52 pages • 1 hour read
Time has passed—perhaps a year or more. Natasha is checking the house for any lamps that have been left burning. Olga is at a teacher’s meeting, and Irina is at work in a telegraph office. Natasha is very overprotective of her infant son, Bobik, and worries that he is sick or too cold. Although Andrey reassures her, Natasha decides that she will change Bobik’s diet. She also plans to revoke her invitation to the carnival people who are expected to come by the house. Despite Andrey’s reminder that it is his sisters’ house, Natasha explains her plans to move Bobik into Irina’s room and relegates Irina to sharing Olga’s room. She informs Andrey that Ferapont is waiting to see him and then exits. Ferapont enters and gives Andrey a book and some papers that Protopopov has sent. Since Ferapont cannot hear him, Andrey complains about his boredom and the dashed expectations for his future as an academic. His greatest aspiration now is to be a full member of the district council, but he also fantasizes about being a professor at Moscow University.
Andrey asks Ferapont if he has ever been to Moscow, and he says that he hasn’t. Ferapont leaves, and Andrey also exits and goes to his room. Masha and Vershinin enter. Throughout their conversation, it becomes apparent that they are having an affair. Masha is disgusted by the local townspeople and believes that the military people who are stationed there are the best people. They also complain about their respective marriages. Masha was in awe of Kulygin when she was fresh out of school, but over time, she has gained more perspective. Vershinin’s daughter is sick, and he admits that he feels guilty for giving them such a terrible mother. Vershinin sees similar dissatisfaction in both the military and the townspeople and wonders “why the brilliant Russian mind is so depressed” (33). Masha hears a noise that sounds like the same noise she heard when her father died, and Vershinin lovingly calls her superstitious. They express their devotion to each other but separate when Irina and Tusenbach enter. Tusenbach insists on walking Irina home each night when she finishes working at the telegraph office and promises to do the same for the next 20 years.
Exhausted, Irina complains that she hates working there. She admits that she was unnecessarily rude to a grieving mother who was trying to send a telegram but forgot the address. She now knows that working is not nearly as romantic as she had imagined it to be. Irina cannot wait to move to Moscow, but this will not happen for another six months. Masha and Irina talk about Andrey’s worsening gambling debts. Masha says that they need to keep Natasha from learning about his losses, but Irina asserts that Natasha doesn’t care.
Chebutykin enters and sits at the table to read a newspaper. Irina joins him and starts to play solitaire. Bored and hungry, Vershinin tells Tusenbach that they should entertain themselves by speculating about what people will be like in the future. Tusenbach argues that although technology and culture will advance, humans will always be the same. Vershinin contends that life will be better and happier, and he believes that they are all making sacrifices now so that this will happen. They debate about whether it is possible for them to be happy now. Tusenbach concludes that they cannot understand the rules of the universe, no matter how much they argue about philosophy. Masha interjects that there must be meaning to life; she insists that she needs there to be meaning.
During this philosophical debate, Fedotik and Rode enter. Tusenbach announces that he is resigning from his military position and becoming a civilian; Masha hates this idea. Natasha and Solyony join the group as Anfisa serves tea. They listen to the winter wind outside and complain about the cold. Natasha gushes to Solyony about her baby’s brilliance but is taken aback when he replies, “If he were mine, I’d fry him up and eat him” (40). Masha posits that happy people are those who don’t notice the changing seasons; she asserts that the weather won’t bother her in Moscow.
Vershinin recently read a diary written by a French official who spent time in prison. While in prison, the man wrote excitedly about the birds that were visible through the prison window, but once he was released, he stopped caring about birds. Vershinin states that although they long for Moscow now, there is no happiness waiting there for them, “[o]nly the dream of happiness” (40). Anfisa delivers a message to Vershinin, and he gets up to leave, exasperated. He must go home because his wife has tried to poison herself again. Vershinin exits, leaving Masha in a foul mood.
Tusenbach offers cognac to Solyony, suggesting that they “be friends again and do some drinking” (41). As they drink, Tusenbach notes that they get along fine when they’re alone, but Solyony starts fights when they are with other people. Solyony admits that he has a temper. They get drunk together, and Tusenbach exclaims that he will get a job after he resigns. The group drinks and banters, looking forward to the imminent arrival of the carnival people to entertain them. The men sing as Irina accompanies them on the piano.
Solyony picks a fight with Andrey about the number of universities in Moscow and then stomps out angrily. Masha dances and laughs over Tusenbach’s drunkenness. Then Natasha enters and whispers something in Chebutykin’s ear. Chebutykin announces that it’s time to leave, and the other military men follow suit. Irina exclaims that the carnival people are coming, and Andrey is mortified to inform them that Natasha has canceled the event because Bobik is ill. This infuriates Masha and Irina. Everyone exits, and Andrey and Chebutykin are alone onstage. Chebutykin laments the fact that he never married because he missed his chance with Andrey’s mother. Andrey asserts that marriage is overrated. They follow the others out before Natasha can stop Andrey from leaving.
Irina reenters, and the sounds of merriment outside signal that the carnival people have arrived. Irina tells Anfisa to send them away with apologies. Solyony reenters and discovers Irina alone. She says good night, but Solyony stops her. He acknowledges that he has behaved badly and confesses that he is in love with her. Exasperated, Irina tells him to stop. Solyony understands that he cannot make Irina return his love, but he vows to kill any rivals for her affection.
Natasha enters, and Solyony leaves. Natasha suggests that Irina share a room with Olga so that Bobik can have her room. Irina, in a daze, doesn’t quite understand what she’s talking about, and Natasha continues as if the matter is settled. A maid enters and whispers in Natasha’s ear. Protopopov has come to take her on a sleigh ride. Natasha exits to join him, laughing cheerfully. Olga, Kulygin, and Vershinin enter, surprised that there is no party and no carnival people. Kulygin asks where Masha went and questions why Protopopov is at the house, but Irina is too tired to answer. Olga is exhausted and concerned about gossip over Andrey’s gambling debts. All but Irina exit. Alone, Irina cries, saying, “Moscow. Moscow. Moscow” (49).
Having overcome her initial awkwardness from the first act, Natasha has now transformed into a different person. After marrying Andrey and taking on the identity of Mrs. Prozorov, she has infiltrated the family dynamics and largely seized control of the house, and given her lower-class origins, this development is designed to be a further sign of The Decay of the Aristocracy. Thus, Natasha and Andrey’s child, Bobik, becomes a tangible (if offstage) symbol of the irreversibility of the crumbling class barriers. Natasha may not have aristocratic blood, but Bobik does, and Natasha is painstakingly careful to protect her son. She firmly establishes the infant’s significance in the household by coercing Irina to give up her bedroom and unilaterally deciding to cancel the entertainers for the sake of her child’s health. She also becomes possessive and protective the house that she is systematically commandeering, as demonstrated by her habit of wandering obsessively to ensure that all candles are extinguished. Andrey is baffled by the changes to Natasha, as well as the changes that she has made to the household; he finds himself adopting into the role and aspirations of a local even as he yearns for his original dream of becoming a scholar in Moscow. These inner dreams conflict with his current his efforts to pursue of a local, small-town political position. Andrey has also started gambling and accumulating ruinous debts that threaten the family’s remaining wealth. His habits further emphasize the decay of the aristocratic class, and he does not notice or care that Natasha, who is now firmly ensconced in the Prozorov household, has begun an affair with Protopopov. The rhythm of the narrative implies that this affair is motivated by Natasha’s interest in Protopopov's political power, given Natasha’s focus on upward mobility.
Andrey has therefore joined the ranks of the unhappily married, of which the play has no shortage. However, unlike his sisters, who voice their sorrows and shed their tears openly, Andrey remains emotionally isolated. He is afraid of his sisters, and Natasha has become someone he doesn’t recognize. In his desperation to talk about his feelings, Andrey can only express The Pressures of Love, Longing, and Loneliness to Ferapont because he knows that Ferapont cannot hear him. In Andrey’s dreams of Moscow, he imagines that he will not feel alone there, as he does here. Although every face is familiar in the small town, Andrey feels that no one understands him, and he imagines that he would feel understood in Moscow. Thus, he idealizes the city just as his sisters do, conveniently ignoring the fact that he would be just as isolated if he were sitting in a crowded Moscow café. In their longing for Moscow, the characters romanticize the object of their fantasies. Meanwhile, Masha and Vershinin’s affair is clearly only a temporary remedy for their sorrows and regrets about their loveless marriages. Their relationships serve as a dire backdrop that foreshadows the difficulties that will arise with the other budding romances revealed in Act II. Masha and Vershinin’s respective marriages began well enough but have eroded over time, and although Kulygin still loves Masha and takes every opportunity to voice his adoration, his devotion is framed as being sad and pitiable rather than romantic, given Masha’s secret infidelity. Similarly, although both Tusenbach and Solyony love Irina, she merely tolerates the former, and the latter repulses her outright.
When Solyony is rejected by Irina, he makes a highly problematic vow to kill any other suitors she might have, and this declaration foreshadows Tusenbach’s death at the end of the play. Although Solyony does not participate in the others’ collective penchant for Worrying about the Meaning of Life, his promise suggests that life—with or without meaning—is always trumped by death, which can be brought about by any unphilosophical fool with a violent streak. The others’ attempts to find meaning in their lives also backfires in various ways, for by this point, Irina has found a job and has tested her theory that work provides meaning. However, she quickly discovers that work is much more tedious and exhausting than it is enlightening. She is even losing her belief that life has any meaning at all, as demonstrated by her unnecessary cruelty to a grieving mother who was trying to send a telegram. The fatigue of endless customers has led her to view them as less than human and therefore undeserving of her empathy. When the group returns to their philosophical conversation about life and meaning, Tusenbach contends that life has order and laws that humans cannot know or understand. When he compares humans to birds that instinctively migrate for the winter, this is one of many references to birds in the text, and the imagery is meant to symbolize the tension between freedom, captivity, and the essence of nature.
Plus, gain access to 8,800+ more expert-written Study Guides.
Including features:
By Anton Chekhov