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The Seagull 289
she had dreamed of the beauty of an artistic career.
The cruel struggle for recognition, the bitter dis
appointment in her relation with Trigorin, the care
of a child and poor health have combined to change
the romantic child into a sad woman.
Constantine still loves her. He pleads with her
to go away with him, to begin a new life. But it
is too late. The lure of the footlights is beckon
ing to Nina; she returns to the stage. Constan-
tine, unable to stand the loneliness of his life and
the mercenary demands upon his art, kills himself.
To the Anglo-Saxon mind such an ending is pes
simism, defeat. Often, however, apparent de
feat is in reality the truest success. For is not suc
cess, as commonly understood, but too frequently
bought at the expense of character and idealism?
"
The Seagull
"
is not defeat. As long as there
is still such material in society as the Constantines
men and women who would rather die than
compromise with the sordidness of life there is
hope for humanity. If the Constantines perish, it
is the social fault, our indifference to, and lack
of appreciation of, the real values that alone ad
vance the fuller and more complete life of the race.
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