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Running head: REALISM 1

Realism

Name

Institution

REALISM 2

Realism

Introduction

Realism is a concept that is often widespread in most articles on Greek tragedies. In the

current century, the concept that is apparent is that there is a better version of realism that suits

the generation known as neo-realism. The authors of the articles about the Greek tragedies use

scientific theories try to drive their point home. They denude the context that best fits to be a

realist tradition of its subtlety and complexity, understanding, and appreciation of agency that

influence may be a transformational form of power. This is done through embedding and

masking of power in the system of norms that are acceptable to the people. Also, there is a

presumption that neo-realism may as well be a parody of science. This is because the terms that

relate to it like polarity and power have a haphazard and loose formulation which makes the

scope of its conditions undefined.

Modern Realism

Numerous articles speak or rather mention of the tragedies that befell the Ancient Greece

cities. Most of the writing include Sophocles, Thucydides, Aeschylus, Plato and other pre-

twentieth century texts on the same. The Greek tragedies do resonate with the state behavior that

shares a direct connection to the realist theory. The reasoning behind this structure may be the

emphasis that is made of power having the profound claim that authority is conceived of as pre-

ordained rules, fate and even the ethical views that are deeply held. In Greek tragedies, the article

that inspires action rather than plot is believed to be the one that is thought to breed drama

instead of its characters. The characters in the play seem to be possessed by a free will which is

steered by structures and forces that are beyond either their control or their understanding.

REALISM 3

On the other hand, there may be the unyielding ethical concerns and commitments that

may fall outside what is the real concept of free will requires. Such ideas take precedence over

free will instead of letting it take total control over them. In Cherry Orchard by Chekhov, the

concept of free will takes control of the characters of the casts that are involved in it (Ghosh,

2015). However, in the other writings that have the same concept that deals with Greek tragedies,

portray a society in which there is precedence in the free will of the characters which in turn

yields ethical commitments and concerns on their part.

The technicality of the typical tragic plots has a premise to judgmental errors and

significant miscalculations (hamartia). This majorly occurs on the anticipations of the part that

the protagonist in supposedly meant to play. Also, for the perfection of the tragedy in the article

by Chekhov, he includes a cycle of arrogance (hubris), seduction (ate), miscalculation which

leads to missing the intentional mark (hamartia) and a catastrophe (nemesis). The latter is

presumably the tragedy that strikes when it is least anticipated by anyone. According to the

general beliefs that the Greeks have, the nemesis is considered as an essential human and eternal

occurrence that seems to recur in the course of their lives. Some of the tragedies are meant to

point the part of the sphere that is on every scale where the interaction of human beings is

inherent and forthwith.

However, there are others that are meant to disclose the conceptions of justice, wills, and

ethics. Even though these tragedies may try to bring out the best in the people, they, in the long

run, result in different moments that may be in the company of periodical clashing. This is the

same situation that happens in most of the articles that were written by Shakespeare which

apparently differs from The Cherry Orchard by Chekhov (Ghosh, 2015). It is quite easy to

REALISM 4

confuse the two concepts that the Greek tragedies portray since they only have a thin line

between them which requires very keen attention to notice (Shakespeare, 2014).

There is the thought and conception that all actions which are politically endeared have a

tragic presence of evil. This is seen when there is an overarching power of adjudication between

two concepts of ethical behaviors that are in conflict in the Greek tragedies. This makes it

difficult to tell the cast that is indeed arguing in support of ethical concerns and those that are in

the applause of moral constraints. According to Chekhov, the political world is a more

pronounced anarchy as opposed to the international arena that stands to cause confusion owing to

the proximity of the transverse concepts.

Other plays including those by Shakespeare and Marlowe state otherwise (Shakespeare,

2014). They argue from the point that there is a more pronounced anarchy in the international

arena compared to the political world. The plays do tell that both moral and ethical justice relies

upon human beings themselves whereas The Cherry Orchard gives the feeling that no justice can

adjudicate between ethical codes, not even the gods. Chekhov has the notion that when two

ethical codes are in conflict, they are simply in conflict and there is nothing that can be done in

any way whatsoever to salvage the situation (Ghosh, 2015). The result of the conflict may be

extreme suicide which makes the Greek tragedies such as death an apt international microcosm

that is rather actually pertinent.

The Cherry Orchard presents itself as being the showcase of a sole conflict between

ethical codes of the family versus those of politics. Chekhov puts the two sideways in a manner

that suggests they significantly differ (Ghosh, 2015). However, it is not the case with

Shakespeare since he believes that there is a connection between the ethical conducts that govern

families and those that govern the political realms (Shakespeare, 2014). The two authors have a

REALISM 5

concept in common. They both teach about the bonds that hold the community together in

friendship and affection, persuasion in ensuring the creation of the relationships and the methods

in which authority can undermine or reinforce them back together.

In arguments regarding the concept of Greek tragedies and realism, the mind is meant to

rely significantly on Greek lexicon. This is because it causes sophistication in cases by making

the analysis of hegemony, power, and persuasion easy. It also gives a highlight into the realms of

power and the purposes for which their formation was meant. Modern realism gives the perfect

framework that may be crucial in distinguishing enlightenment from strategical influences and

narrow self-interests. This knowledge may as well be the key to long-term survival of the Greek

communities.

In understanding the concepts that have a close relation to International Relations, there is

need to perceive power as both relational and a property concept. This is because the knowledge

may be the key to distinguishing power from physical capabilities and influence. This concept

was a development of the thought that most realists had and the observations they had made.

However, Chekhov’s point of argument seems to be in the same line as those of the theorists

(Ghosh, 2015). This is because, in his writing of The Cherry Orchard, he feels that material

capabilities only form a component of power and not a recalcitrant to power. Christopher

Marlowe, in his plays, he put more emphasis on proving that influence and material capabilities

were the key factors that would deter a person in authority from getting to their full potential of

power.

The Cherry Orchard by Chekhov gives an innate differentiation of influence from

conflict (Ghosh, 2015). Also, he provides an absolute highlight of the importance of having o

comprehend the difference between the two. In the play, the people are seen as having problems

REALISM 6

in putting away their past and forging ahead with their lives. This is because they mainly have far

more problems in understanding influence and conflict. In the play, they confuse power with

authority or rather powers of the Russian leaders. The main cast in the play, Lyubov finds it hard

to recognize a reconciliatory point for her financial and social status with Lopakhin. This is a

conflict that escalates from time to time just because Lyubov lacks the technical know-how to

perceive the difference and solve the conflict that disturbs him from time to time.

Chekhov keys in the concept of realism when he creates an effect and its cause sequence

which in turn results in a climactic scene towards the end of the play (Ghosh, 2015). He gives the

plays realistic roles just as it would have been in the real world where people have a lot of issues

to worry about including finances and relationships. In modern realism, casts are only meant to

be decisive about each other where there is a shared lifeworld among them. Also, it may only

occur in the instances where the parties in the situation have uncertainties of the point where

norms clash or do not apply and about their interests. In several occasions, Lyubov who serves as

the voice of communicative rationality in The Cherry Orchard by Chekhov fails to distinguish

between persuasive and good arguments yet in a real sense they are not the same (Ghosh, 2015).

In determining the kind of an argument, it is important to master the concept of reasoning

backward towards the outcome. This way, it's easy to tell whether an argument is persuasive or

not. The language of politics is the base upon which the Greek rhetoric understanding and the

constructivist approaches are built. According to William Shakespeare, all political authority

seems to be embedded deeply in the mutual constitution and the web upon which enhancements

of social exchanges takes place (Shakespeare, 2014). He also considers the colorful portrait of

persuasive arguments as beings the ones that enable and sustain identities.

REALISM 7

Most of the plays on Greek tragedies do base their focus their attention on the underlying

causes that may be the chief attributions to persuasion. In Shakespeare’s plays, persuasion is

imminent as the casts display it in a vivid manner in their communications (Shakespeare, 2014).

A good example is Romeo and Juliet; there is a lot of persuasions that takes place in the book.

However, since the author fails to create a whole cause-persuasion effect, the results of the

persuasive instances are dire, and they only add up to the Greek tragedies. The most important

part of persuasion as a concept of realism is to clearly differentiate persuasion as a means from

belief as a goal. Bringing the idea of realism into being in play may only work best when the

actors in the play that have goals rely on their persuasive skills, which in this case may be the

means of achieving the goal.

A good number of the playwrights who base their writings on Greek tragedies and

realism have recognition of the double meaning that pertains persuasion. Plays such as

Sophocles, Aeschylus, Thucydides and Plato show this correlation. However, The Cherry

Orchard by Chekhov does not portray such a relation but still has a better way of making up for

it (Ghosh, 2015). Chekhov gives Lyubov determinant traits which help the cast to work hard.

This is a good thing because persuasion (peitho) is full of coercion, false logic and deceit (dolos)

which are used in seeking credibility but for the wrong purposes (Ghosh, 2015).

Conclusion

Conclusively, the apparent inclusion of the Greek tragedies in most plays shows how

much the people feel the adversity of the effects. The results, in turn, make them get realistic

which builds the concept of realism in the plays. Basing the plays on realism means they have to

focus on the actual issues that the society is facing or has been facing for a period.The same

concept is evident in The Cherry Orchard.

REALISM 8

References

Ghosh, K. (2015). Anton Chekhov's The Cherry Orchard and Ajitesh Bandopadhyay's Manjari

Aamer Manjari: A Study in Adaptation. EDITORIAL BOARD.

Shakespeare, W. (2014). The complete works of William Shakespeare. Race Point Publishing.

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