IN:\u00a0<\/strong>Partit\u00fara Irodalomtudom\u00e1nyi foly\u00f3irat, Volume: XI. \u00a0, Issue 1, 2016, p. 21-36.,\u00a0ISSN 1336-7307<\/p>\n DOI:\u00a0<\/strong>10.17846\/PA.2016.11.1.21-36<\/p>\n Absztrakt:<\/strong><\/p>\n As it well-known in the Chekhov\u2019s criticism, the heroes of the Russian writer have not only typical but also archetypical characteristic features. In my view, the archetypical feature of a Chekhov-figure\/hero, as house, case, scallop-shell etc. keeps a tight relationship with the intimate and existential space analised by Bachelard, in which the hero creates a peculiar pseudo-identity for him- or herself. therefore the analysis of the \u201eimage\u201d \u2013 as the image\/figure\/space of the hero \u2013 is going on following Bachelard\u2019s thought about \u201ethe birth of a new being\u201d,which is proper to the poetic expression. This paper tries to reveal the articulation of the linguistic space of narration in the late trilogy of novellas (The Man is a case; Gooseberries; about Love, 1898). In the case of the latest Chekhov\u2019s drama (The Cherry Orchard, 1903), the aim of the interpretation is the textual space of the author\u2019s instructions.<\/p><\/blockquote>\n