The article examines the nature of the comic in A.P. Chekhov's work and the use of ancient cultural images in the play "The Cherry Orchard." Special attention is paid to how the traditions of Italian commedia dell'arte (masked comedy) are reflected in Russian literature. The relevance of the work is tied to the need to view Chekhov's humor in a new light. Modern scholars often write about the writer's connection to popular theater; however, the way in which stage roles transform into living characters has been studied little. The theoretical foundation is based on M.M. Bakhtin's idea that the mask is associated not only with festive merriment but also with mockery. The focus of analysis is on the work of the archetype of the mask and its various manifestations (parody, caricature, grimaces). The author explores how elements of carnival culture become an important part of the artistic world of the play and create a complex system of relationships between the characters. The work employs comparative typological and structural text analysis. The methodology includes identifying traditional stage roles (Harlequin, Pierrot, Colombina) and investigating the principle of mirror reflection, whereby secondary characters are viewed as parodic doubles of the main characters, revealing the hidden motivations behind their behavior. The scientific novelty of the research lies in proving that the mask in "The Cherry Orchard" is not just an external comic device but a form of unconscious psychological defense for the characters. The article argues that the characters intuitively choose role-playing behaviors to hide from a traumatic reality: Ranevskaya plays the role of the "generous landowner," and Gayev plays the "aristocrat," trying to preserve the illusion of the old world. It concludes that through a system of mirror images (Yasha as a caricature of Harlequin, Yepikhodov as a shadow of Pierrot), Chekhov transforms the structure of commedia dell'arte. The servants, by parodying their masters, diminish the pathos of their experiences and lay bare the true motives of their characters. Thus, the external carnival-like quality of the play serves as a tool to reveal the deep internal conflict of a personality unable to accept the pragmatics of a new era.
Kangyu Chen (Thu,) studied this question.