'Three Sisters\r'

'The terce Sisters sum-up mo I b halt I takes place on May 5th of an unspecified year, in an unspecified provincial t holdsfolk in Russia. It is the twentieth birth mean solar side squ ar day of Irina, the unripeest of the sisters manpowerti unitaryd in the passs title. It is in go forth c ar manner the superstar year day of remembrance of the death of their baffle, Colonel Prozorov, who turn taild his family thither from capital of the Russian Federation 11 long cartridge holder earlier. Irina and her grey-hairedisher sisters, Olga and Masha, receive visitors, members of the military electric battery that is assigned to the town.The sisters wrangle how bored they argon with the town, how they pertinacious to move tooshie to capital of the Russian Federation, and their br some separate Andrei, who volition be similar be scrape a university professor. Olga, who is 20-eight and the reali work outr(a)est sister, expresses interest in the newfound lieutenan t colonel who has been assigned to the town, Vershinin, unless is told that he is hook up with, with devil children. Che exclusivelyykin, the intoxicateden old doctor who had been in chouse with the mis sackings mother, gives Irina a silver samovar for her birthday, which is considered an incompatible gift.Vershinin arrives, explaining that he knew the sisters mystify back in capital of the Russian Federation, and that he remembers them from when they were girls. When he give tongue tos philosophic for each one(prenominal) in bothy effectively how era makes in all told their bouncings insignifi stick revealt, Solyony, a rough staff captain, mocks him by spirt gibberish. The sisters explain that they subscribe to been taunting their brother Andrei for world in warmth with a topical anesthetic girl, Natasha, who is wed to the chairman of the county board, Protopopov. Mashas married man, Kulygin, arrives to take Masha to a nurture function, scarcely she an grily refuses to go.Tuzenbach, an army lieutenant, expresses his whop for Natasha, however she expresses her disinterest in him. When Natasha enters, Olga feels blueish for her poor fashion virtuoso and suggests that her belt does non match the rest of her clothes. When eeryone else takes for the eat manner for the celebration, Andrei tells Natasha of his love for her and asks her to marry him. move II Al close a year ulterior, in mid-February, Andrei and Natasha ar married and living in the family house.The sisters induce invited their friends and some(prenominal)(prenominal)(prenominal) performers from the carnival that is in town over to the house, neertheless Natasha tells Andrei that she objects to letting them in because she is disturbed make a motionionive the tumefyness of their baby, Bobik. Ferapont, an old servant, enters with paperwork for Andrei, who is the secretary of the county board. When they give mood the mode, Masha and Vershinin enter an d discuss their love for each other. Irina and Tuzenbach enter; he politic is in love with her, and she is becalm uninterested. They discuss the thumping(p) play losses that Andrei has incurred.Vershinin is called remote by a letter from his daughter, state that his married woman has attempted felo-de-se at a time over again. Solyony arrives, is rude to Natasha, and is threatening to Tuzenbach, the reason for which be follows throw later(prenominal)(prenominal) in the mise en shooting, when he expresses his love for Irina and vows to bulge turn discover(p) some(prenominal) rivals. Natasha has the carnival performers sent a elbow room when they present up at the door, and, composition Irina is up round rough most(predicate) Solyonys threatening articulates, asks her to move out of her bedroom and into Olgas so that the baby fucking wel be intimate her room.She goes to the door when she hears a sleigh bell and practises back play playacting move that it is Protopopov, come to take her for a posture, explaining that she feels that she has to accept. Kulygin and Vershinin enter the medical prognosis again the formers meeting is over and the latters wife is all right to find that e genuinelyone has gone. The scene ends with Olga complaining of her horrifying chieftainaches and Irina repeating her wish to reverse to capital of the Russian Federation. wager 3 constitute III takes place nearly quatern-spot years after the opening of the play; Irina, who was twenty hence, tells Olga that she is â€Å"al almost twenty-four” mend explaining how washed up she feels.This act takes place in the bedroom Olga and Irina sh atomic number 18, period a fire is sp indication across the athletic field outside. Olga is choosing clothes from her closet to give to the fire victims, who check garbled all of their belongings. She has invited peck who clear been make stemless by the fire, intermiticularly Vershinin and his fami ly, to spend the nighttime on that point, and when she enters Natasha objects, consecrate that she doesnt pauperism her son and new daughter to be exposed to the flu. Natasha discussing fi evade Anfisa, the old nurse who, as Olga explains, has been with the family for thirty years.Kulygin enters, again otiose to find Masha, and bring the news that the doctor, Che preciselyykin, is drunk. When he enters, olf meet blameful well-nigh a forbearing that has died, Che simplyykin picks up a clock that at a time belonged to the girls mother and breaks it: in his embarrassment, enchantment e rightfullyone is staring at him disapprovingly, he blurts out that Natasha and Protopopov atomic number 18 having an affair. When Masha arrives, she and Vershinin communicate to each other in code, with melodic notes. Kulygin tells Masha how frequently he loves her, how all- outstanding(a) she is to him, throw out she asks him to leave her alone to rest for a fiddling while.When e re alone is gone, the sisters jaw roughly how concentrated their lives are and active how difficult Natasha has do Andreis sprightliness. Olgas advice to Irina, who hates her job, is to marry Tuzenbach, whether she loves him or not. later on Natasha passes done and through the room with a candle, Masha confesses to her sisters that she is in love with Vershinin. Andrei enters and tells them that he has mortgaged the house to pay his gambling debts and wedded control of his capital to Natasha. Irina announces that she for draw and quarter marry Tuzenbach. spiel IVAbout a year after the prior act, in the garden outside of the house. The soldiers have been assigned to a new post and are hang-upping by throughout this scene to say skilfulbye. There is chin-wagging slightly a fight that withalk place the previous day outside of the theater, during which Solyony challenged Tuzenbach to a duel. Olga is living at the school where she teaches, and Irina is planning on leaving w ith Tuzenbach later that day for Moscow. Chesolelyykin leaves to be a witness to the duel, and Andrei enters, irritated by his assistant to sign much(prenominal) and more than than paperwork for the county board.As Masha cries over world leftover by Vershinin, her husband, Kulygin, tries to whiff her, not admitting that he k forthwiths what she is upset nigh. Natasha al name has plans for the entourage of the house cosmos vacated: she is moving Andrei down to Irinas room, ever further from her own, so that her baby Irina can have his room. Word comes that Tuzenbach has been killed in the duel, and at the plays end Irina, Olga, and Masha depend nearly the prospective, hoping that they may one day earn the import of it all. The tierce Sisters IntroductionChekhov referred to The Three Sisters as a â€Å"drama,” preferring to avoid the more confining labels of all â€Å" prank” or â€Å"tragedy,” although later critics have argued for both of those labels. It is one of the four major plays that he wrote at the end of his liveliness sentence. Chekhov was an accomplished fiction writer, one of the one of the most influential short story writers of all time. At the time that his plays were world set upd thither was or so lit crit that his dramas comparablewise closely resembled the style of fiction.Traditionalists found the meet too cramped and the characters too inexpressive, noting that there were too m any(prenominal) people on the stage at any one time, doing zipper, for listenings to be able to point the significance of it all. Contrary to expectations, though, Chekhovs plays were very popular in Moscow, where they were staged by the famous Moscow wile Theatre under the dealion of Constantin Stanislavsky. The Three Sisters was the prime(prenominal) play that Chekhov wrote specifically for the Moscow artistic creation Theatre, having see commercial success in his previous collaborations with the co mpany, The gull and Uncle Vanya. comparable more of Chekhovs works, it is round the decay of the privileged syllabus in Russia and the search for meaning in the new-made world. In the play, Olga, Masha, and Irina are refined and cultured young women in their twenties who were raised in urban Moscow alone have been living in a itsy-bitsy, colorless provincial town for el plain years. With their father dead, their anticipated return to Moscow comes to appoint their hopes for living a salutary conduct, while the sophistication of day-to-day living tightens its hold. First performed in 1901, The Three Sisters is a perennial favorite of actors and instinct of perceives.The Three Sisters reason Biography Although Anton Pavlovich Chekhov was trained as a mendelevium and class periodd as one, he came to dominate not notwithstanding one field of literature, only cardinal: plays and short stories. He was born in 1860 in Taganrog, a provincial town in the U kraine area of Russia that was similar to the one described in The Three Sisters. His family had a miniscule grocery business that went bankrupt, forcing them to move to Moscow in 1876, although Chekhov stayed behind in Taganrog to end his education. With a scholarship to Moscow University, he analyse to be a doctor of medicine, passing play into practice in 1884.At that time he started publishing short humorous sketches in the Moscow newspapers, though he had no serious artistic aspirations. His writing occupational group became earnest when he moved to St. Petersburg in 1885 and befriended the editor program of a literary journal, who recognized his talent and promote him. He did write plays, and some of these were produced, provided his most memorable work from that period were his short stories, and by late 1880s, he was one of the worlds great get the hang of short story writing. It was in the late 1890s, when Chekhov became associated with the Moscow Art Theatre, that he reached full maturity as a playwright.The theater, under director Constantin Stanislavsky (whose theories bonny virtually acting method are standard texts for theater students today), producedThe soft touch in 1896, followed by Uncle Vanya (1899), The Three Sisters(1901) and The Cherry grove (1904). Chekhov was very involved in the Moscow Art Theatres productions of his plays, offering suggestions for the actors and constantly rewriting passages. He courted an actress from the company, Olga Knipper, who compete Masha in the original production of The Three Sisters (he wrote the part with her in radical); they were married in 1901, just four months after the play opened.During much of their marriage, they were apart, because Chekhov, suffering from atomic number 65 since 1884, often went to expanse retreats for medical treatment. He died of tuberculosis in Yalta in 1904, when he was forty-four years old. map 1, type 1 Summary The absolute Russ ian play The Three Sisters explores the lives and dreams of trinity sisters, their brother, their friends and their lovers. The play, like the characters, is moody and atmospheric, gently exploring themes relating to the human capacities for dreaming, in follow through in the look of those dreams and discouragement when those dreams dis show up.The send-off act is set in the displace room of the central office of the Prozoroff sisters, Olga, Masha and Irina. talk reveals that theyre hosting a party in honor of Irinas Saints Day. As they see for their guests to arrive and lunch to be served, Olga recalls in detail the day, exactly a year ago, that their father died. Irina tells her to not conceive of of it. Olga whence recalls how the family left Moscow eleven years ago and says that even though its a fine- expression day, she longs to be back there. Tusenbach, Solyony and Chebutykin appear in the dine room, joking intimately how what is existence said is all gar bage.Masha whistles quiet to herself as she reads. Olga tells her to violate and says that even though teaching all day gives her headaches and even though she feels her strength draining a means, her dreams of †Irina completes her thought, proverb that their dreams of overtaking to Moscow are stronger than ever. Chebutykin and Tusenbach laugh as Olga and Irina refer to Masha organism the solo if one who wouldnt be able to go. Irina then dialog near how knowing shes felt all day, referring to memories of her childhood. Olga dialog around how swell up and happy Irina looks, how lovely Masha is, how their brother Andrei is aining weight and how she herself has gotten cured and thinner. She then dialogue nigh how organism a means from the school makes her feel younger and freer. She wishes shed been married, and she feels she could quiet be married, verbalize shed love her husband. Tusenbach comes in, manifestation the intercourse is meaningless. Tusenbach ann ounces that the sisters exit be receiving a visit later that day from their new commander, Vershinin. He describes him as nice but says he negotiation too much, in particular round his wife and children, and he describes the wife as world half-mad.Solyony comes in, talk to Chebutykin, who ignores him as he makes notes close the components of a medication in a diminutive notebook. Irina goes to him, talk or so how happy she is and describing herself as a circumstantial white bird. She has realized that the purpose and bliss of look sentence can be found in saturated, fleshly work. Olga plays that Irina spends so much time lying in bed calculateing, and Irina tells her to think of her as a adult female now and not a elfin girl. Tusenbach duologue at length roughly how he too longs for work.He was born and raised in an aristocratic family, and he feels some kind of storm of shift is access, limiting that leave behind wipe out laziness, indifference and boredo m. He says that in twenty-five years every(prenominal)one give be working, and Solyony jokes that in twenty-five years Tusenbach leave behind be dead, possibly even shot by him. Chebutykin dialogue rough how he doesnt sincerely work, verbalise that since he left university he hasnt read anything but newspapers. A knock is heard, Chebutykin says hes being called downstairs and rushes out.Irina, Tusenbach and Olga talk about how he seems to be up to something, referring to how he of all time brings Irina extravagant presents. Masha stands and swot ups to go, saying shell be back later and recalling the exciting parties they had when their father was alive. She negotiation about feeling depressed, and Olga says tearfully that she understands. Solyony jokes about how annoying it is when a womanhood dialog philosophic thoughts, and Masha speaks angrily to them both. Anfisa comes in, followed by Ferapont, whos carrying a large cake. Anfisa announces that the cake came from Pro topopov, the Chairman of the District Council.The hard-of-hearing Ferapont cant make out Irinas message of thanks. Olga tells Ferapont and Anfisa to get some lunch in the kitchen, and they go out. Masha says she doesnt like Protopopov, and Irina says he wasnt invited to the party. Chebutykin comes in with a large silver samovar. As the sisters react with embarrassment and Tusenbach laughs, Chebutykin says the girls are all he has in the world. Hes an old man, and he loved their mother. Finally, he says that theres nothing wrong with plentiful big-ticket(prenominal) presents to people one loves.Act 1, give onward 1 abridgment Like most of the full-length plays by this playwright, the dramatic and thematic content of this play is revealed in subtle ways, with its meaning defined by its sense of mood, atmosphere and character. This makes it very different from plays defined by active plots, change magnitude aroused tension and vivid symbolizationism. All tercet elements are p resent in The Three Sisters, but they are less relevant to the plays meaning than its boilers suit sense of tone, its gently pointed observations about human spirit and its juxtapositions.For example, even though Olgas memories, Irinas dreams and Mashas moods are all very real and very vivid, their true nature is revealed by the repeated comments from the men about conversations being nonsense and garbage. The hearing knows perfectly well that theyre talking about their own conversations, but because theyre carefully juxtaposed with speeches from the sisters, we excessively know that the playwright is telling us that ultimately, everything the women are saying is nonsense.In other words, their dreams are empty. In foulness of the women talking about absent to go to Moscow, the men are indirectly saying theyre neer waiver to get there. As the play continues, we learn why. Theyre defiant and/or unable to actually do anything in order to get there. This is the plays central comment about human nature, that extravagant dreams are all well and good but that action must(prenominal)iness be taken in order to make those dreams reality. some(prenominal) elements of bode appear in this scene.These include Solyonys wing to shooting Tusenbach, which promises Tusenbachs death at the end of the play, and in any case Tusenbachs university extension to Vershinin and his family, which foreshadows Vershinins imminent way and the appearance of his family in the sisters home in Act 3. Other foreshadowing includes the acknowledgement of Protopopov, a character who plays an unseen percentage in the emergence of the future family in the midst of Andrei and his wife. Two aspects of Russian life play important roles in this scene.The first is the seed to Irinas name day, a celebration of the saint from whom Irina received one of her names. The giving of children the name of a saint is a Russian tradition. The flash aspect of Russian life mentioned here is t he samovar, a large heated urn in which tea is brewed and served. Because theyre usually made of a less expensive metal than silver, Chebutykins gift is genuinely extravagant and inappropriate coming from someone who isnt either wealthy or a member of the immediate family. Act 1, lead off 2 Summary Anfisa comes in, announcing Vershinins arrival.As she goes out, urging Irina to behave herself, Vershinin comes in, utter that hes very glad to be there and referring to his memories of having met the sisters when they were little girls. He comments on how time passes. He explains that he knew their father when they were both in Moscow, says he remembers Mashas face a bit and talks about how he used to visit them all. As Irina and Olga talk about how theyll be back in Moscow by the fall, Masha all of a choppy recalls Vershinins visits and how they always used to call him â€Å"the love ptyalize major” because he was always in love with someone or other.As Vershinin laughs, Mas ha becomes tearful about how old he now looks. Olga says he doesnt look old at all, and Vershinin says hes only forty-three. He and the sisters talk about which streets they used to live on, with Vershinin recalling a bridge near his home and how â€Å"a lonely man feels sick at heart there. ” He quickly changes his mood, talking about the wonderful river zip through their littler town and how well-favored the climate is. The train send off is far away, and nobody knows why. Solyony makes a crappy joke, and there is an awkward silence. Then Olga says that she too recalls Vershinin.He says he knew their mother, and Chebutykin talks about how beautiful she was. Irina mentions that shes buried in Moscow, and Masha says shes showtime to forget her face. This leads Vershinin into a long speech about how everyone pass on be disregarded someday. Whats important will one day be insignificant, and their lives will be considered idle. Tusenbach suggests that perhaps their lives will be recalled with respect. Solyony teases him, and Tusenbach asks him to go. When Solyony persists, Tusenbach keeps talking, and Chebutykin jokes about how undersize people are in general and how small he is in particular.A violin is heard, and the sisters explain that its being played by Andrei, whom they say is going to be a professor. They to a fault talk about how theyve been taunting him for being in love with a local girl, with Masha going on at some length about how vulgar she is and about how shes heard the girl is engaged to Protopopov. She then calls Andrei, who comes in and is introduced to Vershinin. When he hears Vershinin is from Moscow, Andrei jokes that his sisters will now never leave him alone. The sisters tease their brother, and he becomes upset.The girls joke that they used to tease Vershinin and that he never minded. Andrei makes them stop, explaining he had an unsettled night and that his lack of residuum has kept him from doing what he real indigenc es to do, translate a book into English. He says their father had high expectations of all his children, and he (Andrei) has gained weight since his fathers death as though hes been freed from carrying a heavy load. All the children know several languages, and Andrei refers particularly to Irina knowing Italian. Masha talks about how nugatory knowing so legion(predicate) languages is.This leads Vershinin to talk at length about how even in their small town, their knowledge will slowly gain influence. everyplace the years, that influence will grow to the point where the town is populated by people like them. He says that life is meant to be beautiful and that their knowledge is the generator of the beautiful life to come. Masha announces shes staying to lunch. Tusenbach starts talking about how that beautiful life must be earned and worked for. Vershinin talks about how beautiful the sisters home is. Tusenbach tries again to talk about the value of work.Vershinin talks about how he often wonders what would happen if life could be started afresh and says that if he had the chance, hed create a life in which he lived in a house like that of the sisters. Vershinin mentions his wife and daughters and says he wouldnt marry. Act 1, dissipate 2 Analysis The key element of this section is the macrocosm of Vershinin and the repeated foreshadowing of his eventual affair with Masha. He and Masha share recollections of each other, and he is in like manner referred to as the lovesick major.His savoir-faire to a lonely man, which the audience can soft understand from the context of what he says as a reference to himself, and Mashas sudden change of heart about staying for lunch provide excess foreshadowing. Their affinity is also foreshadowed in Vershinins comments about pauperisming to start a new life, something that both he and Masha clearly want to do, as the continuing action of the play reveals. Vershinins reasons are revealed through his conversation, while Mashas reasons are revealed as the result of the charm of her husband, who appears at the ascendant of the final exam section of this act.Another get together of foreshadowing is Andreis reference to Irinas knowledge of Italian, which foreshadows her emotional breakdown later in the play when she laments having forgotten all her Italian. Also, Solyonys continued painful of Tusenbach continues to foreshadow Tusenbach eventual death. Finally, the sisters teasing of Andrei about Natasha foreshadows her entrance and their eventual marriage, while Mashas reference to the rumors about Natasha and Protopopov foreshadow developments later in the play that imply theyre having an affair.Vershinins comments and observations about the future can easily be taken as some kind of thematic statement. The resembling point could be made in ground of Tusenbach and Irinas comments about the value of work. They are related to the plays theme, but not in the way they major power at first seem. Both men are, in essence, saying that they dont want to live the lives theyre living. This state of being, or perhaps non-being might be a better phrase, is also true of the three sisters.Olga and Irina are desperate to live lives in Moscow, and Masha (as well see) is stirly desperate to live any kind of life as long as it doesnt involve her husband. In short, no(prenominal) of the plays central characters want to live the lives in which they find themselves, a government agency that also becomes true of Andrei and Natasha later in the play. The action of the play, such as it is, reveals how these dreams of break away are all futile because, as antecedently discussed, the characters dont in reality do anything to bring them to reality. Tusenbach and Irina do get jobs, and Masha and Vershinin have an affair.However, Irina never does anything to try to get to Moscow, and neither does Olga. By the very(prenominal) token, Vershinin and Masha have their fling, but at the end of th e play, they return to life with their respective spouses. Later in the play, the audience also sees how Andreis dreams of success have evaporated, and he finds himself altogether dominated by his wife. Only Natasha, ironically enough, gets everything she wants, but the point here is that she gets it because she works for it, fights for it and doesnt stop until she gets it. She has prominent manners. Shes pushy, and shes selfish.However, she realizes her dreams. Do the other characters motivation to be more pushy and more selfish? They may or may not. The dramatic point of the play is not whether selfishness and pushiness are virtues but rather that the characters read to dosomething. The thematic point of the play, therefore, is that all human beings wishing to work for something. Otherwise, life will end up as hollow as those of the three sisters and their men. Act 1, separate 3 Summary Kulygin comes in, greets Irina, gives her a little book he wrote detailing the history o f the school where he and Olga both teach and introduces himself to Vershinin.Irina tells Kulygin he already gave her a copy of the book. Kulygin takes the book from her and gives it to Vershinin. Vershinin prepares to go, but Olga and Irina swan he unite them for lunch. He agrees to stay and goes with Olga into the eat room in the back. Kulygin chatters about the tradition of sunshine rest. He comments on how the rugs should be cleaned, how life must be logical, how glad he is that Masha loves him, how the curtains should be cleaned and how he and Masha have been invited to join the director of the school for a walk.Masha irritably says shes not going, refusing to explain why. Kulygin talks about his plans to join the director at his home in the evening and comments that the clock is fast. Andreis violin is heard as Olga calls everyone in to lunch. As they all go in, Masha fallaciously tells Chebutykin to not revel. Chebutykin says its been two years since he was drunk, but Masha says again he shouldnt drink at all. She then complains about having to go to the directors again. Tusenbach and Chebutykin advise her to not go, and she goes into the dine room, complaining about how awful her life is.Solyony teases Tusenbach again. Kulygin drinks a toast to how wonderful Masha is. Vershinin talks about how good he feels being in the house, and they all prepare to sit down to lunch. In the drawing room, Irina comments to Tusenbach on Mashas bad mood, saying shes not happy with Kulygin. Olga calls to Andrei, and he comes in as Irina talks about how anxious(p) she feels around Solyony. Tusenbach talks about how he feels sorry for Solyony. Hes fine when theyre alone together, but when theyre around people, Solyony becomes tender and bullying.Tusenbach then talks about how much he loves Irina, saying his desire for work is bound up with his desire to make a beautiful life for her. Irina tearfully says life isnt beautiful for her or her sisters, saying she feels like grass stifled by weeds. She talks about needing to work, saying she comes from a family that has always hated work. Natasha rushes in, checks herself in a mirror, congratulates Irina and greets Tusenbach. Olga comes in and greets her, commenting that her clothes dont match. Natasha wonders whether its a kind of omen, but Olga says it just looks odd.She leads Natasha into the eat room as Kulygin toasts a future fiancy for Irina. He and Chebutykin joke about how shes already got a fiancy, and Masha demands a drink. Solyony jokes that the cordial is made of cockroaches, and Olga invites everyone to come for dinner. Chebutykin jokes about how everyone is made for love, and Andrei loses his snappishness. Fedotik and Rode arrive. Fedotik takes a lot of pictures, and he offers Irina a toy top. Kulygin jokes about how there are thirteen people at the table, and he says that that means there are lovers there.He jokes that one of them is Chebutykin, who in turn jokes about why Natas has suddenly embarrassed. Natasha runs into the drawing room, and Andrei runs after her. Natasha says she couldnt help running off, adding that she knows that its bad manners but just couldnt stay. Andrei comforts her and moves her to a window where they cant be seen. He talks about how wonderful her youth is and how much in love with her he is. Then, he proposes marriage and kisses her. Act 1, man 3 Analysis The deuce-ace section of the act develops several key relationships.The first is the romantic triplicity involving Vershinin, Masha and Kulygin, whose pedantic boorishness is so vividly visualized that the audience immediately understands why Masha finds the intelligent and patently more sensitive Vershinin so attractive. The morsel is the relationship between Natasha and Andrei, which is something of a mystery. We wonder, as perhaps the three sisters do, why he finds her attractive. The answer might be found in the previously discussed point about Natashas decisiveness. She may dress badly, but shes got spirit.This is indicated by the way she gets herself away from an uncomfortable situation, as fence to set up with it the way that â€Å"ladies” like the three sisters might. The report is supported later in the play by the way Andrei remains something of a non-entity, with no real career and no personality. In other words, hes attracted to her get up and go, mostly because his own got away. The third relationship developed is that of Tusenbach and Irina. Tusenbach is revealed as a thorough romantic, stormily reportlistic in a way none of the characters are. They have dreams and longings, while he has goals and at to the lowest degree a degree of zeal.He believes in his dreams more powerfully and actually makes at least some political campaign to bring them to fruition. He confesses his love to Irina and actually gets a job, but like the other characters, he doesnt go all the way. Throughout the play, he seems content to wait for Irina to come to him in the self uniform(prenominal) way as he seems prepared to wait for the future, as opposed to moving directly and determinedly into it. As for Irina, her tearfulness in their conversation suggests that her earlier radiant gladness was actually a mask and that she actually is seed to despair that her life is never going to be what she dreams.The despair hasnt yet taken over completely. That comes in Act 3, when the world around her is literally unmake by fire in the aforementioned(prenominal) way as her inner, dream-filled world has been destroyed by supererogatory work, frustrated dreams and the banality of people around her, particularly Natasha. Nevertheless, the seeds of despair are planted in this scene and grow throughout the play. The other key piece of foreshadowing here, aside from the glimpse of Irinas despair, is Mashas reference to Chebutykins drinking.This foreshadows his appearance in Act 3, Part 1, in which he refers to having killed a patient af ter operating on her while drunk. Act 2, Part 1 Summary This act also takes place in the drawing/ eat room, some months after the events of Act 1. Natasha comes in, inquisitive to ensure no servants have left any candles burning. She calls to Andrei, who comes in. Conversation reveals that its Carnival Week. Olga now works at the Teachers Council office, and Irina works at the telegraph office. Andrei and Natasha now are married and have a child, Bobik, over whom Natasha worries excessively.She tells Andrei she doesnt want the maskers to stop by, saying theyll disturb Bobiks rest. Andrei reminds her they were invited and that the decision is really up to his sisters, who are still mistresses of the house. Natasha says shell tell them as well and talks about her plans to move Bobik into Irinas room and Irina into Olgas room. afterwards inquire why Andrei isnt saying anything, she tells him Ferapont has come with a message from the council. Andrei tells her to tell Ferapont to come in, and Natasha goes. A moment later, Ferapont comes in with some papers and a book.Andrei looks at the papers, commenting as he does about how affect he is at how life changes. He refers to a book of university lectures hes been reading. He has been named secretary to the council run by Protopopov, and the most he can pictorialally be now is actually on the council. He still dreams of being a famous lecturer at Moscow University, though. Ferapont comments that he doesnt really hear what Andrei is saying, but Andrei says if he could hear properly, he (Andrei) wouldnt be talking, adding that his wife never listens and that hes algophobic his sisters will laugh at them.He reminisces about his days in Moscow, saying that there nobody knows you but youre not a str elicit, while here everybody knows him but hes a total stranger. afterward chatting briefly about whether Ferapont was ever in Moscow, Andrei tells him he can go and then goes back into his own room. Masha and Vershinin c ome in from another direction, in the warmheartedness of a conversation about the bad manners of the people of the town as opposed to the good manners Masha is used to dealing with from her fathers fellow soldiers. She also talks about how she married Kulygin when she was eighteen.She was both afraid of him and impressed by him because he was a schoolteacher, but she has since become completely disillusioned. She talks about how reprehensible she is when shes with his boorish colleagues, steer Vershinin to talk about how everyone in the town, military or otherwise, is as uninteresting as everyone else. He wonders aloud why Russians are such lofty thinkers but live such low, dim out lives. Masha asks why hes unhappy, and he explains that one of his daughters is poorly(predicate) and that his wife is in a very bad mood.He kisses her hand and apologizes for talking so much, but he says hes got nobody in his life other than her. Masha refers to the flighty sound of the wind in the stove, but he goes on talking about how wonderful and beautiful she is and saying how much he loves her. At first she tells him to stop, and then she tells him to keep going. When she sees Irina and Tusenbach coming, she tells him again to stop. As Tusenbach and Irina come in, Tusenbach is talking about how he has a German name but is truly Russian at heart.Irina complains that shes tired, but he doesnt appear to notice, talking about how hell gladly see her home every night. As he greets Masha and Vershinin, Irina talks about how she was rude to a customer at the telegraph office for no reason, and she asks whether the maskers are coming. Masha confirms that they are, and Irina again says shes tired. Masha jokes that shes commencement to look like a boy, and Irina says the mindlessness and soullessness of the work is really starting to get to her. Theres a knock on the floor, and Irina understands it to be a signal from Chebutykin, asking if he can come up.She tells Tusenbach to answer and then tells Masha that Chebutykin and Andrei were out gambling again and lost a lot of money. She talks about her continuing dream of going to Moscow, saying shes planning to leave in a some months. Masha comments that Natasha mustnt hear about Andreis losses, and Irina says it wouldnt matter. Chebutykin comes in and sits at the eat room table. Masha and Irina talk about how he hasnt stipendiary any rent in months. When he calls Irina to join him, she joins him at the table and begins playing solitaire. Act 2, Part 1 AnalysisIn the first part of this section, the audience sees Natashas previously discussed determination in action as she overrides the wishes of her husband and his sisters about the maskers and makes plans to override their lives even more. In short, she is move what she wants in a way that Andrei has clearly never done. Its also change state clear that his sisters have never done things that way either. The contrast between Natasha and the Prozoroffs i s further defined by the way Andrei simply talks about how unhappy he is even while Natasha is acting to improve and/or change her life.Andreis capacitor for, and habit of, talking rather than actually acting is repeated in this section by Irina. Its important to note that even though she talks about leaving for Moscow in a a few(prenominal) months, there is no actual evidence that shes doing anything about it. There is no evidence of tickets or packing, and she has no real plans of any kind. The audience sees her being sucked into the similar kind of dull, repetitive work that Olga refers to in Act 1 as sapping her of her strength and her will. This is a development in her personality that even Tusenbachs protestations of love and Mashas teasing about her looks seem unable to slow.In contrast to Irinas tiredness, Andreis bluntness and the way they both complain, Mashas flirting with Vershinin stands out as the only effort being made by anyone in the Prozoroff family to create de sired change in her life. She wants to escape, somehow, from her husband, and she is making carefully modulated overtures to Vershinin so that he will help her get away, whether emotionally, sexually or intellectually. For his part, Vershinin is also making an effort to get out of his misery. His romantic proclamations perform the same unction for him as they do for her, drawing them both out of the lives they cant come out to live and into an existence where there is both turbulence and intimacy. As previously discussed, however, they both escape only to a point. Foreshadowing in this scene includes the reference to Protopopov, which foreshadows Natashas taking a ride with him later in the act, and Irinas despair, which foreshadows her emotional breakdown in the following act. Act 2, Part 2 Summary Vershinin suggests that he, Tusenbach and Masha imagine what life will be like in two one hundred years.Tusenbach suggests that in spite of there being great technological advances, h uman beings will be exactly the same, complaining about how empty life is and being afraid to die. Vershinin says, as he did in Act 1, Part 2, that life will be very different in two hundred years and that work must begin now to prepare. He adds that there can be no true joy in the present but there will be in the future, â€Å"for the descendants of [his] descendants. ” Fedotik and Rode join Irina and Chebutykin in the dining room as Tusenbach asks what Vershinin would say if Tusenbach claimed to be already happy.Vershinin says he cant be. As Masha laughs quietly, Tusenbach says again life will never change. Birds will migrate the same way, and philosophers will philosophize the same way. Ultimately, he says, life has no meaning. Masha says she believes that life has to have some meaning, or else its all waste. Vershinin says its a take down that youth passes, and Tusenbach says its difficult to argue with them. In the dining room, Chebutykin comments on an article in the paper that hes reading and makes a note in his little book. Tusenbach tells Masha hes resigned from the military.Masha says she doesnt like civilians, and the audience realizes that shes referring back to her earlier conversation with Vershinin, in which she said she prefers soldiers to civilians. Tusenbach talks about how hes looking onwards to working hard and joins Irina in the dining room just as Fedotik is giving her some crayons. She complains about how he always treats her like a child, but then she laughs with joy at the pretty colors. The samovar is brought in, and Anfisa pours tea. Solyony comes into the dining room. Natasha also comes in, and several conversations continue at the same time.As Vershinin and Masha talk about the wind, Irina says her game of solitaire will come out, but Fedotik says it wont, joking that it means she wont be going to Moscow. Meanwhile, Chebutykin reads aloud from his newspaper, and Anfisa brings tea to Vershinin and Masha. Natasha chatters t o Solyony about how particular(a) Bobik is, and Solyony makes a crude joke about how all children should be cooked and eaten. Vershinin tells Masha a story about a prisoner who said he never spy the beauty of bird song until he was in jail, and who then said once he was released, he went back to not noticing.He says that in the same way, once Masha is in Moscow, she wont notice its beauty, saying again that happiness doesnt exist; we just long for it. Anfisa brings him a note. He reads it and then tells Masha his wife has again tried to pay suicide. He goes out, and Anfisa complains that he hasnt finished his tea. Masha loses her temper and goes into the dining room. Andrei calls for Anfisa, and she goes out to him as Masha messes up Irinas game of solitaire. Irina becomes upset. Chebutykin makes a joke, and Natasha asks why she makes herself look so ugly.She says Irina would be trance if she didnt speak so crudely and that Irina speaks in very bad French. Tusenbach and the othe rs can barely restrain their jest. Natasha again becomes embarrassed and goes out. Irina asks where Vershinin went. Masha explains that something happened with his wife as Tusenbach goes to Solyony, offers him a drink and offers to make peace and be friends. Solyony says theres no need to make peace, saying theres no quarrel. He goes on to say hes fine when hes alone with someone, but when hes with large groups of people, he cant help behaving strangely.He also says he doesnt nauseate Tusenbach and that he makes the comments he does just because hes moody. Andrei comes in, sitting quietly with his book of lectures as Tusenbach tells Solyony hes resigning from the military. Solyony tells him to give up on his dreams and then interrupts as Chebutykin and Irina pass by, talking about the ingredients of a stew. Solyony says Chebutykin has the name of one of the ingredients wrong. He and Solyony argue, and Andrei asks them to be quiet. Tusenbach asks when the maskers are coming, and Ir ina says theyll be there shortly.Chebutykin and Tusenbach sing and leap in the way the maskers would. Tusenbach then promises to go to the university with Andrei, leading to an argument with Solyony about how many universities there are. After insisting there are two and being ignored, Solyony leaves the room. Tusenbach applauds his leaving and then sits at a gentle and plays. As Masha sings and dances by herself, Natasha has a quiet word with Chebutykin and then goes out. Chebutykin then whispers to Tusenbach, who stops playing. Chebutykin tells Irina they need to go.Irina asks why they arent staying for the maskers, and Andrei sheepishly confesses that the maskers arent coming because Natasha doesnt want them around when Bobiks not well. Masha suggests its Natasha whos not well, in the head. Andrei goes out, and Chebutykin follows him. Fedotik and Rode say their farewells and go, and Masha and Irina follow them to the door. Act 2, Part 2 Analysis In the same way as the comments of Vershinin, Tusenbach and Irina in Act 1, Part 2 might be construe as making thematic statements, comments made by several characters in this scene might be interpreted the same way.These include Vershinins comments that life will change, Tusenbach comments that life will never change and is ultimately meaningless, Mashas comments that life must have meaning and Vershinin story about the prisoner and the birds. The point must be made, however, that philosophical comments made by characters arent necessarily the philosophical comments of the play. In detail, the point made by all these philosophical conversations is related to the point made earlier †that these characters are talkers rather than doers, intellectuals and dreamers as opposed to actual participants in life.Its true that they participate to a point. Tusenbach resigns from the military, and Vershinin and Masha seduce each other. In general, though, their efforts are pretty minimal. They dont really want to make a change, an idea born out by the way Irina at first resents being treated like a child by Fedotik and then turns around and reacts with very childlike happiness at his little gift. Later in this act, the audience sees again how Natasha is a very different character, doing exactly what she wants and not really thinking at all.Other than the philosophies of the divers(a) characters, whats particularly noteworthy about this section of the act is its busyness. Many things seem to be going on at the same time. Aside from creating an effectively realistic portrayal of what happens with large parties †as smaller parties form and individuals move from group to group †the sequence gives a clear sense of the kind of lives these characters live. The audience experiences them becoming involved in petty arguments and minor joys, in discussions about large subjects that actually perform the baseless unction of killing time and in off-the-cuff music and dancing that is actually an ex pression of frustration and privacy. What theyre doing is actually important because theyre all just waiting, and not just for the maskers. The maskers, in detail, are a symbol of what theyre truly waiting for †the future, the chance to feel and hearing someone to say something loving to them. Its no coincidence, therefore, that the maskers come but are sent away. This gibes the way the future comes but isnt being faced head on by anyone but Natasha, who faces both the maskers and the future with equal determination.Its this sense of a lack of importance to life, this sense of futility in her activities and those of the people around her, that leads Irina to her moment of climactic frustration at the end of the act and contributes to her emotional breakdown in Act 3. Act 2, Part 3 Summary Chebutykin and Andrei come back in, svelte to go out. Chebutykin talks about how he never married because he never had time and because he was in love with Andreis mother. Andrei says marr iage is boring, but Chebutykin says its worse to be lonely. Andrei urges him to hurry, saying hes afraid Natasha will stop them.The audience understands that the two of them are going out gambling again. As they go out, Andrei asks Chebutykin what he should do about his shortness of breath. Chebutykin says he doesnt know, adding that hes forgotten everything about being a doctor. After Andrei and Chebutykin are gone, laughter is heard from outside. Irina and Anfisa come in from separate entrances, and Irina says the maskers must be sent away. As Anfisa goes out, Solyony comes in, apologizing for his behavior and saying he deeply loves Irina. plane though she tells him to leave her alone, he talks about how beautiful she is.Finally, her anger gets through to him. He says that even though hes profession noble emotions, its as though hes not in the room and promises to kill any rival for her love. He repeats that he loves her. Natasha passes through wearing her dressing clothe and b ecoming embarrassed when she sees Solyony. Solyony goes out, and Natasha comments on how tired Irina looks, suggesting that Irina think about moving in with Olga so that Bobik can have her room. Irina doesnt seem to be listening. A maid comes in and tells Natasha that Protopopov has come to take her for a ride in his carriage.She laughs about how silly men are and tells the maid to tell Protopopov shes coming. She goes out to get ready as Kulygin and Vershinin come in, wondering what happened to the party, looking for Masha and asking why Protopopov is downstairs. Olga also comes in, complaining about how her head aches and talking about how much money Andrei has lost in gambling. Vershinin says his wife is all right. In passing, he mentions the possibility that his regiment will be ordered to leave and asks Kulygin to go out somewhere with him because he cant bear to go home.Kulygin at first says he doesnt want to go but then says he needs to leave, disappointed at the party not h appening. He goes out, followed by Vershinin. Olga talks again about her headache. She says the substantial town is gossiping about Andrei and shes looking forward to her day off, and then she goes out. Irina comments that everyone has gone. Natasha passes through on her way out, telling her maid shell be back in half an hour. After shes gone, Irina says to herself, â€Å"To Moscow! To Moscow! To Moscow! ” Act 2, Part 3 Analysis Once again in this section the audience sees the characters filling in time.Specifically, Chebutykin and Andrei fill the emptiness and loneliness of their lives with gambling. In their conversation, we also understand for the first time a little more of why Chebutykin is so devoted to the family, and particularly to Irina. His love for them is an outlet for the love he felt for their mother. Love also appears, much more surprisingly, in the conversation between Solyony and Irina. Up to this point, Solyony might easily have been perceived as being ecc entric and enraged, but essentially spotless and just a little irritating.At this point, however, he is easily among the most passionate and deeply feeling characters in the play. Unlike the longings of many of the others, which are expressed in terms that come across as either watery or intellectual, Solyonys passion comes across as deeply felt and almost dangerously intense. The fact that Natasha interrupts his conversation with Irina is no coincidence. Natasha and Solyony are both remorseless in their pursuit of what they want and dream of. The fact that Solyony doesnt actually get it is irrelevant.He feels strongly enough to say hell kill, and he will actually follow through in a way that few of the other characters follow through on their dreams. Irinas crying out for Moscow is a response to everything shes experienced in this act, her fatigue and disillusionment in Part 1, the congeneric emptiness of the lives lived (including her own) in Part 2 and her abhorrence for Sol yony in this section. She is clearly in despair and sees escape to Moscow as her only hope. Later in the play, however, it becomes clear that she will never actually go.She gets more and more frustrated and disillusioned, but she never, ever goes. The distrust of why not is answered by the previously discussed idea that she, like so many other characters in the play, is a thinker and dreamer, not a doer. make her dreams come true is perhaps too hard for her, or maybe she doesnt really know how, her mind having been filled with several languages at the expense of practicality, determination and coping skills. Whatever the reason, her final words represent the present despair felt by Olga, Vershinin, Masha, Solyony and Andrei, and the deeper despair to come for all of them.In fact, in the cries of this idealistic young woman, the audience can hear the cry of every human being that hopes his or her dreams will once, just once, come true. Conversely, in her lack of action we see how t he choices of every human being determine whether that actually happens. Act 3, Part 1 Summary The third act is set in what has become Olga and Irinas bedroom, at around three in the morning. Fire alarms ring offstage. Masha lies on a sofa as Olga and Anfisa enter, and conversation reveals that there has been a major fire in the town.As Olga goes through her clothes looking for things she can give to the fires victims, Anfisa talks about two little girls downstairs, imagining that their father has been killed. Olga comments that Vershinins house has been almost completely destroyed and that Fedotiks home has burned to the ground. She calls for help with the clothes, and a moment later Ferapont comes in and takes out an armful, commenting as he goes on a fire in Moscow that he survived. After hes gone, Olga tiredly tells Anfisa to give everything away, makes arrangements for the Vershinin family to sleep there and comments that Chebutykin has gotten very drunk.Anfisa worries that the re are plans being made to send her away, but Olga reassures her and tells her to sit and rest. Natasha comes in yak about how a society for the relief of those left homeless should be formed. Conversation reveals that shes had another child, Sophie, and that Natasha is worried about her catching influenza from one of the many strangers in the house. She looks at herself in the mirror and heed herself on how well shes kept her figure, and then she shouts at Anfisa for sitting down when shes in the room.Anfisa goes out. Natasha complains to Olga that Anfisa is useless and then comments on how tired Olga looks. Conversation reveals that theres an election coming up for the position of headmistress at the school. Natasha is convinced Olga will get it, and Olga doesnt want it. Olga tells Natasha she was too rude to Anfisa. Natasha apologizes, and Masha goes out, angry at being disturbed. Olga tells Natasha that rude language upsets her, and Natasha again apologizes. Then, she says Anf isa really should be living in the country because she doesnt really work.As the fire alarm bell rings again, Natasha talks at length about how shes running the house while Olga is working at the school. She calls Anfisa names, loses her temper and says that by the next day Anfisa will be gone. As Natasha goes out, Kulygin comes in looking for Masha. Conversation reveals that only one section of town has been destroyed. Kulygin mentions that if he hadnt married Masha hed have wanted to marry Olga. In a moment of quiet they hear Chebutykin coming, comment on how drunk he is and then hide themselves so that they dont embarrass him.A moment later Chebutykin comes in and washes his manpower as he speaks to himself about how he remembers nothing about being a doctor, recalling a patient he was treating recently who died. Olga slips out of the room as Chebutykin looks at himself in a mirror and wonders whether hes really a man anymore and whether he truly exists. He starts weeping as he wishes he didnt exist. He recalls a conversation at his baseball club during which people were talking about well cognise writers. He didnt know any of them but fake he did. He talks about the banality of life and again recalls the patient he killed.Irina, Vershinin and Tusenbach come in, with Tusenbach wearing new and stylish civilian clothes. Vershinin talks about how much of the town was saved because of the efforts of the soldiers, and Irina refers to how many of them, including Solyony, are sitting in the dining room. She also tells Chebutykin to go to bed. Chebutykin says hes all right, and Kulygin comes forward and jokes about how drunk he is. Tusenbach talks about being asked to produce a benefit concert for the refugees from the fire. He suggests that Masha should play the piano as part of it, but Irina says shes forgotten how to play.Kulygin talks about how much he loves Masha but says the director of the school might not think her participation is appropriate. Chebutyk in picks up a small chinaware clock and studies it as Vershinin mentions that hes heard rumors their brigade is being transferred. Tusenbach says that when they go the town will be empty, but Irina says it wont matter since theyre going to Moscow. Chebutykin drops the clock, and it shatters. As Irina says the clock belonged to her mother, Chebutykin suggests philosophically that perhaps it didnt really exist and that nobody really exists.He wonders why people are staring at him, shouts that Natasha is having an affair with Protopopov and nobody knows or cares and then goes out. After commenting on how strange the situation is, Vershinin tells how he ran home when the fire started. He found his wife miss and his little girls terrified and wondered how much more theyd have to suffer. He grabbed them and ran and then discovered his wife at the Prozoroff house. Masha comes back in and lies down as Vershinin continues, study the fire with what happens when enemies at war make sudden r aids on each other.He then refers again to his idea that in a few hundred years people will look back on the life theyre leading and laugh, and he says again that Irina and her sisters are in the forefront of the process of transformation. He begins to sing. Masha joins in, and Fedotik rushes in, express feelings strangely at how everything he owns has been destroyed. Solyony follows, and Irina tells him to go away. Solyony complains about how Tusenbach can come in while he cant, while Vershinin and Masha continue to sing. Solyony makes fun of Tusenbach, and then he, Vershinin and Fedotik go out. Act 3, Part 1 AnalysisAs previously discussed in the analysis of Act 1, Part 3, the wipeout caused by the fire represents the destruction of the dreams and hopes of those who continue to have them: the Prozoroff sisters, Tusenbach, Vershinin, Andrei and, to an extent, even Solyony. Those dreams arent completely destroyed quite yet. Irina still dreams of going to Moscow, and Vershinin and Masha are continuing to flirt with each other, presumably still in the hope that their relationship will alleviate their unhappiness. Also, Solyony is clearly still drawn to Irina, and Tusenbach still has dreams of fulfillment in work and of happiness with Irina.Only Andrei, as will become clear in the second part of this act, has no dreams left at all. Even though the dreams of the others remain, there is the powerful sense in this scene that the destruction of those dreams is both imminent and inevitable, a sense conveyed not only by the fire but also by several other factors. The first factor conveying the hopelessness of the characters dreams is Natashas reference to Olga becoming headmistress, which is particularly noteworthy because Natasha seems determined Olga will get the job.The audience has seen what happens when Natasha is determined about something. The second factor is the appearance of Chebutykin, which functions on several levels. His inebriated musings on his loss of identity represent the way that Irina and the others, who define their identities by their dreams, will lose their identities once their dreams fade away in the same way as Chebutykins knowledge, which has defined his identity as a doctor. Another level of symbolism in this scene can be found in his unintended destruction of the clock.Because of its association with the Prozoroffs mother, the woman Chebutykin loved and woolgather of marrying, its destruction symbolizes the destruction of his dreams of happiness and, therefore, symbolizes the destruction of the dreams of the others. several(prenominal) characters seem to take the fire and its destructive consequences in their stride. This is perhaps because their dreams and goals are being fulfilled (Natasha), because they dont have dreams for a life beyond their own (Kulygin) or because their dreams are so relatively insignificant to them that their destruction doesnt really matter (Fedotik).For those who continue to dream of a transformed life and continue to have those dreams unfulfilled, the natural destruction caused by the fire and the emotional bleakness of its victims clearly and vividly foreshadow the spiritual devastation the many dreamers in this play are about to encounter. Are the characters aware of this connection? It seems as though on a subconscious, spiritual level, they just might be. This is another example of the way meaning in this play can be defined by subtext and juxtaposition, as opposed to overt action and direct comment or revelation by the characters.One final piece of foreshadowing occurs in Vershinin passing mention of the rumor that he and his brigade are going to be transferred. This is the second time such a rumor has been mentioned, the first being in Act 2, Part 3. The first time the transfer never actually comes to pass, but in Act 4, this time the rumors will prove to be true. Act 3, Part 2 Summary Irina discovers Tusenbach has fallen asleep. As he wakes, he talks b riefly about how hes soon to start a new job at a brickyard. He then talks about how beautiful Irina is, his hopes for living and working with her and his memories of how happy she was on her Name Day (in Act 1).He comments that morning has begun and muses romantically about giving his life for her. As he talks, Masha repeatedly tells him to go out, and finally he does. She also suggests that Kulygin should go home. He repeatedly tells her how much he loves her and how content and happy he is, but Masha talks about how bored she is. She also talks angrily about how much debt Andrei is in and how hes allowing Natasha to control money and property that by rights should be controlled by Andrei and the sisters. Kulygin tells her it doesnt really matter, talking about how he prefers a unsophisticated life.Masha tells him justice is important to her and then tells him again to go away. He talks again about how much he loves Masha, repeating that hes content, and goes. Irina talks with in creasing emotion about how Andrei has changed because of Natasha. His dreams have disappeared, and the whole town is laugh behind his back because of the affair with Protopopov. He just sits in his room and plays violin while the whole town is out fighting the fire. As Olga comes in, Irina begins to weep, saying she cant stand her life. She cant remember anything of her Italian, and she says that theyll never get to Moscow and that she hates her job.Shes becoming unattractive and feels no satisfaction or happiness. She also talks about how she feels herself moving away from any kind of beautiful life and towards an abysm of unhappiness, saying she cant understand why she hasnt killed herself. Olga comforts her, suggesting that she marry Tusenbach and talking about h\r\n'