The Proposal

Hello, my dear students! Welcome to today's English lesson. I'm so happy to see you all ready to learn something new and interesting. Today, we are going to study a very famous play, Chapter 9 from your textbook First Flight, titled "The Proposal". This is written by the legendary Russian writer Anton Chekhov. So let's begin our journey into this wonderful piece of literature.

First, let me ask you something. What do you think when you hear the word "proposal"? Can you think of its different meanings? The word "proposal" has several meanings. It can mean a suggestion or a plan for doing something. It can also mean an offer for a possible plan or action. And most importantly, in the context of this play, it means the act of asking someone's hand in marriage. So students, as you can guess from the title, this play is about a marriage proposal. But as we shall see, it is not as simple as it sounds!

Now, before we read the play, let's understand a bit about Russian weddings. This will help us appreciate the cultural context of the play. You know, students, different countries have different wedding customs, and Russia is no exception. Let me tell you about a Russian wedding ceremony.

In Russia, a wedding is quite a grand affair. The preparations include arranging for rings, the bride's dress, cars, and a reception. Earlier, the bride's family used to pay for the reception, but nowadays both families usually share the expenses. A Russian wedding can last for two days, and some weddings even last as long as a week! The most important part of the wedding ceremony is the wedding procession of several cars.

Now here comes the interesting part, students. The best friends of the groom or the bride meet before the wedding several times. They make posters, write speeches, and organize contests. When the groom arrives to fetch the bride for the registration, he has to fight to get her! Now, this is really interesting, isn't it? Russians usually live in apartments in tall buildings, and the groom has to climb several stairs to reach his bride. But at each landing, he must answer a question to be allowed to go up. The bride's friends ask difficult questions, sometimes about the bride, sometimes just difficult riddles, and the groom must answer with the help of his friends. For example, he may be shown a few photos of baby girls, and he must say which one his bride is. If he guesses wrong, he must pay cash to move ahead. After the marriage registration, the newly-married couple leaves the guests for a tour of the city sights. After two or three hours of the city tour, the couple arrives at the reception.

The reception starts with toasts to the couple. A wedding toast is a custom where a close friend or relative of the groom or the bride says a few words to wish the couple, then everyone raises their glass of wine and drinks it up at the same moment. The groom is then asked to kiss the bride. After a few toasts, people start eating and drinking and generally have fun. After some time, the bride gets "stolen"! She disappears, and when the groom starts looking for her, he is asked to pay a fee. Usually, it is his friends who "steal" the bride. Then there are the bride's friends — they steal the bride's shoe. The groom must pay money for the shoe too. The guests enjoy watching these tussles and continue partying.

Now, students, do you think Indian and Russian weddings have any customs in common? Let me help you think about this. In Indian weddings too, we have processions, we have the groom sometimes having to face challenges to reach the bride, we have receptions, and we have toasts or blessings from elders. Of course, there are many differences too, but both cultures celebrate marriage with great enthusiasm and joy.

Now let's talk about the author, Anton Chekhov. Students, Anton Chekhov was a Russian short story writer and dramatist. He wrote this play in 1888-89, and it was originally titled "A Marriage Proposal". This is a one-act play, which means it has only one act, and it is what we call a farce — a comedy that involves exaggerated situations and humorous events.

The play is about the tendency of wealthy families to seek ties with other wealthy families, to increase their estates by encouraging marriages that make good economic sense. Ivan Lomov, a long-time wealthy neighbour of Stepan Chubukov, also wealthy, comes to seek the hand of Chubukov's twenty-five-year-old daughter, Natalya. Now here's the interesting part — all three characters are quarrelsome people, and they quarrel over petty issues. The proposal is in danger of being forgotten amidst all this quarrelling. But economic good sense ensures that the proposal is made, after all — although the quarrelling perhaps continues! This is the beauty of Chekhov's writing — he shows how human nature can be ridiculous at times, especially when pride and property are involved.

Now let's begin reading the play. The characters in the play are StepAN Stepanovitch Chubukov, a landowner; Natalya Stepanovna, his daughter, twenty-five years old; and Ivan Vassilevitch Lomov, a neighbour of Chubukov, a large and hearty, but very suspicious, landowner.

The scene is set in a drawing-room in Chubukov's house. Lomov enters, wearing a dress-jacket and white gloves. Chubukov rises to meet him.

CHUBUKOV says, "My dear fellow, whom do I see! Ivan Vassilevitch! I am extremely glad!" He squeezes Lomov's hand and says, "Now this is a surprise, my darling... How are you?"

LOMOV replies, "Thank you. And how may you be getting on?"

CHUBUKOV says, "We just get along somehow, my angel, thanks to your prayers, and so on. Sit down, please do... Now, you know, you shouldn't forget all about your neighbours, my darling. My dear fellow, why are you so formal in your get-up! Evening dress, gloves, and so on. Can you be going anywhere, my treasure?"

Students, notice how Chubukov uses terms of endearment like "my dear fellow", "my angel", "my darling", "my treasure". These are typical of Russian speech patterns, where older people address younger ones with great affection, almost like family. In English, we might say "my dear" or "dear me" but not necessarily call someone "my treasure" in everyday conversation.

LOMOV says, "No. I've come only to see you, honoured Stepan Stepanovitch."

CHUBUKOV asks, "Then why are you in evening dress, my precious? As if you're paying a New Year's Eve visit!"

Now LOMOV takes his arm and says, "Well, you see, it's like this. I've come to you, honoured Stepan Stepanovitch, to trouble you with a request. Not once or twice have I already had the privilege of applying to you for help, and you have always, so to speak... I must ask your pardon, I am getting excited. I shall drink some water, honoured Stepan Stepanovitch."

He drinks some water. Then CHUBUKOV says aside, "He's come to borrow money. Shan't give him any!" But then he says aloud, "What is it, my beauty?"

Students, notice how Chubukov's aside reveals his true thoughts. He thinks Lomov has come to borrow money, and he decides he won't give him any. But outwardly, he is still very polite and welcoming. This shows the difference between what people say and what they actually think — a common theme in Chekhov's works.

LOMOV says, "You see, Honoured Stepanitch... I beg pardon Stepan Honouritch... I mean, I'm awfully excited, as you will please notice... In short, you alone can help me, though I don't deserve it, of course... and haven't any right to count on your assistance..."

CHUBUKOV says, "Oh, don't go round and round it, darling! Spit it out! Well?"

LOMOV says, "One moment... this very minute. The fact is I've come to ask the hand of your daughter, Natalya Stepanovna, in marriage."

Now, students, this is the main purpose of Lomov's visit. He has come to propose to Natalya. But notice how nervous he is. He keeps stumbling over his words, getting excited, and needing to drink water. This shows that even though he is a wealthy landowner, he is still nervous about proposing to the woman he loves.

CHUBUKOV responds joyfully, "By Jove! Ivan Vassilevitch! Say it again — I didn't hear it all!"

LOMOV says, "I have the honour to ask..."

CHUBUKOV interrupts joyfully, "My dear fellow... I'm so glad, and so on... Yes, indeed, and all that sort of thing." He embraces and kisses Lomov and says, "I've been hoping for it for a long time. It's been my continual desire." He even sheds a tear and says, "And I've always loved you, my angel, as if you were my own son. May God give you both — His help and His love and so on, and so much hope... What am I behaving in this idiotic way for? I'm off my balance with joy, absolutely off my balance! Oh, with all my soul... I'll go and call Natasha, and all that."

LOMOV, greatly moved, asks, "Honoured Stepan Stepanovitch, do you think I may count on her consent?"

CHUBUKOV says, "Why, of course, my darling, and... as if she won't consent! She's in love; egad, she's like a lovesick cat, and so on. Shan't be long!" He exits.

Now, students, let's think about this. Is Chubukov being sincere when he says "And I've always loved you, my angel, as if you were my own son"? At first, he suspected Lomov had come to borrow money, as we saw from his aside. But when he hears about the proposal, he becomes extremely happy and says he has always loved Lomov. This seems a bit insincere, doesn't it? He is probably happy because Lomov is a wealthy neighbour, and a marriage between their families would be beneficial economically. So his love seems to be more about money and property than genuine affection. We'll see more evidence of this as the play progresses.

Also, about Natalya, Chubukov says she's in love with Lomov, like a "lovesick cat". Is this true? We'll find out soon.

Now, LOMOV is alone on stage. He says, "It's cold... I'm trembling all over, just as if I'd got an examination before me. The great thing is, I must have my mind made up. If I give myself time to think, to hesitate, to talk a lot, to look for an ideal, or for real love, then I'll never get married. Brr... It's cold! Natalya Stepanovna is an excellent housekeeper, not bad-looking, well-educated. What more do I want? But I'm getting a noise in my ears from excitement." He drinks more water and says, "And it's impossible for me not to marry. In the first place, I'm already 35 — a critical age, so to speak. In the second place, I ought to lead a quiet and regular life. I suffer from palpitations, I'm excitable and always getting awfully upset; at this very moment my lips are trembling, and there's a twitch in my right eyebrow. But the very worst of all is the way I sleep. I no sooner get into bed and begin to go off, when suddenly something in my left side gives a pull, and I can feel it in my shoulder and head... I jump up like a lunatic, walk about a bit and lie down again, but as soon as I begin to get off to sleep there's another pull! And this may happen twenty times..."

Students, notice how Lomov describes himself. He is 35 years old, which he considers a "critical age" for marriage. He has various health issues — palpitations, excitability, sleep problems. He seems to be a nervous, anxious person. He also seems to be practical about marriage rather than romantic. He says Natalya is "an excellent housekeeper, not bad-looking, well-educated" — these are practical considerations, not romantic ones. He says "What more do I want?" suggesting he is looking for a practical partner, not necessarily love.

Now, Natalya Stepanovna comes in. She says, "Well, there! It's you, and papa said, 'Go; there's a merchant come for his goods.' How do you do, Ivan Vassilevitch?"

Students, notice how Natalya jokes about Lomov being a "merchant" who has come for his "goods". This is a humorous way of saying he has come to propose. It's like she knows why he is here but is teasing him about it.

LOMOV says, "How do you do, honoured Natalya Stepanovna?"

NATALYA says, "You must excuse my apron and néglige. We're shelling peas for drying. Why haven't you been here for such a long time? Sit down..." They seat themselves. She continues, "Won't you have some lunch?"

LOMOV says, "No, thank you, I've had some already."

NATALYA says, "Then smoke. Here are the matches. The weather is splendid now, but yesterday it was so wet that the workmen didn't do anything all day. How much hay have you stacked? Just think, I felt greedy and had a whole field cut, and now I'm not at all pleased about it because I'm afraid my hay may rot. I ought to have waited a bit. But what's this? Why, you're in evening dress! Well, I never! Are you going to a ball or what? Though I must say you look better... Tell me, why are you got up like that?"

Students, notice how Natalya talks about practical matters — the weather, the hay, the peas. She is clearly a good housekeeper, as Lomov mentioned. She is also surprised that Lomov is dressed in evening dress. This is the beginning of the conversation that leads to the quarrel.

Now LOMOV, excited, says, "You see, honoured Natalya Stepanovna... the fact is, I've made up my mind to ask you to hear me out... Of course you'll be surprised and perhaps even angry, but a..." Aside, he says, "It's awfully cold!"

NATALYA asks, "What's the matter?" She pauses, then says, "Well?"

LOMOV says, "I shall try to be brief. 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 Lomovs and the Chubukovs have always had the most friendly, and I might almost say the most affectionate, regard for each other. And, as you know, my land is a near neighbour of yours. You will remember that my Oxen Meadows touch your birchwoods."

Now, students, this is the beginning of the problem. Lomov is trying to make conversation about their families and their lands, but this leads to a dispute. Let's see what happens.

NATALYA says, "Excuse my interrupting you. You say, 'my Oxen Meadows'. But are they yours?"

LOMOV says, "Yes, mine."

NATALYA says, "What are you talking about? Oxen Meadows are ours, not yours!"

LOMOV says, "No, mine, honoured Natalya Stepanovna."

NATALYA says, "Well, I never knew that before. How do you make that out?"

LOMOV says, "How? I'm speaking of those Oxen Meadows which are wedged in between your birchwoods and the Burnt Marsh."

NATALYA says, "Yes, yes... they're ours."

LOMOV says, "No, you're mistaken, honoured Natalya Stepanovna, they're mine."

NATALYA says, "Just think, Ivan Vassilevitch! How long have they been yours?"

LOMOV says, "How long? As long as I can remember."

NATALYA says, "Really, you won't get me to believe that!"

LOMOV says, "But you can see from the documents, honoured Natalya Stepanovna. Oxen Meadows, it's true, were once the subject of dispute, but now everybody knows that they are mine. There's nothing to argue about. You see my aunt's grandmother gave the free use of these Meadows in perpetuity to the peasants of your father's grandfather, in return for which they were to make bricks for her. The peasants belonging to your father's grandfather had the free use of the Meadows for forty years, and had got into the habit of regarding them as their own, when it happened that..."

NATALYA says, "No, it isn't at all like that! Both grandfather and great-grandfather reckoned that their land extended to Burnt Marsh — which means that Oxen Meadows were ours. I don't see what there is to argue about. It's simply silly!"

Students, this is the first major quarrel in the play. Both Lomov and Natalya claim ownership of the Oxen Meadows. They both have their arguments based on family history and documents. This is a classic property dispute, and both are too proud to back down. Notice how quickly the proposal is forgotten in the heat of the argument.

LOMOV says, "I'll show you the documents, Natalya Stepanovna!"

NATALYA says, "No, you're simply joking, or making fun of me. What a surprise! We've had the land for nearly three hundred years, and then we're suddenly told that it isn't yours! Ivan Vassilevitch, I can hardly believe my own ears. These Meadows aren't worth much to me. They only come to five dessiatins, and are worth perhaps 300 roubles, but I can't stand unfairness. Say what you will, I can't stand unfairness."

LOMOV says, "Hear me out, I implore you! The peasants of your father's grandfather, as I have already had the honour of explaining to you, used to bake bricks for my aunt's grandmother. Now my aunt's grandmother, wishing to make them a pleasant..."

NATALYA says, "I can't make head or tail of all this about aunts and grandfathers and grandmothers. The Meadows are ours, that's all."

LOMOV says, "Mine."

NATALYA says, "Ours! You can go on proving it for two days on end, you can go and put on fifteen dress jackets, but I tell you they're ours, ours, ours! I don't want anything of yours and I don't want to give anything of mine. So there!"

LOMOV says, "Natalya Stepanovna, I don't want the Meadows, but I am acting on principle. If you like, I'll make you a present of them."

NATALYA says, "I can make you a present of them myself, because they're mine! Your behaviour, Ivan Vassilevitch, is strange, to say the least! Up to this we have always thought of you as a good neighbour, a friend; last year we lent you our threshing-machine, although on that account we had to put off our own threshing till November, but you behave to us as if we were gypsies. Giving me my own land, indeed! No, really, that's not at all neighbourly! In my opinion, it's even impudent, if you want to know."

Students, notice how the argument escalates. Natalya is offended that Lomov is claiming their land. She brings up the fact that they lent him their threshing-machine last year, implying he should be more grateful. Lomov offers to give her the meadows as a present, but that makes her even angrier because she sees it as an insult — as if she can't afford to keep her own land.

LOMOV says, "Then you make out that I'm a landgrabber? Madam, never in my life have I grabbed anybody else's land and I shan't allow anybody to accuse me of having done so." He quickly steps to the carafe and drinks more water. He says, "Oxen Meadows are mine!"

NATALYA says, "It's not true, they're ours!"

LOMOV says, "Mine!"

NATALYA says, "It's not true! I'll prove it! I'll send my mowers out to the Meadows this very day!"

LOMOV says, "What?"

NATALYA says, "My mowers will be there this very day!"

LOMOV says, "I'll give it to them in the neck!"

NATALYA says, "You dare!"

LOMOV clutches at his heart and says, "Oxen Meadows are mine! You understand? Mine!"

NATALYA says, "Please don't shout! You can shout yourself hoarse in your own house but here I must ask you to restrain yourself!"

LOMOV says, "If it wasn't, madam, for this awful, excruciating palpitation, if my whole inside wasn't upset, I'd talk to you in a different way!" He yells, "Oxen Meadows are mine!"

NATALYA says, "Ours!"

LOMOV says, "Mine!"

NATALYA says, "Ours!"

LOMOV says, "Mine!"

Now, students, this is getting very heated. They are both shouting at each other. Lomov is clutching his heart because he has palpitations. This is a physical manifestation of his stress and anger. Natalya is equally stubborn and won't give up.

Enter Chubukov. He asks, "What's the matter? What are you shouting for?"

NATALYA says, "Papa, please tell this gentleman who owns Oxen Meadows, we or he?"

CHUBUKOV says to Lomov, "Darling, the Meadows are ours!"

LOMOV says, "But, please, Stepan Stepanovitch, how can they be yours? Do be a reasonable man! My aunt's grandmother gave the Meadows for the temporary and free use of your grandfather's peasants. The peasants used the land for forty years and got accustomed to it as if it was their own, when it happened that..."

CHUBUKOV says, "Excuse me, my precious. You forget just this, that the peasants didn't pay your grandmother and all that, because the Meadows were in dispute, and so on. And now everybody knows that they're ours. It means that you haven't seen the plan."

LOMOV says, "I'll prove to you that they're mine!"

CHUBUKOV says, "You won't prove it, my darling —"

LOMOV says, "I shall"

CHUBUKOV says, "Dear one, why yell like that? You won't prove anything just by yelling. I don't want anything of yours, and don't intend to give up what I have. Why should I? And you know, my beloved, that if you propose to go on arguing about it, I'd much sooner give up the Meadows to the peasants than to you. There!"

LOMOV says, "I don't understand! How have you the right to give away somebody else's property?"

CHUBUKOV says, "You may take it that I know whether I have the right or not. Because, young man, I'm not used to being spoken to in that tone of voice, and so on. I, young man, am twice your age, and ask you to speak to me without agitating yourself, and all that."

Students, now Chubukov has joined the argument. He takes his daughter's side, of course. The argument is becoming more and more heated. Notice how the proposal, which was the main purpose of Lomov's visit, has been completely forgotten. All three of them are now quarrelling over a piece of land that is probably not worth very much — earlier, Natalya said it was worth only about 300 roubles. But pride won't let any of them back down.

LOMOV says, "No, you just think I'm a fool and want to have me on! You call my land yours, and then you want me to talk to you calmly and politely! Good neighbours don't behave like that, Stepan Stepanovitch! You're not a neighbour, you're a grabber!"

CHUBUKOV asks, "What's that? What did you say?"

NATALYA says, "Papa, send the mowers out to the Meadows at once!"

CHUBUKOV asks, "What did you say, sir?"

NATALYA says, "Oxen Meadows are ours, and I shan't give them up, shan't give them up, shan't give them up!"

LOMOV says, "We'll see! I'll have the matter taken to court, and then I'll show you!"

CHUBUKOV says, "To court? You can take it to court, and all that! You can! I know you; you're just on the look-out for a chance to go to court, and all that. You pettifogger! All your people were like that! All of them!"

Students, now they are threatening to take the matter to court. This is getting very serious. Chubukov is calling Lomov a "pettifogger" — which means someone who argues about petty details or uses unfair methods. He is also insulting Lomov's family.

LOMOV says, "Never mind about my people! The Lomovs have all been honourable people, and not one has ever been tried for embezzlement, like your grandfather!"

CHUBUKOV says, "You Lomovs have had lunacy in your family, all of you!"

NATALYA says, "All, all, all!"

CHUBUKOV says, "Your grandfather was a drunkard, and your younger aunt, Nastasya Mihailovna, ran away with an architect, and so on..."

LOMOV says, "And your mother was hump-backed." He clutches at his heart and says, "Something pulling in my side... My head.... Help! Water!"

CHUBUKOV says, "Your father was a guzzling gambler!"

NATALYA says, "And there haven't been many backbiters to equal your aunt!"

CHUBUKOV says, "My left foot has gone to sleep... You're an intriguer....Oh, my heart! And it's an open secret that before the last elections you bri... I can see stars... Where's my hat?"

NATALYA says, "It's low! It's dishonest! It's mean!"

CHUBUKOV says, "And you're just a malicious, doublefaced intriguer! Yes!"

LOMOV says, "Here's my hat. My heart! Which way? Where's the door? Oh I think I'm dying! My foot's quite numb..." He goes to the door.

CHUBUKOV says, following him, "And don't set foot in my house again!"

NATALYA says, "Take it to court! We'll see!"

Lomov staggers out. Chubukov walks about in excitement and says, "Devil take him!"

NATALYA says, "What a rascal! What trust can one have in one's neighbours after that!"

CHUBUKOV says, "The villain! The scarecrow!"

NATALYA says, "The monster! First he takes our land and then he has the impudence to abuse us."

CHUBUKOV says, "And that blind hen, yes, that turnip-ghost has the confounded cheek to make a proposal, and so on! What? A proposal!"

Students, now this is very interesting! Chubukov suddenly remembers why Lomov came. He says Lomov had the "cheek" or audacity to make a proposal. This shows that Chubukov has completely forgotten about the proposal in the heat of the argument. Now he is insulting Lomov for having the nerve to propose.

NATALYA asks, "What proposal?"

CHUBUKOV says, "Why, he came here to propose to you."

NATALYA says, "To propose? To me? Why didn't you tell me so before?"

CHUBUKOV says, "So he dresses up in evening clothes. The stuffed sausage! The wizen-faced frump!"

Students, notice how Chubukov describes Lomov now — "stuffed sausage" and "wizen-faced frump" are very unkind words. This shows how quickly his attitude changed from extreme happiness to extreme anger.

NATALYA falls into an easy-chair and wails, "Bring him back! Back! Ah! Bring him here."

CHUBUKOV asks, "Bring whom here?"

NATALYA says, "Quick, quick! I'm ill! Fetch him!" She has hysterics.

CHUBUKOV says, "What's that? What's the matter with you?" He clutches at his head and says, "Oh, unhappy man that I am! I'll shoot myself! I'll hang myself! We've done for her!"

NATALYA says, "I'm dying! Fetch him!"

CHUBUKOV says, "Tfoo! At once. Don't yell!" He runs out. A pause.

NATALYA wails, "What have they done to me? Fetch him back! Fetch him!" A pause. Chubukov runs in.

CHUBUKOV says, "He's coming, and so on, devil take him! Ouf! Talk to him yourself; I don't want to..."

NATALYA wails, "Fetch him!"

CHUBUKOV yells, "He's coming, I tell you. Oh, what a burden, Lord, to be the father of a grown-up daughter! I'll cut my throat I will, indeed! We cursed him, abused him, drove him out; and it's all you... you!"

NATALYA says, "No, it was you!"

CHUBUKOV says, "I tell you it's not my fault." Lomov appears at the door. Chubukov says, "Now you talk to him yourself." He exits.

LOMOV enters, exhausted. He says, "My heart's palpitating awfully. My foot's gone to sleep. There's something that keeps pulling in my side...."

Students, now Lomov comes back. Notice how he is physically exhausted from all the arguing and his health issues. But the situation is about to change dramatically.

NATALYA says, "Forgive us, Ivan Vassilevitch, we were all a little heated. I remember now: Oxen Meadows... really are yours."

LOMOV says, "My heart's beating awfully. My Meadows... My eyebrows are both twitching...."

NATALYA says, "The Meadows are yours, yes, yours. Do sit down." They sit. She says, "We were wrong."

LOMOV says, "I did it on principle. My land is worth little to me, but the principle..."

NATALYA says, "Yes, the principle, just so. Now let's talk of something else."

Students, now Natalya suddenly agrees that the meadows belong to Lomov. This is a complete reversal from before. Why do you think she changed her mind? Probably because she realized that Lomov came to propose to her, and she doesn't want to lose that opportunity. This shows how quickly people can change their positions when it comes to matters of the heart and money.

LOMOV says, "The more so as I have evidence. My aunt's grandmother gave the land to your father's grandfather's peasants..."

NATALYA says, "Yes, yes, let that pass." Aside, she says, "I wish I knew how to get him started." Aloud, she asks, "Are you going to start shooting soon?"

Students, notice how Natalya is trying to change the subject. She wants to talk about something else, perhaps to bring up the proposal. She asks about shooting, which is something Lomov is interested in, as we will see.

LOMOV says, "I'm thinking of having a go at the blackcock, honoured Natalya Stepanovna, after the harvest. Oh, have you heard? Just think, what a misfortune I've had! My dog Guess, who you know, has gone lame."

NATALYA says, "What a pity! Why?"

LOMOV says, "I don't know. Must have got his leg twisted or bitten by some other dog." He sighs and says, "My very best dog, to say nothing of the expense. I gave Mironov 125 roubles for him."

NATALYA says, "It was too much, Ivan Vassilevitch."

LOMOV says, "I think it was very cheap. He's a first-rate dog."

NATALYA says, "Papa gave 85 roubles for his Squeezer, and Squeezer is heaps better than Guess!"

LOMOV says, "Squeezer better than Guess? What an idea!" He laughs. "Squeezer better than Guess!"

NATALYA says, "Of course he's better! Of course, Squeezer is young, he may develop a bit, but on points and pedigree he's better than anything that even Volchanetsky has got."

LOMOV says, "Excuse me, Natalya Stepanovna, but you forget that he is overshot, and an overshot always means the dog is a bad hunter!"

NATALYA says, "Overshot, is he? The first time I hear it!"

LOMOV says, "I assure you that his lower jaw is shorter than the upper."

NATALYA asks, "Have you measured?"

LOMOV says, "Yes. He's all right at following, of course, but if you want to get hold of anything..."

NATALYA says, "In the first place, our Squeezer is a thoroughbred animal, the son of Harness and Chisels while there's no getting at the pedigree of your dog at all. He's old and as ugly as a worn-out cab-horse."

LOMOV says, "He is old, but I wouldn't take five Squeezers for him. Why, how can you? Guess is a dog; as for Squeezer, well, it's too funny to argue. Anybody you like has a dog as good as Squeezer... you may find them under every bush almost. Twenty-five roubles would be a handsome price to pay for him."

Students, now they have started a new argument — this time about whose dog is better, Guess or Squeezer. This is another petty issue that leads to a heated argument. Notice how quickly they went from discussing the meadows to discussing dogs. They just can't stop quarrelling!

NATALYA says, "There's some demon of contradiction in you today, Ivan Vassilevitch. First you pretend that the Meadows are yours; now, that Guess is better than Squeezer. I don't like people who don't say what they mean because you know perfectly well that Squeezer is a hundred times better than your silly Guess. Why do you want to say he isn't?"

LOMOV says, "I see, Natalya Stepanovna, that you consider me either blind or a fool. You must realise that Squeezer is overshot!"

NATALYA says, "It's not true."

LOMOV says, "He is!"

NATALYA says, "It's not true!"

LOMOV says, "Why shout madam?"

NATALYA says, "Why talk rot? It's awful! It's time your Guess was shot, and you compare him with Squeezer!"

LOMOV says, "Excuse me, I cannot continue this discussion, my heart is palpitating."

NATALYA says, "I've noticed that those hunters argue most who know least."

LOMOV says, "Madam, please be silent. My heart is going to pieces." He shouts, "Shut up!"

NATALYA says, "I shan't shut up until you acknowledge that Squeezer is a hundred times better than your Guess!"

LOMOV says, "A hundred times worse! Be hanged to your Squeezer! His head... eyes... shoulder..."

NATALYA says, "There's no need to hang your silly Guess; he's half-dead already!"

LOMOV weeps and says, "Shut up! My heart's bursting!"

NATALYA says, "I shan't shut up."

Enter Chubukov. He asks, "What's the matter now?"

NATALYA says, "Papa, tell us truly, which is the better dog, our Squeezer or his Guess."

LOMOV says, "Stepan Stepanovitch, I implore you to tell me just one thing: is your Squeezer overshot or not? Yes or no?"

CHUBUKOV says, "And suppose he is? What does it matter? He's the best dog in the district for all that, and so on."

LOMOV says, "But isn't my Guess better? Really, now?"

CHUBUKOV says, "Don't excite yourself, my precious one. Allow me. Your Guess certainly has his good points. He's purebred, firm on his feet, has well-sprung ribs, and all that. But, my dear man, if you want to know the truth, that dog has two defects: he's old and he's short in the muzzle."

LOMOV says, "Excuse me, my heart... Let's take the facts. You will remember that on the Marusinsky hunt my Guess ran neck-and-neck with the Count's dog, while your Squeezer was left a whole verst behind."

CHUBUKOV says, "He got left behind because the Count's whipper-in hit him with his whip."

LOMOV says, "And with good reason. The dogs are running after a fox, when Squeezer goes and starts worrying a sheep!"

CHUBUKOV says, "It's not true! My dear fellow, I'm very liable to lose my temper, and so, just because of that, let's stop arguing. You started because everybody is always jealous of everybody else's dogs. Yes, we're all like that! You too, sir, aren't blameless! You no sooner begin with this, that and the other, and all that... I remember everything!"

LOMOV says, "I remember too!"

CHUBUKOV says, teasing him, "I remember, too! What do you remember?"

LOMOV says, "My heart... my foot's gone to sleep. I can't..."

NATALYA says, teasing, "My heart! What sort of a hunter are you? You ought to go and lie on the kitchen oven and catch black beetles, not go after foxes! My heart!"

CHUBUKOV says, "Yes really, what sort of a hunter are you, anyway? You ought to sit at home with your palpitations, and not go tracking animals. You could go hunting, but you only go to argue with people and interfere with their dogs and so on. Let's change the subject in case I lose my temper. You're not a hunter at all, anyway!"

LOMOV says, "And are you a hunter? You only go hunting to get in with the Count and to intrigue. Oh, my heart! You're an intriguer!"

CHUBUKOV says, "What? I am an intriguer?" He shouts, "Shut up!"

LOMOV says, "Intriguer!"

CHUBUKOV says, "Boy! Pup!"

LOMOV says, "Old rat! Jesuit!"

CHUBUKOV says, "Shut up or I'll shoot you like a partridge! You fool!"

LOMOV says, "Everybody knows that — oh, my heart! — your late wife used to beat you... My feet... temples... sparks... I fall, I fall!"

CHUBUKOV says, "And you're under the slipper of your house-keeper!"

LOMOV says, "There, there, there... my heart's burst! My shoulders come off! Where is my shoulder? I die." He falls into an armchair. "A doctor!"

CHUBUKOV says, "Boy! Milksop! Fool! I'm sick!" He drinks water. "Sick!"

NATALYA says, "What sort of a hunter are you? You can't even sit on a horse!" To her father she says, "Papa, what's the matter with him? Papa! Look, Papa!" She screams, "Ivan Vassilevitch! He's dead!"

CHUBUKOV says, "I'm sick! I can't breathe! Air!"

NATALYA says, "He's dead." She pulls Lomov's sleeve. "Ivan Vassilevitch! Ivan Vassilevitch! What have you done to me? He's dead." She falls into an armchair. "A doctor, a doctor!"

Hysterics.

CHUBUKOV says, "Oh! What is it? What's the matter?"

NATALYA wails, "He's dead... dead!"

CHUBUKOV asks, "Who's dead?" He looks at Lomov. "So he is! My word! Water! A doctor!" He lifts a tumbler to Lomov's mouth. "Drink this! No, he doesn't drink. It means he's dead, and all that. I'm the most unhappy of men! Why don't I put a bullet into my brain? Why haven't I cut my throat yet? What am I waiting for? Give me a knife! Give me a pistol!"

Lomov moves. CHUBUKOV says, "He seems to be coming round. Drink some water! That's right."

LOMOV says, "I see stars... mist... where am I?"

CHUBUKOV says, "Hurry up and get married and — well, to the devil with you! She's willing!" He puts Lomov's hand into his daughter's. "She's willing and all that. I give you my blessing and so on. Only leave me in peace!"

LOMOV gets up and says, "Eh? What? To whom?"

CHUBUKOV says, "She's willing! Well? Kiss and be damned to you!"

NATALYA wails, "He's alive... Yes, yes, I'm willing."

CHUBUKOV says, "Kiss each other!"

LOMOV says, "Eh? Kiss whom?" They kiss. He says, "Very nice, too. Excuse me, what's it all about? Oh, now I understand... my heart... stars... I'm happy. Natalya Stepanovna..." He kisses her hand. "My foot's gone to sleep."

NATALYA says, "I... I'm happy too..."

CHUBUKOV says, "What a weight off my shoulders, ouf!"

NATALYA says, "But, still you will admit now that Guess is worse than Squeezer."

LOMOV says, "Better!"

NATALYA says, "Worse!"

CHUBUKOV says, "Well, that's a way to start your family bliss! Have some champagne!"

LOMOV says, "He's better!"

NATALYA says, "Worse! Worse! Worse!"

CHUBUKOV tries to shout her down, "Champagne! Champagne!"

CURTAIN.

Students, this is the end of the play. Notice how even at the very end, after they have agreed to get married, they are still quarrelling about which dog is better! This is the essence of the play — these three characters are so quarrelsome that they cannot stop arguing, even about the most trivial matters. But in the end, the proposal does get accepted, largely because of economic considerations — both families are wealthy, and a marriage between them would be beneficial.

Now let's think about the questions in "Thinking about the Play".

Question 1 asks: What does Chubukov at first suspect that Lomov has come for? Is he sincere when he later says "And I've always loved you, my angel, as if you were my own son"? Find reasons for your answer from the play.

From the play, we can see that Chubukov at first suspects that Lomov has come to borrow money. This is clear from his aside where he says, "He's come to borrow money. Shan't give him any!" When Lomov finally reveals that he has come to propose to his daughter, Chubukov becomes extremely happy and says he has always loved Lomov. However, this seems insincere because Chubukov's happiness is likely due to the economic benefits of the marriage — Lomov is a wealthy neighbour, and a marriage between their families would be advantageous. Also, when the quarrel starts, Chubukov quickly turns against Lomov and calls him names, which shows his earlier expressions of love were not genuine.

Question 2 asks: Chubukov says of Natalya: "... as if she won't consent! She's in love; egad, she's like a lovesick cat..." Would you agree? Find reasons for your answer.

From the play, we can see that Natalya does seem to have some feelings for Lomov. When she learns that Lomov came to propose, she immediately wants him back, even though she was just quarrelling with him. She says, "Bring him back! Back! Ah! Bring him here." This shows she is eager to accept the proposal. However, she also gets into heated arguments with Lomov over trivial matters like the meadows and the dogs. So while she may have some romantic feelings, her "lovesick cat" description might be an exaggeration by Chubukov, who is probably just happy about the economic benefits of the match.

Question 3 has three parts.

Part (i) asks: Find all the words and expressions in the play that the characters use to speak about each other, and the accusations and insults they hurl at each other.

Let me list some of the key terms of address and insults used in the play:

When they are being polite, they use terms like "honoured", "my dear fellow", "my angel", "my darling", "my treasure", "my beauty", "my precious", "my beloved".

But when they quarrel, they use harsh words. Lomov calls Chubukov a "grabber", an "intriguer", a "rat", a "Jesuit". Chubukov calls Lomov a "pettifogger", an "intriguer", a "boy", a "pup", a "fool", a "milksop". Natalya calls Lomov's dog "silly" and "half-dead". They also insult each other's families — Chubukov calls Lomov's grandfather a drunkard and his aunt a runaway. Lomov calls Chubukov's mother hump-backed and says his wife used to beat him.

Part (ii) asks: Then think of five adjectives or adjectival expressions of your own to describe each character in the play.

For Lomov, we could use: nervous and anxious, practical and realistic, proud and stubborn, health-conscious but hypochondriac, and indecisive but determined.

For Natalya, we could use: hot-headed and argumentative, practical and houseproud, quick-tempered but also quick to change her mind, proud and stubborn, and secretly romantic.

For Chubukov, we could use: two-faced and insincere, quick to anger, concerned about money and property, overprotective of his daughter, and dramatic in his reactions.

Part (iii) asks: Can you now imagine what these characters will quarrel about next?

Given their nature, they will probably quarrel about many things — perhaps about the wedding arrangements, the dowry, the property after the marriage, or even about trivial matters like what to eat for dinner. The possibilities are endless because these three characters simply cannot stop quarrelling!

Now let's move on to "Thinking about Language".

Part I has three questions.

Question 1 asks: This play has been translated into English from the Russian original. Are there any expressions or ways of speaking that strike you as more Russian than English? For example, would an adult man be addressed by an older man as my darling or my treasure in an English play?

Yes, there are several expressions in the play that seem more Russian than English. For example, when Chubukov addresses Lomov as "my dear fellow", "my angel", "my darling", "my treasure", "my beauty", "my precious", "my beloved" — these are terms of endearment that are more common in Russian or in very formal English of a certain era. In contemporary English, we would more likely say "dear" or "my dear" but not "my treasure" or "my angel" in everyday conversation. Also, the formal way Lomov addresses Chubukov as "Honoured Stepan Stepanovitch" is very Russian — in English, we would simply say "Mr. Chubukov" or "Stepan".

Other Russian expressions include "By Jove!" which is an English exclamation but sounds old-fashioned, and "egad" which is also an old-fashioned exclamation. The way characters say "and so on" and "and all that" repeatedly also seems to be a translation artifact.

In contrast, idiomatic modern English expressions in the play include "spit it out" (meaning to say something directly), "get up" (meaning to dress), "put off" (meaning to postpone), "make head or tail of" (meaning to understand), and "come round" (meaning to regain consciousness).

Question 2 asks: Look up the following words in a dictionary and find out how to pronounce them. Pay attention to how many syllables there are in each word, and find out which syllable is stressed, or said more forcefully.

Let me go through each word:

Palpitations — this has four syllables: pal-pi-ta-tions, with stress on the second syllable: pal-PIT-a-tions.

Interfere — this has three syllables: in-ter-fere, with stress on the second syllable: in-TER-fere.

Implore — this has two syllables: im-plore, with stress on the second syllable: im-PLORE.

Thoroughbred — this has three syllables: thor-ough-bred, with stress on the first syllable: THOR-ough-bred.

Pedigree — this has three syllables: ped-i-gree, with stress on the first syllable: PED-i-gree.

Principle — this has two syllables: prin-ci-ple, with stress on the first syllable: PRIN-ci-ple.

Evidence — this has three syllables: ev-i-dence, with stress on the first syllable: EV-i-dence.

Misfortune — this has three syllables: mis-for-tune, with stress on the second syllable: mis-FOR-tune.

Malicious — this has four syllables: ma-li-cious, with stress on the second syllable: ma-LI-cious.

Embezzlement — this has four syllables: em-bez-zle-ment, with stress on the second syllable: em-BEZ-zle-ment.

Architect — this has three syllables: ar-chi-tect, with stress on the first syllable: AR-chi-tect.

Neighbours — this has two syllables: neigh-bours, with stress on the first syllable: NEIGH-bours.

Accustomed — this has three syllables: ac-cus-tomed, with stress on the second syllable: ac-CUS-tomed.

Temporary — this has four syllables: tem-po-rar-y, with stress on the second syllable: tem-PO-rar-y.

Behaviour — this has three syllables: be-haviour, with stress on the second syllable: be-HAV-iour.

Documents — this has three syllables: doc-u-ments, with stress on the first syllable: DOC-u-ments.

Question 3 asks: Look up the following phrases in a dictionary to find out their meaning, and then use each in a sentence of your own.

(i) "You may take it that" — This phrase means "you can assume that" or "you may be sure that". Example: You may take it that the meeting will start at ten o'clock sharp.

(ii) "He seems to be coming round" — This phrase means "he seems to be regaining consciousness" or "he seems to be recovering". Example: After fainting, the patient seems to be coming round now.

(iii) "My foot's gone to sleep" — This phrase means "my foot has become numb" due to pressure or poor circulation. Example: I've been sitting in this position for too long; my foot's gone to sleep.

Now let's look at Part II about Reported Speech.

A sentence in reported speech consists of two parts: a reporting clause, which contains the reporting verb, and the reported clause. In direct speech, we quote someone's exact words. In reported speech, we report what someone said without quoting them verbatim.

For example, "I went to visit my grandma last week," said Mamta is direct speech. Mamta said that she had gone to visit her grandma the previous week is reported speech.

Now let's look at the changes that occur when converting from direct to reported speech:

1. To report a question, we use the reporting verb "asked" (as in Sentence Set 1).

2. To report a statement, we use the reporting verb "said" or "told".

3. The adverb of place "here" changes to "there".

4. When the verb in direct speech is in the present tense, the verb in reported speech is in the past tense (as in Sentence Set 3).

5. If the verb in direct speech is in the present continuous tense, the verb in reported speech changes to past continuous tense. For example, "I am getting" changes to "was getting".

6. When the sentence in direct speech contains a word denoting respect, we add the adverb "respectfully" in the reporting clause (as in Sentence Set 1).

7. The pronouns "I, me, our" and "mine", which are used in the first person in direct speech, change according to the subject or object of the reporting verb such as "he", "him", "his" or "her", "hers" in reported speech.

Now let's look at Part III. Here is an excerpt from an article from the Times of India dated 27 August 2006. We need to rewrite it, changing the sentences in direct speech into reported speech. Leave the other sentences unchanged.

The original text has several direct speeches. Let me rewrite it:

The 90-year-old A. K. Hangal, one of Hindi cinema's most famous character actors, laughed when asked about his age. He said that if people knew he was so old, he wouldn't get work. For his age, he is rather energetic. When asked about the secret of his health, he replied that his intake of everything was in small quantities and that he walked a lot. He said that he had joined the industry when people retire. He was in his 40s. So he said he didn't miss being called a star. He was still respected and given work, when actors of his age were living in poverty and without work. He said that he didn't have any complaints, but yes, he had always been underpaid. Recipient of the Padma Bhushan, Hangal never hankered after money or materialistic gains. He said that there was no doubt he was content today, but money was important. He regretted that he had been a fool not to understand the value of money earlier.

Now let's look at "Speaking and Writing".

Question 1 asks about anger management. As adults, one important thing to learn is how to manage our temper. Some of us tend to get angry quickly, while others remain calm. Can you think of three ill effects that result from anger? Note them down. Suggest ways to avoid losing your temper in such situations. Are there any benefits from anger?

Three ill effects of anger are: First, anger damages our health — it can lead to high blood pressure, heart problems, and stress. Second, anger damages our relationships — when we are angry, we say things we don't mean and hurt the people we love. Third, anger impairs our judgment — when we are angry, we cannot think clearly and make bad decisions.

Ways to avoid losing temper include: taking deep breaths, counting to ten before responding, walking away from the situation temporarily, talking to a friend or counselor, and practicing relaxation techniques like meditation.

As for benefits, some psychologists say that anger can be constructive if expressed appropriately — it can motivate us to stand up for ourselves, bring about positive change, and help us recognize when something is wrong.

Question 2 asks to prepare a script based on the given excerpt from The Home and the World by Rabindranath Tagore. This is optional and for those interested in drama.

Question 3 asks to discuss in groups the qualities one should look for in a marriage partner. You might consider personal qualities like appearance or looks, attitudes and beliefs, sense of humour; value system like compassion and kindness, tolerance, ambition, attitude to money and wealth; and education and professional background.

Question 4 asks if there are parts of the play that remind you of film scenes from romantic comedies. This is for group discussion.

Now, students, we have covered the entire play and all the exercises. Let me now give you a summary of what we have learned today.

In today's lesson, we studied "The Proposal" by Anton Chekhov, a famous Russian playwright. The play is a comedy about Ivan Lomov, who comes to propose to Natalya Stepanovna, the daughter of his neighbour Stepan Chubukov. However, instead of a simple proposal, the play turns into a series of quarrels over trivial matters like the ownership of Oxen Meadows and whose dog is better. The characters are proud, stubborn, and quick-tempered. They insult each other and even threaten to go to court. But in the end, economic sense prevails, and the proposal is accepted, although the quarrelling continues even after the engagement.

We learned about the characters: Lomov is a nervous, anxious man who suffers from palpitations and sleep problems. He is practical about marriage, looking for a good housekeeper. Natalya is a strong-headed woman who is quick to argue but also quick to change her mind when it suits her. Chubukov is a two-faced character who is happy one moment and angry the next, depending on what benefits him economically.

We also learned about reported speech and how to convert direct speech into indirect speech, including changes in tense, pronouns, and adverbs of time and place.

We discussed the themes of the play: the tendency of wealthy families to seek advantageous marriages, the human tendency to quarrel over petty matters, and the difference between what people say and what they actually think.

We also looked at the Russian cultural context, including their wedding customs, and compared them to Indian customs.

And finally, we thought about anger management and the qualities one should look for in a marriage partner.

This brings us to the end of our lesson. I hope you enjoyed learning about this wonderful play by Chekhov. Remember, the next time you have a disagreement with someone, try to stay calm and not let pride get in the way of reason. Thank you for listening, and I'll see you in the next lesson!