Discussion Topic
Comic and Satirical Elements in Chekhov's A Marriage Proposal
Summary:
Anton Chekhov's "A Marriage Proposal" employs farce to satirize the courtship rituals of the Russian upper class, highlighting absurdity and exaggeration through comical stereotypes and slapstick elements. The play critiques marriages based on economic necessity rather than love, as characters like Lomov and Natalya argue over trivial matters, emphasizing their neurosis and lack of genuine affection. Chekhov uses humor through dramatic irony, exaggerated character traits, and absurd situations to ridicule the superficiality and hypocrisy of upper-class marriage practices.
In "The Proposal" by Anton Chekhov, how does satire convey the play's tone?
Anton Chekhov's "The Proposal" is usually classified as a farce, rather than satire, because it is a short work that focuses on a single idea in a limited way with comical stereotypes such as the hypochondriac [Lomov], the shrew [Natalia], and the hypocrite [Tschubukov]. Farce is further identified by exaggeration and absurdity, two other elements in Chekhov's one-act play.
As a farce, then, "The Proposal," or "The Marriage Proposal" as it is often translated, sets a tone of absurdity with such elements as slapstick. Such exaggerated actions that exceed the limits of common sense are exemplified in Lomov who gulps down water, puts his hand over his heart, runs to the door and "staggers out." Â After he leaves, Natalia becomes "hysterical," falling back into an armchair "and groans" for some time. The quick turn of feeling from cordiality to hurling of insults such as Lomov's calling Tschubukov...
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a "Swindler" and his returning the insult to Lomov, terming him "Intriguer!" also exemplifies slapstick as does Tschubkov's screaming that he will kill himself and his later rushing between his daughter and Lomov as the suitor begins to faint, crying that he is dying. Joining the hands of his daughter and neighbor, Tschubukov shouts,
"Get married! She's agreed! Only leave me in peace!"
Thus, the farcical basis of "The Proposal" is the fact that Lumov himself is never able to propose.
Another form of slapstick humor is practical jokes, such as the one that the father plays upon his daughter. When Tschubukov, instead of telling his daughter that Lumov has come to propose marriage, informs her that there is "a dealer who has come to buy something."
These elements of exaggeration and absurdity set the tone of ridicule by Chekhov in depicting the pettiness of Russian landowners who place the consideration of property and personal pride over love and marriage. Their hypocrisy is also depicted in the placement of economic considerations over those of love and romance.
How does Chekhov use satire in A Marriage Proposal?
Chekhov aims directly at the couple in his one-act play "A Marriage Proposal" by putting forward a commonality of the time *(the late 1880's) which was that snobby, rich families would start seeking courtships for their coming of age children to other rich families. The foolishness of the snobbery and excessive poshy attitudes makes the characters quite funny, enter the couple.
During the moment of the declaration of his marriage proposal to Natalya, we see the real weakness of Lomov's character: He is a hypochondriac, he is nervous, anxious, and even gets palpitations that forbade him from proposing properly. Natalya, on the other hand, equally as neurotic as Lomov, and prone to hysterics. Durinf the entire proposal scene they couple was so anal retentive that all they did was argue. They had three major arguments about nonsense, and we find everything in the course of events from fainting, to shaking, to running away, to almost passing out. All in that short time, and for that reason. Once Natalya finds out the purpose of Lomov's visit she nearly dies, screams for her father to bring him back (he had fled the house in a fit) and as he is brought back all starts over again.
This is how something as simple as a proposal, a moment so poignant and romantic, turned into a total disaster.
What is the target of Chekhov's satire in "A Marriage Proposal"?
In A Marriage Proposal, Chekhov satirizes the courtship rituals of the upper class by emphasizing the land exchange between two wealthy families over love in the proposal scene. Lomov begins his attempt at a proposal by speaking about their families' land ownership:
"You must know, honoured Natalya Stepanovna, that I have long, since my childhood, in fact, had the privilege of knowing your family. My late aunt and her husband, from whom, as you know, I inherited my land, always had the greatest respect for your father and your late mother."
The two then argue extensively over whose family owned a certain plot of land until Lomov leaves without proposing. Their argument further satirizes the rich by characterizing them as extremely neurotic and sensitive, to the point of having heart palpitations and panicking over an argument about land ownership. When Lomov returns, the two argue instead over who owns the superior dog until Lomov faints from the stress. He awakens to Natalya's father urging him to marry, and responds "Eh? What? To whom?" The object of Chekhov's satire is the rich, for both their excessive sensitivity and their entirely loveless rituals of courtship and marriage.
References
What are the comic effects in Chekhov's A Marriage Proposal?
Anton Chekhov's A Marriage Proposal is an hilarious little play filled with all kinds of comic effects. From the very beginning, for instance, Stepan Stepanovitch Chubukov (whose name even sounds funny) uses a series of over-the-top terms of endearment as he speaks to his neighbor, Ivan Vassilevitch Lomov. He calls Lomov everything from "my darling" to "my angel" to "my precious," but he really doesn't mean it. In fact, Chubukov is positive that Lomov has come to borrow money, and he is determined not to give him any.
Lomov stammers and sputters as he finally gets around to make his actual request. He wants to marry Chubukov's daughter, Natalya Stepanovna. Chubukov is thrilled, kisses Lomov, tells him he has always loved him as a son, and goes to get Natalya.
Meanwhile, Lomov is focusing completely on himself. He doesn't particularly love Natalya, but he feels it is high time he gets married, and he has all kinds of health issues he could really use some help with. Indeed, Lomov is something of a hypochondriac, and this will add further humor to the play as it moves along.
Pretty soon, Lomov and Natalya are chatting happily, but their tune quickly changes when they start talking about who actually owns Oxen Meadows. Natalya is certain her family does, and Lomov is positive that he himself does. Their discussion soon descends into a shouting match, with Lomov inserting plenty of comments about his heart and his sleeping foot in the process. Chubukov soon becomes involved, and all memory of Lomov's original purpose has departed as the trio bicker like children (with Chubukov hilariously still using his usual terms of endearment alongside some creative insults).
When Lomov finally stomps off (never having gotten around to proposing to Natalya), Chubukov tells his daughter what Lomov had actually come for. She becomes hysterical and orders her father to call Lomov back at once. The prospect of a proposal has driven all her indignation about Oxen Meadows straight out of her mind.
With Lomov firmly back in place and Natalya assuring him that the Oxen Meadows are certainly his, the two begin another conversation and quickly end up arguing about whose dog is better. Another shouting match, punctuated by Lomov's hypochondriac moaning, ensues. Lomov finally faints, and Natalya panics that he has died. When she finds out he hasn't and Lomov wakes up, they agree to marry, kiss, and immediately start arguing again. Chubukov calls for champagne.