Abstract

This article for the first time states the problem of Socratic Man in Chekhov’s reception as an aspect of forming the Nietzschean significant legacy into author’s «new drama». The paper identifies typical traits of the Socratic protagonist and his functionality in Chekhov’s plays of the 1890s. Through the optics of the presence of this type of hero in the author’s later experiments for the theater, Dr. Dorn is considered. The author of this paper proves that the socratic principle is attached to him, which makes it possible to more accurately determine the place of this character in the integrity of the comedy «The Seagull».

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