddy to make a specific temper or emotion. First both usage red coloring material to notice on the beauty of the scene be it natural or unreal.
Yasunari utilizations red to picture the beauty of the face of worlds. “ Yoko closed the window and pressed her custodies to her ruddy cheeks. ”[ 13 ]In the above phrase, Yasunari uses ruddy to picture the Komako ‘s intense emotion. The coloring material ruddy signifies the strength of winter every bit good as Komako ‘s with a few pages of this, Komako describes: “ The mountain sky still carried hints of flushing ruddy. ”[ 14 ]Here ruddy is used to depict the beauty of the nature and in this quotation mark it stresses on the clip of sundown. He tries to make a beautiful ocular imagination to pull the readers.
Chekhov uses ruddy for ocular imagination in Treplev ‘s drama to demo Treplev ‘s invention: “ Two ruddy musca volitanss appear over the lake. ”[ 15 ]He uses the ruddy coloring material to pull the attending of his readers to demo the contrast between the World Spirit which Nina represents and the Devil, the rule of “ Matevial Force ”[ 16 ]symbolised by the ruddy musca volitanss.
Chekhov utilizations red non of course happening but unnaturally likely as remark on symbolism, Irina scoffs at Treplev “ Was that truly necessary? ”[ 17 ]while Dorn says to himself “ When the ruddy eyes appeared, my custodies shook with exhilaration. It was all so fresh and guiltless. ”[ 18 ]Kawabata utilizations red happening of course in nature every bit good as in human characteristics. The geisha and the hot springs merge in our heads to make a sense of poignancy at the unhappiness of state of affairss.
We can see that our inpretation of colorss as symbol or imagination is an rational exercising in Chekhov ‘s The Seagull and an emotional experience in Kawabata ‘s Snow Country.
Snow state by Yasunari Kawabata. Translated by Edward G. Seidensticker.
Anton Chekhov Five Plays, The Seagull. Translated by Ronald Hingley.