Thursday, March 12, 2020
Gujarati cinema history
Topic
: Gujarati cinema history
Name:
Gaha Nasim
Roll
no: 20
Year:
2018-2020.
Enrolment
no: 2069108420190014.
M.A:
Sem-4
Paper
no:
Submitted
to:Smt Gardi Department of English maharaja Krishnakumarsihji Bhavnagar
University.
·
About what is Gujarati cinema called ?
Gujarati cinema
industry is referred to as Dhollywood or Gollywood? The nickname of Gujarati cinema industry Bollywood, the
nickname of the cinema industry based in Dhollywood ,Mumbai(then called Bombay) . The name has
fallen off because of the abundance of dhol used
in Gujarati movies . Moreover, Gujarat and Bollywood are the
other nicknames used by the combination of both words, Gollywood . all have known, loved and admired the Gujarati
culture and its heritage. Ever since its inception in the 1930s, this one of
the largest vernacular and regional part of the cinema of India and has
successfully produced over 1,000 Gujarati movies. This industry has seen a
variety of different eras and now it stands as one of the most sought after
type of mode of entertainment in the state. Some of the movies in the current
era has even gathered international accolades for its creativity.
Gujarati
films are mostly woven by human or social emotions. These include family
relations, the desires of the human mind, and the contents of social
life. In the early years of Gujarati cinema, a large number of films based
on mythological subjects and legends were produced. Movies were also made
on popular Gujarat saints and "Sati" like Narsih mheta Mehta
Gangashati movies were made with a view to rural viewers with knowledge of such
topics. Early movie producers also produced on the topic of social reform. Based
on family life and lajnajivana movies such gunasundari and Kariyavar can be considered
significant. Historical, social, and religious topics were prominent in
the decades of 1 and 2. Many Gujarati movies like Kashi's Son Created from a Gujarati novel. In the
sixties, the subjects of saint and sati were again prominent. Hindi cinema
has had an impact on Gujarati cinema in the 8th and 9th and films have been
made on exciting topics. At the beginning of the sixties, the films were
mainly aimed at rural audiences and became a local story and genre. After
that, Gujarati cinema was resurrected and urban cultures were added to
it. In recent times, has been building more presents movies for
viewers.
Rainbow (1) is
the first Gujarati movie on the homosexual or LGBT community .
The scripts and stories of the Gujarati films include
relationship and family oriented subjects, as well as human aspirations and
Indian family culture. There were a large number of films based on mythological
narratives and folklore produced in the early years of Gujarati cinema.
During the silent film era, many individuals in the industry
Gujarati. The language-associated industry dates back to 1932, when the first
Gujarati talkie, Narsih mheta, was
released. Until the Independences of India in 1947, only twelve
Gujarati films were produced. There was a spurt in film production in the 1940s
focused on saint, sor dacoit stories
as well as mythology and folktales. In the 1950s–1960s, the trend
continued with the addition of films on literary works. In the 1970s,
the government of Gujarat announced a tax exemption and
subsidies which resulted in an increase in the number of films, but the quality
declined.
After flourishing
through the 1960s–1980s, the industry saw a decline through 2000 when the
number of new films dropped below twenty. The Gujarat state government
announced a tax exemption again in 2005 which lasted until 2017. The industry
has been partially revived in the 2010s due first to rural demand, and later to
an influx of new technology and urban subjects in films. The state government
announced a policy of incentives in 2016.
Silent Films in Gujarat:
Way before the films became a
crucial part of the media industry, dominating the screens were the silent
films. In Gujarati silent films, people were seen being closely related to the
culture and social life of the people there which made it immensely popular
among the masses. Between the duration of 1913 and 1931 there were around 20
top rated media companies producing such films in Gujarati and mostly
functioning from Bombay.
Early Talkies in Gujarat:
The first short Gujarati sound film
called Chavchav No Murabbo was brought in to screen for public viewing on 4th February 1931 in Bombay. It featured the very
first sound in any Indian film called mane Mankad Karde. It is commendable that
even before the release of a full length Gujarati sound film, 2 short sound
films were already released with the Hindi film industry. However the landmark
movie which made its appearance in the Gujarati cinema industry was Narsinh
Mehta in the year 1932 which was directed by Nanubhai Vakil. The movie
showcased the life of saint Narsinh Mehta.
After independence Movies in
Gujarat:
There was a huge surge of
production in Gujarati movies post the independence in the year 1947. In 1948
alone 26 Gujarati films were produced and released. The movies released in
between the years 1946 and 1952, 74 different movies in Gujarat were produced
and admired which were related to stories about dacoits, saints or sati. All
these movies were made for the masses and the rural audience who are very much
familiar with these subjects. Numerous movies which are made were relatable
with the life and problems observed by the people residing this region and
especially the folklores and myths.
Decline and Revival of Gujarati
Cinema:
In the
early 2000s less than 20 films have been produced and released however in 2005
a number of tax exemptions were announced by the government of Gujarat for
entertainment. 5 lakh rupees of subsidy was also announced by the government
for various Gujarati films. This was the revival point of Gujarati cinema in
general. These exemptions resulted in a sudden surge of Gujarati movie
production and release. Eventually with the onset of new technology and styles
in the cinematic universe the production value of the movies also became better
as its demand became higher and higher. In the golden globe awards of 2018
Gujarati film festival made its debut which was a landmark move in this field
which now continues to grow.
Conclusion
Today
Gujarati cinema in many different cultures,cloth, food, house, language and many different in cinema example
clothes today heroine wears western clothes. Nero and T-shirt and .and before
heroine wear village's clothes Shaniya choli and Shari and now heroine wear new
fashion cloth. Today in Gujarati movie .
Works Cited
contributors, Wikipedia. Gujarati
cinema. 09 february 2020. 09 march 2020
<https://en.wikipedia.org/wiki/Gujarati_cinema>.
Expert,
Gujarat. Gujrati cinema. 2020. 09 march 2020
<https://www.gujaratexpert.com/gujarati-cinema/>.
Monday, March 2, 2020
Sunday, March 1, 2020
All My Sons
All My Sons
In the end Joe Keller realities his guilt and thinks that not only Larry was his son but all who died because of him were his sons. He goes inside to get his things. A gunshot is heard. Joe Keller had committed suicide.
Relatedness:
In the drama their are some elements to think about the distance of personal and public matters. Keller thinks that it is not bad to supply leak cylinder to the Air force, he also thinks that when it's about the sake of family there is no crimes in it. On the other hand his son's Larry and Chris they think that nothing is important than the responsibility towards nation.
In the drama we saw a complex relatedness.
Flashback/ The Past:
The whole play is about past. Larry is not in present but he since gives a effects on Keller family and also Joe's suicide.
So, to summaries Miller described that past effects on the present and also gives a shape of futere .
Idealism v/s Practicality:
Chris in the drama is a idealist character another side Joe in the drama is a practical.
In the drama Miller also represent the unconditional love.
In the drama we see unconditional love between:
Black cat
Black cat : by Edgar Allan Poe.
The Black Cat" is a short story by Edgar Allan Poe. It was first published in the August 19, 1843, edition of The Saturday Evening Post. It is a study of the psychology of guilt, often paired in analysis with Poe's "The Tell-Tale Heart."[1] In both, a murderer carefully conceals his crime and believes himself unassailable, but eventually breaks down and reveals himself, impelled by a nagging reminder of his guilt.
CHARACTERS
Narrator: Prisoner scheduled for execution. His loathing of a cat he once loved leads to his commission of a capital crime.
Narrator's Wife: Woman of agreeable disposition who likes animals and obtains many pets for her husband.
First Black Cat: Cat named Pluto that loves the narrator but irritates him when it follows him everywhere.
Second Black Cat: Cat that resembles the first black cat and may be a reincarnation of the latter—or so the narrator may think.
Policemen: Officers who investigate the happenings at the home of the narrator.
Servant: Person working in the narrator's household.
POINT OF VIEW
• Who is telling the story?
The narrator tells the story in first-person point of view. He is obviously deranged even though he declares at the outset of the story that "mad am I not." He tells readers that excessive drinking helped to bring on his erratic, violent behavior. (It may be that the drinking worsened an existing mental condition.) The narrator tells his story as he sees it from his demented point of view.
• Why, in your opinion, did Poe not give a name to the narrator?
As in many of his other short stories, Poe does not name the narrator. A possible explanation for this is that Poe wanted the unnamed narrator to represent every human being, thereby enhancing the universality of the short story. In other words, the narrator represents anyone who has ever acted perversely or impulsively—and then had to pay for his deed.
Narrator: Prisoner scheduled for execution. His loathing of a cat he once loved leads to his commission of a capital crime.
Narrator's Wife: Woman of agreeable disposition who likes animals and obtains many pets for her husband.
First Black Cat: Cat named Pluto that loves the narrator but irritates him when it follows him everywhere.
Second Black Cat: Cat that resembles the first black cat and may be a reincarnation of the latter—or so the narrator may think.
Policemen: Officers who investigate the happenings at the home of the narrator.
Servant: Person working in the narrator's household.
POINT OF VIEW
• Who is telling the story?
The narrator tells the story in first-person point of view. He is obviously deranged even though he declares at the outset of the story that "mad am I not." He tells readers that excessive drinking helped to bring on his erratic, violent behavior. (It may be that the drinking worsened an existing mental condition.) The narrator tells his story as he sees it from his demented point of view.
• Why, in your opinion, did Poe not give a name to the narrator?
As in many of his other short stories, Poe does not name the narrator. A possible explanation for this is that Poe wanted the unnamed narrator to represent every human being, thereby enhancing the universality of the short story. In other words, the narrator represents anyone who has ever acted perversely or impulsively—and then had to pay for his deed.
Plot:
The story is presented as a first-person narrative using an unreliable narrator. The narrator tells us that from an early age he has loved animals. He and his wife have many pets, including a large black cat named Pluto. This cat is especially fond of the narrator and vice versa. Their mutual friendship lasts for several years, until the narrator becomes an alcoholic. One night, after coming home intoxicated, he believes the cat is avoiding him. When he tries to seize it, the panicked cat bites the narrator, and in a fit of rage, he seizes the animal, pulls a pen-knife from his pocket, and deliberately gouges out the cat's eye.
From that moment onward, the cat flees in terror at his master's approach. At first, the narrator is remorseful and regrets his cruelty. "But this feeling soon gave place to irritation. And then came, as if to my final and irrevocable overthrow, the spirit of PERVERSENESS." He takes the cat out in the garden one morning and hangs it from a tree, where it dies. That very night, his house mysteriously catches fire, forcing the narrator, his wife and their servant to flee.
The next day, the narrator returns to the ruins of his home to find, imprinted on the single wall that survived the fire, the figure of a gigantic cat, hanging by its neck from a rope.
At first, this image terrifies the narrator, but gradually he determines a logical explanation for it, that someone outside had thrown the dead cat into the bedroom to wake him up during the fire, and begins to miss Pluto. Some time later, he finds a similar cat in a tavern. It is the same size and color as the original and is even missing an eye. The only difference is a large white patch on the animal's chest. The narrator takes it home, but soon begins to loathe, even fear the creature. After a time, the white patch of fur begins to take shape and, to the narrator, forms the shape of the gallows.
Then, one day when the narrator and his wife are visiting the cellar in their new home, the cat gets under its master's feet and nearly trips him down the stairs. In a fury, the man grabs an axe and tries to kill the cat but is stopped by his wife. Enraged, he kills her with the axe instead. To conceal her body he removes bricks from a protrusion in the wall, places her body there, and repairs the hole. When the police came to investigate, they find nothing and the narrator goes free. The cat, which he intended to kill as well, has gone missing.
On the last day of the investigation, the narrator accompanies the police into the cellar. They still find nothing. Then, completely confident in his own safety, the narrator comments on the sturdiness of the building and raps upon the wall he had built around his wife's body. A wailing sound fills the room. The alarmed police tear down the wall and find the wife's corpse, and on her head, to the horror of the narrator, is the screeching black cat. As he words it: "I had walled the monster up within the tomb!"
The story is presented as a first-person narrative using an unreliable narrator. The narrator tells us that from an early age he has loved animals. He and his wife have many pets, including a large black cat named Pluto. This cat is especially fond of the narrator and vice versa. Their mutual friendship lasts for several years, until the narrator becomes an alcoholic. One night, after coming home intoxicated, he believes the cat is avoiding him. When he tries to seize it, the panicked cat bites the narrator, and in a fit of rage, he seizes the animal, pulls a pen-knife from his pocket, and deliberately gouges out the cat's eye.
From that moment onward, the cat flees in terror at his master's approach. At first, the narrator is remorseful and regrets his cruelty. "But this feeling soon gave place to irritation. And then came, as if to my final and irrevocable overthrow, the spirit of PERVERSENESS." He takes the cat out in the garden one morning and hangs it from a tree, where it dies. That very night, his house mysteriously catches fire, forcing the narrator, his wife and their servant to flee.
The next day, the narrator returns to the ruins of his home to find, imprinted on the single wall that survived the fire, the figure of a gigantic cat, hanging by its neck from a rope.
At first, this image terrifies the narrator, but gradually he determines a logical explanation for it, that someone outside had thrown the dead cat into the bedroom to wake him up during the fire, and begins to miss Pluto. Some time later, he finds a similar cat in a tavern. It is the same size and color as the original and is even missing an eye. The only difference is a large white patch on the animal's chest. The narrator takes it home, but soon begins to loathe, even fear the creature. After a time, the white patch of fur begins to take shape and, to the narrator, forms the shape of the gallows.
Then, one day when the narrator and his wife are visiting the cellar in their new home, the cat gets under its master's feet and nearly trips him down the stairs. In a fury, the man grabs an axe and tries to kill the cat but is stopped by his wife. Enraged, he kills her with the axe instead. To conceal her body he removes bricks from a protrusion in the wall, places her body there, and repairs the hole. When the police came to investigate, they find nothing and the narrator goes free. The cat, which he intended to kill as well, has gone missing.
On the last day of the investigation, the narrator accompanies the police into the cellar. They still find nothing. Then, completely confident in his own safety, the narrator comments on the sturdiness of the building and raps upon the wall he had built around his wife's body. A wailing sound fills the room. The alarmed police tear down the wall and find the wife's corpse, and on her head, to the horror of the narrator, is the screeching black cat. As he words it: "I had walled the monster up within the tomb!"
Thanks
Ghasiram kotwala
Ghasiram kotwala
Vijay Dhondopant Tendulkar was born on 6 January 1928 in Girgaon, Mumbai, and Maharashtra, where his father held a clerical job and ran a small publishing business. The literary environment at home prompted young Vijay to take up writing. He wrote his first story at age six. Vijay Dhondopant Tendulkar was a leading Indian playwright, movie and television writer, literary essayist, political journalist, and social commentator primarily in Marāthi. He is best known for his plays Shantata! Court Chalu Aahe (1967), Ghāshirām Kotwāl (1972), and Sakhārām Binder (1972). Many of Tendulkar's plays derived inspiration from real-life incidents or social upheavals, which provides clear light on harsh realities. He has provided guidance to students studying "play writing" in US universities. For over five decades Tendulkar had been a highly influential dramatist and theatre personality in Mahārāshtra.) was a leading Indian playwright, movie and television writer, literary essayist, political journalist, and social commentator primarily in Marāthi. He is best known for his plays Shantata! Court Chalu Aahe (1967), Ghāshirām Kotwāl (1972), and Sakhārām Binder (1972). Many of Tendulkar's plays derived inspiration from real-life incidents or social upheavals, which provides clear light on harsh realities. He has provided guidance to students studying "play writing" in US universities. For over five decades Tendulkar had been a highly influential dramatist and theatre personality in Mahārāshtra.
Introductiono Play
Vijay Dhondo Tendulkar (b. 1928) is an eminent Marathi playwright, screenplay writer, essayist, and journalist. He first came into prominence in the 1950s and 60s with one-act plays like Ratra (1957), Ajagar anigandharva (1966) and Bhekad (1969). But his signature style began to develop clearly with his association with the experimental theatre movement, which was part of the advent of modernism in Marathi literature. With modernism came the break from the traditional musical drama, the plays with mythological and folk ingredients and the imitations of Shakespeare, and a growing concern with social and political themes. This also meant the influence of playwrights like Ibsen and Shaw, Ionesco, Pirandello, Strindberg and Brecht, and a strong emphasis on formal and thematic experimentation. Tendulkar’s close association with the experimental theatre movement began with the plays he wrote for amateur groups like Rangayan, Bharatiya Vidya Bhavan Kendra and Avishkar. The plays that he wrote between 1955 and 1964 were keen explorations of middle class life and the isolation and alienation of individuals from the world around them, and include Manus navache bet (An Island called Man)(1955), Madhlya Bhinti ( The Walls Between) (1958), Chimanicha ghar hota menacha (Nest of Wax) (1958), Mee jinklo Mee harlo (I Won, I Lost) (1963), Kavlanchi Shala (School for Crows)(1963). His 1968 play, Shantata, court chalu ahe ( Silence! The Court is in Session ) brought him national recognition and a number of awards followed, among them the most prominent being the Kamaladevi Chattopadhyay Award and the Sangeet Natak Akademi Award in 1971.
Ghashiram Kotwāl (English translation by Jayant Karve and Eleanor Zelliot) was first performed in the original Marathi on December 16, 1972, by the Progressive Dramatic Association at the Bharat Natya Mandir in Pune. It was directed by Jabbar Patel and the role of Ghashiram was played by Ramesh Tilekar while Mohan Agashe played Nana Phadnavis. After nineteen performances, however, the President of the Progressive Dramatic Association banned the play on the grounds that it was anti-Brahman and gave an inaccurate picture of the historical figure of Nana Phadnavis. Most of the actors resigned from the Association and formed Theatre Academy on March 27, 1973. The production was revived on January 11, 1974. Since then, popular and controversial, and always contemporary, the play has been produced in many Indian languages, and Theatre Academy has also performed it in several European countries. The NSD production, directed by Rajinder Nath for Nandikar’s 17th National Theatre Festival, like Jabbar Patel’s, stays true to the play’s extensive use of traditional devices of the Marathi folk theatre.
Histoncol context: The play is set in Poona during the last years of the rule of the Peshwa Baji Rao n and his Chancellor Nana Phadnavis. Once when he makes Ghashiram the kotwal, and again at the end when he throws Ghashiram to the mob. One of the reasons stated for the banning of the play by the President of the Progressive Theatre Association was that the audience would not take kindly to the legendary figure of Nana being shown as debauched and evil, & Ghashiram, as Tendulkar himself tells us, was a minor figure of that period and therefore offers great scope to the playwright to flesh him out to suit the play’s representation of socio-political issues of our time.
The Brahmans were the most privileged of the various classes in Poona during this period, since they were also the class in power. While the government formulated a strict code of behaviour for them it also assured that they enjoyed the highest social status. They were granted a great deal of license and this is probably one of the incidental issues that attracted Tendulkar’s, allowing him to show that decadence could very well be the result of undeserved or excessive privilege. In the play, an interesting aspect of their preeminence is seen, as there is almost total absence of the other castes. On being questioned about the historicity of the play, Tendulkar’s very firmly states: This is not a historical play. It is a story, in prose, verse, music and dance set in a historical era. Ghashiram are creations of socio-political forces which know no barriers of time and place. Although based on a historical legend, I have no intention of commentary on the morals, or lack of them, of the Peshwa, Nana Phadnavis, or Ghashiram.’ On being asked whether the play sought to expose Brahman corruption and pretensions, he replied, ‘The decadence of the class in power (the Brahmans, incidentally, during the period which I had to depict) also was incidental, though not accidental.’
Since Ghashiram Kotwal continues to be a popular play, Tendulkar has commented on it in various contexts. At one point he says, ‘Ghashiram started with a theme, then came the specific ‘story’ or incident which was historical.’ Also pertinent to the theme of the play is his statement: ‘I had in mind the emergence, the growth, and the inevitable end of the Ghashiram; also those who create, and help Ghashiram to grow; and the irony of stoning to death a person pretending that it is the end of Ghashiram.’ Written and performed in the years leading up to the Emergency, which is considered to be the darkest period in the history of independent India, when the basic freedoms - to act, speak and think - became casualties, the play’s depiction of absolute authority unleashed on the people must now appear to have been prophetic. When we speak of historical context, therefore, it is as necessary to be aware of the play’s actual historical background, as it is important to recall when it was written and performed, and to be sensitive to the context in which it comes to us with each new performance.
Nineghtingale
Nightingale by Oscar Wilde.
I am going to write about a short story which is one of my favourite. Children may found it a fairy tale, but it is not a fairy tale at all, it gives very rational idea. You might also finds it fairy tale, but it was in syllabus of my third year of graduation and our professor has told us while teaching this story that this is not a story that should remember only for exam, but you should remember this story for lifetime. This is a simple story about love which end is very sad. The language is also very sort Story starts with the sentence of one unnamed boy, "She said that she would dance with me if I brought her red rose" cried the young student, "but in all my garden there is no red ros."
Then nightingale which is a totally different character, made the ultimate sacrifice herself because the life of a little bird is nothing like real love. The nightingale wants the student to experience the love that he was dreaming about. Also she didn’t know it the girl loved the boy or she would accept the rose, but she gave her life away so as to at last offer him a chance. To sum up the nightingale is the most likable character in the whole story , she is unselfish, kind, nice, and dares to sacrifice her own life for true love.
She journeys through the night seeking the perfect red rose and finally comes across a rambling rose bush but alas, the bush has no roses to offer her. However, there is a way to MAKE a red rose, but with grave consequences
She journeys through the night seeking the perfect red rose and finally comes across a rambling rose bush but alas, the bush has no roses to offer her. However, there is a way to MAKE a red rose, but with grave consequences
Thanks
The monkey paw
The monkey paw:
"The Monkey's Paw" is a supernatural short story by author W. W. Jacobs first published in England in 1902.
The story, set in Britain, begins with Mr. White and his son, Herbert, playing a game of chess where Herbert puts his dad in checkmate. It shows that this is "an ordinary night." It doesn't remain "ordinary" for long, because a man by the name of Sergeant-Major Morris comes to the house with a monkey's paw, willing to give it to them. This paw provides the bearer with three wishes on anything they wish. Sergeant-Major inherited this paw from the man before him, who used his three wishes, the only one that was known was that his third wish was for death. This is a clear sign of trouble, provided that the first two wishes were more than likely intended for one thing but resulted in something so drastic and painful that his life became so unbearable and death was the only freedom. Sergeant-Major even mentions that it was created to assert the power of fate. The paw was a test in which the bearer would try to interfere with fate, but instead end up in a situation far worse than before. The overall moral is to not play with fate.
The Monkey's Paw" is perhaps the key example of the consequences of what you wish for when provided the opportunity to do so. The fact that these wishes end up putting you in a situation far worse than before delivers the moral that such an offer is incredibly overrated. The only concept that could have been older is that of Pandora's Box, where something that showed promise of wealth and riches turned out bringing disease and death. The key difference is that Pandora's Box is just a concept of being careful when you come across suspicious objects. "The Monkey's Paw" has that concept, but it takes the direction of being careful about what choices you make, because you may very well regret them. The White family seemed to be living a rough life, but they were happy and content as a family. After the paw, Mr. and Mrs. White were frazzled, saddened, and most importantly, without a son. They would have been better off just rejecting the offer from Sergeant-Major Morris from using what the paw had to offer.
This should definitely make up a discussion in an English class, a literary discussion, or even a group that's discussing horror as a genre. While it resides in a genre, which does not sit well with literary critics, it is an excellent story with a frightful, but powerful message. It grabs you and it engraves itself in your cranium, leaving you to think years after the story has been told. This is perhaps the story that has grabbed on the tightest and made the biggest impact when it comes to stories I read during my English classes in high school. I still remember reading the play and film and when I went back to read the story, that was the icing on the cake. I highly encourage all of my followers, literary enthusiasts, and horror fiction lovers to search for this story and give it a read. It's not too demanding, so don't worry about time constraints. You can easily finish it in one sitting. Then you will remember it for the rest of your life.
The proposal
The proposal
He Proposal' by Anton Chekhov is a humourous one act play. It has three characters. Natalia, Lomov and Chubukov.
Lomov is 35 years old unmarried landlord. Chubukov if his neighbour who have twenty five years old daughter, Natalia. Lomov wants to marry her and so go to her house with marriage proposal. Chubukov warmly welcomes him. He tells why he is there. He says that he has come for marriage proposal to Natalia. Chubukov is very happy to hear that and kisses him. He goes to call his daughter. Lomov starts to think about him and Natalia. He thinks that if he will not marry now then he will never get married. He has weak heart and suffers from palpitation. And Natalia is a good housekeeper, not bad looking and well educated.
Lomov is 35 years old unmarried landlord. Chubukov if his neighbour who have twenty five years old daughter, Natalia. Lomov wants to marry her and so go to her house with marriage proposal. Chubukov warmly welcomes him. He tells why he is there. He says that he has come for marriage proposal to Natalia. Chubukov is very happy to hear that and kisses him. He goes to call his daughter. Lomov starts to think about him and Natalia. He thinks that if he will not marry now then he will never get married. He has weak heart and suffers from palpitation. And Natalia is a good housekeeper, not bad looking and well educated.