52 pages • 1 hour read
A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: The source text and this guide contain descriptions of death, gun violence, and attempted suicide.
The play opens in the drawing room of the Prozorov family estate in the Russian countryside, where a dining table is prepared for lunch. Olga, the oldest of the three Prozorov sisters, is grading papers in her blue teacher uniform. Masha, the middle sister, is dressed in black and reading a book. Irina, the youngest, is in a white dress and is lost in thought. Olga notes that it is the first anniversary of their father’s death, which occurred on Irina’s birthday (May 5). Their despair at the time seemed insurmountable, but now, everything feels much lighter.
Olga begins to recount the dreary details of their father’s frigid funeral until Irina questions why she is talking about it at all. Olga explains that it is unseasonably warm today and that she remembers everything about the day their father moved them away from Moscow for his military promotion. That event occurred 11 years ago in early May, and it was already spring there. Olga complains that teaching exhausts and ages her, but the strength of her dream of Moscow only grows. Irina agrees with Olga, adding that their brother, Andrey, will soon be a professor and will consequently leave their country town. Only “poor Masha” will be unable to move with them (9), although Olga insists that Masha can join them in Moscow every summer. Olga wishes that she had married and muses that perhaps she still can.
During this conversation, three lunch guests enter the dining room: Chebutykin, Baron Tusenbach, and Solyony. They are all military men. Tusenbach and Solyony are bickering, and Tusenbach is exasperated. Moving to the drawing room, Tusenbach announces that their new battery commander, Lieutenant Colonel Vershinin, will also be joining them for the birthday celebration lunch. Irina and Olga are curious about Vershinin, and Tusenbach says that the lieutenant colonel talks constantly about his wife, mother-in-law, and two daughters. In particular, Vershinin complains about his wife, who has mental health conditions, braids her hair like a child, and “speaks very pretentiously […] making philosophical pronouncements” (10). Tusenbach also claims that Vershinin’s wife frequently attempts suicide “just to annoy her husband” (10).
As the guests enter from the dining room, Solyony is bragging about how much weight he can lift, while Chebutykin reads a newspaper and jots down a cure for baldness. Irina greets Chebutykin fondly, and as she tells him how happy she feels, he kisses her hands. Irina has discovered that labor is the secret to a fulfilling life, and she is longing to work.
Tusenbach agrees, noting that he has never labored in his life, but he predicts that within 30 years, everyone will be working. Solyony comments that Tusenbach will die of a stroke before that happens unless he gets annoyed and decides to shoot Tusenbach in the head before then. (Throughout the scene, Solyony occasionally inserts deliberately provocative comments like this into the conversation, typically producing uncomfortable silences.)
Chebutykin asserts that he refuses to work. As a doctor, he hasn’t “lifted a finger” or even read a book since he finished school (12). Chebutykin makes an excuse to exit, although they all know that he is going to fetch his birthday gift for Irina, which embarrasses her. Masha suddenly announces that she is going home. The others reproach her for not staying for Irina’s party, but Masha promises to return. She explains that she is feeling sad that there are so few guests compared to the “thirty or forty officers” who attended when their father was alive (15), and she doesn’t want to bring everyone down. Olga starts crying, and Masha snaps at her.
The family’s elderly nurse, Anfisa, and an aging council watchman named Ferapont enter with a cake sent by Protopopov, who is on the district council. Ferapont is losing his hearing. Chebutykin returns with his gift, a fancy silver samovar, which the sisters feel is too extravagant. Chebutykin’s feelings are hurt when they find the gift too expensive to accept.
Lieutenant Colonel Vershinin arrives and introduces himself to the sisters, noting that he met them as children because he was a part of their father’s brigade in Moscow. The sisters are interested to learn that Vershinin is from Moscow. Irina interjects that they will be moving back to Moscow, their “real home” (16), before the fall. Suddenly, Masha excitedly recognizes Vershinin as the officer who had been teased as the “lovesick major” (16); she abruptly becomes sad again at the realization that he is so much older now.
Vershinin remembers their mother well, and Masha admits that she is starting to forget her mother’s face, lamenting, “That’s how we’ll be remembered: we’ll be forgotten” (17). Vershinin agrees that the things they fret about today will mean nothing in the distant future. A violin plays offstage, and the sisters explain that the music is made by their brother, Andrey, whom they boast is their genius and is destined to become a professor. However, they have also been mocking him for being in love with a woman (Natasha) who has poor fashion taste and is rumored to be marrying Protopopov, whom Masha dislikes. Masha beckons Andrey, who enters and is introduced to Vershinin. The sisters praise Andrey’s brilliance and then exasperate him with more mockery. Andrey and his sisters all speak three or four additional languages, which Masha sees as a pointless skill in the country. However, Vershinin insists that their educated presence is still necessary.
Suddenly, Masha announces that she will stay for lunch. Tusenbach agrees with Vershinin’s sentiment and adds that work is also necessary. Vershinin concurs, wondering what he would do differently if he could start his life over and make alternate choices. He decides that he wouldn’t get married to his difficult wife.
Kulygin, Masha’s husband, enters and wishes Irina a happy birthday. He gives her a book that he wrote about the high school where he teaches; Irina notes that this is the same gift he gave her on Easter. Vershinin apologizes for visiting on Irina’s birthday, but the sisters urge him to stay for lunch. Kulygin pontificates about his happiness in his life and marriage and reminds Masha that they are expected to attend a party at his headmaster’s house. Masha initially refuses to go, but she gives in sullenly upon seeing Kulygin’s hurt response.
Olga calls everyone to the dining room for lunch. Masha tells Chebutykin not to drink, and he asserts that he hasn’t been drunk in years. Masha complains quietly about her “miserable life” (23). Irina comments to Tusenbach that Masha married at 18 because she believed Kulygin to be highly intelligent, but she no longer believes this.
Irina and Tusenbach share their mutual distaste for Solyony. Tusenbach tries to express his love to Irina, but she is not in the mood. Suddenly, Andrey’s love interest, Natasha, rushes in late, wearing an outfit that clashes. Olga tells Natasha quietly that her belt doesn’t match; this makes Natasha cry. At the table, Kulygin leads the well-wishes with the hope that Irina will find a man and get married. Olga asks the men to come back for dinner to continue celebrating.
Two more officers, Fedotik and Rode, enter with baskets of flowers and join everyone in the dining room. Fedotik takes photos with his camera. Kulygin jokes that 13 people at a table means that two are lovers, and Natasha runs out, embarrassed. Andrey follows and comforts her. He professes his love and asks her to marry him. They kiss.
The first act begins with an emotional contradiction, as it is Irina’s birthday but also the first anniversary of their father’s death. This ambiguity sets the tone for the play as a whole, for the characters’ conflicting emotions often ring together in dissonance, enabling Chekhov’s signature blend of humor and sorrow. The three sisters are constantly overwhelmed by a sense that something is missing from their lives and core identities, and they each exhibit a facet of The Pressures of Love, Longing, and Loneliness. Olga, for example, is feeling the toll of aging and immerses herself in nostalgia, ruminating endlessly on her memories of happier times. She is lonely and wishes that she could go back in time and marry, and at age 28, she feels as though she has lost her chance. Irina, the youngest, looks toward the future and is annoyed by Olga’s reminiscences. At age 20, her adult life is just beginning, and she is still hopeful. In contrast to both of her sisters, Masha lives in the present and laments the current state of her life; the source of her anguish is evident when she compares the sparse attendance of the party today to the large, lively crowd of a year ago. She is trapped in an unhappy marriage and cannot live in the past because she has become disillusioned with her husband, Kulygin, and no longer believes that he is brilliant. She also cannot live in the future and holds no hope that he might grow as a person. Despite their inward differences, all three sisters harbor an endless longing for Moscow, and they romanticize the city at every opportunity. Thus, their mutual dissatisfaction with their circumstances and their insistence upon Worrying about the Meaning of Life drives much of the dialogue in the play’s first act.
As Masha laments the decline in attendance at the family’s social gatherings, it is clear that Chekhov is using the play to examine The Decay of the Aristocracy, for during this historical time frame, an enormous social and cultural shift is beginning to rumble. Unbeknownst to Chekhov, these early trends will eventually lead to the Russian Revolution in 1917 and the installment of communism in Russia. Rather than focusing on the plight of the working class, the play suggests that this massive change is needed for the sake of people at all levels of class hierarchy. As the desultory action of the first act suggests, the idle rich are bored and unfulfilled, and this dynamic is strengthened when both Irina and Tusenbach decide that meaningful work is the key element that is missing from their lives. They decide that labor is profound and purifying, and that in the near future, everyone will work. In this light, it is clear that the lifestyle that the Prozorovs and other elites have been trained for is becoming obsolete. For instance, Andrey complains that the four or five languages they each speak are useless in a small town. The play therefore demonstrates how the wealthy can manage to take elements of existence that are, for the working class, essential to survival (such as work and language) and turn them into pastimes and activities for their own edification. Chekhov uses these interactions to suggest that the strict class lines in Russia are slowly starting to break down. At the end of the first act, when Andrey proposes marriage to Natasha, a small-town peasant, their union signifies the edges of this breakdown as they pursue one another despite their unequal class positions.
The characters’ collective sense of vague longing for something they cannot quite name leads them to focus on Worrying about the Meaning of Life. As the sisters reminisce with Vershinin about his memories of their deceased parents, Masha and Vershinin morosely concur that everyone sitting in the room will eventually die and fade from memory. As Vershinin says, “Yes, we’ll be forgotten. That’s how it is. What matters to us, what seems so important, will be forgotten, or just seem silly” (17), and he also adds, “[T]here’s no way for us to know what will seem lofty and important, and what will seem pitiful and absurd” (17). This exchange suggests that meaning is entirely relative, and that although the worries of the upper class often seem frivolous, even the life-or-death struggles of today’s working class will be just as irrelevant to people in the distant future. Vershinin considers what it might be like if he could treat his life as a rough draft and go back and edit his mistakes, such as getting married. Some of the characters conclude that if their lives are so ephemeral, then the effort of learning, growing, and suffering is essentially pointless. However, Vershinin argues that their suffering will make the world beautiful for future generations, even if they themselves are gone. In this light, Kulygin’s birthday gift to Irina—a book that contains the names of every student who attended the high school—is humorously tedious but also a testament to forgetting. Each student was once a person who meant something in the world, but a dry list of names cannot preserve the original meaning in knowing those people firsthand and interacting with them on a daily basis.
Plus, gain access to 8,800+ more expert-written Study Guides.
Including features:
By Anton Chekhov