The Seagull LitChart
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The Seagull
Gogol, and Leo Tolstoy (War and Peace, Anna Kar
Karenina
enina). The
INTR
INTRODUCTION
ODUCTION characters within the play—many of whom are educated, high-
minded literary and artistic types—make references to
BRIEF BIOGRAPHY OF ANTON CHEKHOV
Shakespeare’s Hamlet
Hamlet, the writings of Guy du Maupassant, and
Born in 1860 in a port town in the south of Russia, Anton Pushkin’s The Naiad, among other theatrical and literary works.
Chekhov grew up in a household ruled by an abusive father—an Contemporary retellings of The Seagull include Aaron Posner’s
imposing figure whose cruelty and plunging of the family into 2013 play Stupid Fucking Bird, which transports the events of
bankruptcy inspired many of Chekhov’s dramatic works and the play to modern-day America, as well as the films La Petite Lili
short fictions. Chekhov moved to Moscow in 1879 to attend and Hollywood Seagull.
medical school, knowing he had to support his large and
struggling family. In order to make ends meet while he studied,
he wrote and published satirical short stories and sketches.
KEY FACTS
Chekhov went on to make more money as a writer than a • Full Title: The Seagull
doctor, though he considered himself as a physician first and • When Written: 1895
foremost for much of his life. Chekhov suffered from poor
• Where Written: Yalta
health in the mid-1880s, but told very few people of his
struggles with tuberculosis. While travelling to the Ukraine for • When Published: First performed October 17th, 1896; first
his health in the late 1880s, he was commissioned to write a published 1897
play, and his literary career took off in earnest. Chekhov • Literary Period: Psychological realism
enjoyed great success for many years. As his health continued • Genre: Drama
to deteriorate throughout the late 1890s, Chekhov purchased • Setting: A lakeside estate in the Russian countryside
a country estate in Yalta, where he composed some of his most
• Climax: After years of pining for Nina Zarechnaya and failing
famous works, including The Seagull, Three Sisters, The Cherry
to win her love or achieve success as a writer, Konstantin
Or
Orchar
chardd, and the short story “The Lady with the Dog.” Chekhov Treplyov shoots himself in the head offstage in the play’s
died due to complications from tuberculosis in July of 1904. final moments.
• Antagonist: Boris Trigorin, Irina Arkadina, fame, ego
HISTORICAL CONTEXT
The mid-1890s in Russia constituted a period of EXTRA CREDIT
industrialization and social change. The middle and working The Writing Life. The Seagull contains several monologues
classes were expanding and growing more radical politically, about the burden of life as a writer, and shows the famous Boris
while the luxury classes felt a decisive threat to their wealth, Trigorin and the obscure Konstantin Treplyov struggling
land, power, and leisure—a theme explored more acutely in equally with their lives writers in spite of the gulf between their
Chekhov’s final play, 1904’s The Cherry OrOrchar
chardd. In the middle very different careers. Many scholars and critics have regarded
of the 1890s, however, these social tensions had not yet come these passages as some of Chekhov’s most confessional
to a head—the bourgeoisie was still hanging on to their land work—though he’s speaking through characters, his musings on
and their traditions, and Russia’s burgeoning alliance with the obsessive and often destructive nature of cannibalizing
France led to an exchange of culture and ideals which is evident one’s life in the name of art were called “the only good thing[s]
in many of the characters’ references to French literature, in the play” by Leo Tolstoy himself.
plays, and music.
Highly Censored. The Seagull underwent heavy edits during
RELATED LITERARY WORKS Russia’s pre-revolutionary years, with lines that referenced
Part of the movement of realist Russian theatre, The “materialist views” and overt expressions of sexuality censored
Seagull—and many of Chekhov’s other works from the prolific and excised from the play. The original version of The Seagull,
period in his life preceding and following its composition—was along with many of Chekhov’s other writings, were kept under
inspired by earlier works of European realism such as Henrik lock and key in the Russian archives until after the fall of the
Ibsen’s plays A Doll’s House, Ghosts
Ghosts, and Hedda Gabler
Gabler. The Iron Curtain.
Seagull is peppered with references to famous, successful
Russian writers of the period including Ivan Turgenev, Nikolai
Related Characters: Konstantin Gavrilovich Treplyov Treplyov, she reveals that her true motivation for
(speaker), Irina Nikolaevna Arkadina performing is to show off for the famous writer Boris
Trigorin—and, to some degree, to impress Treplyov’s
Related Themes: mother Arkadina. Nina is obsessed with fame and
fascinated by famous artists—she wants to be accepted as
Page Number: 78 one of them, and believes that performing in Treplyov’s play
will show the others that she deserves to be a part of their
Explanation and Analysis
world. Nina’s bald desire for fame and her sweet, naïve
In this brief passage, Treplyov discusses art, as well as his disposition are constantly contrasted against one another
relationships with his mother, Arkadina, and his uncle, Sorin. throughout the play: in many ways, she’s cutthroat and
Treplyov has very complicated feelings about both the fame-hungry, but in others, almost painfully naïve as to what
nature and purpose of art—and the nature and purpose of being famous really means. Nina has been carrying on with
his relationship with the vain, tempestuous Arkadina, the Treplyov all summer, but in the moments before his play, she
person who drew Treplyov to the arts as a child. Treplyov, a hints that she dislikes his work—and her dismissal of his
young writer, longs to create “new forms”—he wants to best venture into “new forms,” the first taste of unrequited love
his mother at her own artistic practice and prove himself to Treplyov has received, sets him on a path of longing and
her as an artist. This desire for personal glory is what drives self-destruction that will last for the entire length of The
Treplyov’s art-making: he wants his mother to stroke his Seagull.
“plain human ego,” even as he resents their difficult
relationship and finds himself wishing that Arkadina weren’t
an artist herself. If she weren’t, he’d perhaps feel less
pressure and his great fear of mediocrity might abate. The MASHA: Help me. Help me, or I’ll do something stupid, I’ll
psychological and artistic issues Treplyov discusses rather mess up my life, wreck it… I can’t stand it anymore…
cavalierly in this passage will reverberate throughout the DORN: What do you mean? Help you how?
play, leading Treplyov to the far reaches of his own psyche MASHA: I’m in pain. Nobody, nobody knows how much pain I’m
and the limits of his capacity for failure, rejection, and in. (Lays her head on his chest, quietly.) I love Konstantin.
uncertainty in the arts and in love.
DRON: They’re all so high-strung! They’re all so high-strung!
And all this love… Oh, spellbinding lake! (Tenderly.) But what can
I do, my child? What? What?
TREPLYOV: Are you excited?
NINA: Yes, very. Your Mama doesn’t count. I’m not afraid of her,
Related Characters: Evgeny Sergeevich Dorn, Masha
but then there’s Trigorin… Acting with him in the audience
(speaker)
frights and embarrasses me… A famous writer… Is he young?
TREPLYOV: Yes. Related Themes:
NINA: His stories are so wonderful!
Page Number: 98
TREPLYOV: (coldly) I wouldn’t know, I haven’t read them.
NINA: It isn’t easy to act in your play. There are no living Explanation and Analysis
characters in it. As the first act comes to an end, Chekhov uses two tertiary
characters, Masha and Dorn, to demonstrate just how far-
reaching, ubiquitous, and universally destructive
Related Characters: Nina Mikhailovna Zarechnaya,
unrequited love really is. Treplyov and Nina’s romance has
Konstantin Gavrilovich Treplyov (speaker), Boris
been the primary interest of the first act—but while
Alekseevich Trigorin, Irina Nikolaevna Arkadina
Treplyov fawns over his beloved Nina, Masha chases after
Related Themes: Treplyov to no avail. After Treplyov ignores Masha blatantly
to follow Nina to her home across the lake, Masha, left alone
Page Number: 82 with Dorn, has a veritable breakdown. She admits that she is
about to “wreck” her life due to the pain she’s in. Though
Explanation and Analysis Dorn reacts blithely and “tenderly” to her predicament, he
As Nina prepares to perform in a play written by her lover seems to write her pain off as the first pangs of young love.
In truth, Chekhov is attempting to demonstrate one of the
Related Themes:
Act 2 Quotes
ARKADINA: Tell me, what’s the matter with my son? How Page Number: 109
come he’s so tiresome and surly? He spends whole days on the
Explanation and Analysis
lake, and I almost never see him.
One of the major journeys within the play is the idealistic
MASHA: He’s sick at heart. (To Nina, shyly.) Please, do recite
but fame-hungry Nina’s destruction of her own life in
something from his play!
pursuit of fame and glory. When Trigorin and Arkadina
NINA: (Shrugs.) You want me to? It’s so uninteresting! come to the lake for the summer, Nina is entranced by their
glamourous dispositions—but as she spends more time
Related Characters: Nina Mikhailovna Zarechnaya, Masha, around them, desperate to observe and get to know them,
Irina Nikolaevna Arkadina (speaker), Konstantin Gavrilovich she finds herself slightly disappointed by the fact that
Treplyov they’re largely “like anybody else” at the end of the day. As
Nina, aloud, tries to reckon with her own ideas about fame
Related Themes: in light of the things she’s learning about famous people, her
idealism begins to morph into something else as she is
Page Number: 102 educated in the realities of fame. Yet, even having glimpsed
the moments of mediocrity and normalcy that filter into the
Explanation and Analysis lives of the rich and famous, she still wants a piece of the pie.
Down at the croquet lawn one afternoon, Arkadina, Nina, Nina almost pushes aside the breakthrough she has in this
Masha, and several others discuss writing, art, and life. passage—that being famous isn’t inherently better than
When Arkadina asks what’s going on with Treplyov, Masha leading a normal life—and continues to spin fantasies and
and Nina offer very different responses to her question. dreams for herself of what life would be like as a beloved
Masha has empathy for the tortured Treplyov, even though actress. Her willful ignorance of the sad, lackluster
she knows Nina is the cause of Treplyov’s pain and suffering. underbelly of fame persists throughout the play, and
Masha asks Nina to recite something from Treplyov’s play, ultimately proves destructive to herself, as well as to her
perhaps wanting to almost shame Nina into acknowledging son, Treplyov.
her role in Treplyov’s life and art-making—but the self-
centered Nina, desperate to impress Arkadina (and aware
that ignorance towards Treplyov might win her brownie
TREPLYOV: (Enters bare-headed, carrying a rifle and a slain
points with the famous actress) shrugs off Masha’s request.
gull.) You’re alone here?
The complications of the play’s many love triangles manifest
in ways other than the destructive behavior or dramatic NINA: Alone. (TREPLYOV lays the gull at her feet.) What does this
feelings of their participants: even platonic relationships mean?
between characters are tinged with shades of jealousy, TREPLYOV: I did something nasty, I killed this gull today. I lay it
manipulation, and cruelty. Chekhov is attempting to show at your feet.
that just as unrequited love is a destructive force for those
NINA: What’s wrong with you? (Picks up the gull and stares at it.)
in love, it erodes broader social relationships as well.
TREPLYOV: (After a pause) I’ll soon kill myself the very same
way.
Related Characters: Nina Mikhailovna Zarechnaya, her lack of emotional love is her lack of artistic respect for
Konstantin Gavrilovich Treplyov (speaker) him. Treplyov is psychologically conditioned by his
complicated relationship with his mother, Arkadina, to see
Related Themes: artistic attention and emotional attention as the same thing.
As a result, he hates the idea that the object of his affection
Related Symbols: would view him as mediocre. Unfortunately, this is his
dynamic with both his mother Arkadina and his lover Nina.
Page Number: 109 Treplyov knows that his own “vanity” is ruining him, sucking
his blood and energy “like a snake,” but has no way of
Explanation and Analysis
overcoming his deepest fears. He is completely controlled
In one of the most famous scenes from Chekhov’s The by his need to be loved, adored, and worshipped—as both a
Seagull, Treplyov sets a gull he has killed at Nina’s feet in man and an artist.
hopes of winning her attention back—even though he seems
to know that the chance of winning her love once again has
passed him by. Treplyov is so low and his ego so in need of
TRIGORIN: I know no peace, and I feel that I’m devouring
any kind of attention that even earning Nina’s disgust is
my own life, that to give away honey to somebody out
better than her ambivalence. Treplyov is in mourning for the
there in space I’m robbing my finest flowers of their pollen,
lost potential of their love—and wants to show Nina how
tearing up all these flowers and trampling on their roots.
he’s feeling. The slaughtered gull, the play’s central symbol,
is perhaps a way of Treplyov externalizing his internal pain
and self-loathing. The gull is, in its essence, a beautiful thing Related Characters: Boris Alekseevich Trigorin (speaker),
struck down in its prime, Treplyov certainly seems to see Nina Mikhailovna Zarechnaya
the bird as a symbol of his and Nina’s failed love. The gull,
however, will take on a larger symbolic significance as the Related Themes:
play progresses, and will come to encapsulate the larger
letdowns and failures both Treplyov and Nina are fated to Page Number: 113
encounter as they attempt to make their way in the world of Explanation and Analysis
art and fame.
When Nina excitedly asks Trigorin what it’s really like to be
a famous writer, the man confesses that Nina’s idealization
of fame and success is making him upset—and goes off on a
TREPLYOV: You say you’re too ordinary to understand me. tangent about the difficulties of balancing art, fame, and the
Oh, what’s there to understand? You didn’t like my play, self. In a long and rambling monologue, Trigorin tells Nina
you despise my ideas, you’ve started thinking of me as a that he feels like a “phony” as a writer and is never satisfied
mediocrity, a nobody, like all the rest… (Stamping his foot.) That’s with his own work—but the emotional crux of the speech
something I understand, oh, I understand all right! There’s a hinges around these lines, in which Trigorin discusses the
kind of spike stuck in my brain, damn it and damn my vanity, “devouring,” or cannibalization, of his and his friends’
which sucks my blood, sucks it like a snake… experiences for the sake of his art. This section of Trigorin’s
speech is especially significant within the context of the play
Related Characters: Konstantin Gavrilovich Treplyov because it shows Trigorin admitting to one of his most
(speaker), Nina Mikhailovna Zarechnaya flawed, selfish tendencies—but also admitting in the same
breath that he cannot control himself, or change his
Related Themes: behavior. Trigorin will go on to similarly “devour” Nina’s life
story and experiences, and use her as fodder both for his
Page Number: 110 own ego and his art—and even though he warns her of who
he really is, she allows him to usurp and control her
Explanation and Analysis existence because of her idealistic thoughts about the
When Nina tells Treplyov that she doesn’t understand what nature of fame, love, and art.
he’s trying to articulate or achieve by showing her the dead
gull, he lashes out in anger, misery, and self-pity. Treplyov is
upset that Nina no longer loves him—but even worse than
son’s misery either out of a profound emotional disconnect a mother should love her child—but Arkadina is more
or a desire to numb the pain. IN doing so, she ignores the interested in her own fame and her romantic affairs than
fact that she is at the heart of his many emotional problems. providing any kind of emotional or financial support for her
Sorin tries to reason with Arkadina and speak on Treplyov’s son. He contends daily with his unrequited love for
behalf, arguing for the boy’s emotional vulnerability and Arkadina, and with her prioritization of her own “hack” art
artistic and professional aimlessness. Sorin empathizes with over their relationship. Treplyov wants success as an artist
Treplyov’s fear of never living up to his full potential or in order to impress his mother, but also to get close to her.
being forgotten as a mediocrity or wannabe—but Arkadina He is incensed and embarrassed that she has no respect for
has no understanding (or desire to understand) her son’s him as a person or as an artist, in spite of her own mediocre
emotional life. Her self-obsession, narcissism, and talent and garish lifestyle.
desperate need to keep her relationship with Trigorin afloat
alienate her from everyone else around her—even her
closest family members.
ARKADINA: You want to do something reckless, but I
won’t have it, I won’t let you… (Laughs.) You’re mine…
You’re mine… […] You’re all mine. You’re so talented, clever, our
ARKADINA: That’s jealousy. People with no talent but greatest living writer, you’re Russia’s only hope… You’ve got so
plenty of pretentions have nothing better to do than much sincerity, clarity, originality, wholesome humor... With a
criticize really talented people. It’s a comfort to them, I’m sure! single stroke you can pinpoint the most vital feature in a person
TREPLYOV: (Sarcastically.) Really talented people! (Angrily.) I’m or a landscape, your characters are so alive. Oh, no one can
more talented than the lot of you put together, if it comes to read you without going into ecstasy! […] Am I lying? […] Do I
that! (Tears the bandage off his head.) You dreary hacks hog the look like a liar? There, you see, I’m the only one who knows how
front-row seats in the arts and assume that the only legitimate to appreciate you; I’m the only one who tells you the truth, my
and genuine things are what you do yourselves, so you darling, marvelous man…
suppress and stile the rest! […]
ARKADINA: Mr. Avant-garde! Related Characters: Irina Nikolaevna Arkadina (speaker),
Boris Alekseevich Trigorin
[…]
TREPLYOV: You skinflint! Related Themes:
ARKADINA: You scarecrow! (TREPLYOV sits down and weeps
quietly.) You nobody! Page Number: 132
DORN: Well, I have faith in Konstantin Gavrilovich. Related Characters: Boris Alekseevich Trigorin, Ilya
There’s something there! There’s something there! He Afanasevich Shamraev (speaker), Nina Mikhailovna
thinks in images, his stories are colorful, striking, and I have a Zarechnaya, Konstantin Gavrilovich Treplyov
real fondness for them. […] Irina Nikolaevna, are you glad your
son’s a writer? Related Themes:
ARKADINA: Imagine, I still haven’t read him. Never any time.
Related Symbols:
Related Themes:
ACT 1
It is a summer evening at Sorin’s country estate. On a grassy The opening moments of the play immediately establish its theme
knoll down by the lake, an “amateur” stage has been “hurriedly of unrequited love as one of life’s central sources of unhappiness. By
slapped together” for a performance. Yakov and some other introducing two minor characters and their private struggles with
workmen are hastily putting the finishing touches on the stage. love first, Chekhov shows that unrequited love spares no one—and
Masha and her suitor, the schoolteacher Medvedenko, are on can seep into anyone’s life unexpectedly and indiscriminately.
their way back from a walk. Medvedenko asks Masha why she
is always dressed in black, and she replies that she is “in
mourning for [her] life.” Medvedenko says he doesn’t
understand Masha’s unhappiness—though she’s not a rich
woman, she’s fairly well-off, and she has her health to boot.
Masha replies that her unhappiness has nothing to do with
money—even poor people can be happy, she says. Medvedenko
says he isn’t so sure, and complains about his own precarious
financial situation.
As Masha and Medvedenko approach the stage, Medvedenko Chekhov contrasts Masha and Medvedenko’s struggles in love with
tells Masha that Konstantin Gavrilovich Treplyov, Sorin’s the suggestion that two young lovers have actually managed to find
nephew, has written a play for his beloved Nina Zarechnaya to happiness at the lake. However, as the action continues, he will
act in—the two young lovebirds are presenting a “joint artistic show that sometimes, even love that seems simple, pure, and
creation.” Medvedenko laments that the two young lovers are straightforward is rife with deceit and disappointment.
so happy when his own love for Masha is unrequited. He asks
Masha if she refuses to love him because he is poor, but Masha
blithely states that she simply “can’t reciprocate.” She chastises
Medvedenko for complaining so often about his financial
situation—there are much worse things, she says, than being
poor.
Sorin and Treplyov walk down towards the stage area—Sorin, a This passage demonstrates how fussy Treplyov is about his art. He
frail older man, uses a walking stick. He complains about the believes that his art reflects his soul and his worth as a human
sleepy decadence of country life as Treplyov urges Masha and being, and he is determined to prove himself as both an artist and a
Medvedenko to clear the area until the stage is ready. Masha man. This conflation of art and egotism, and the desire to use art as
and Medvedenko head back up to the house. Yakov and the a means to personal glory, is part of the play’s central concern.
other workers head down to the lake to cool themselves off,
and Treplyov nervously tells them to be back for the start of the
performance in ten minutes. Treplyov inspects the stage and
explains to Sorin that he wants the performance to begin
exactly as the moon starts to rise—but he is worried that Nina
Zarechnaya will be late or unable to escape the watchful eyes
of her overbearing father and stepmother, who don’t like her
leaving her own house across the lake and spending time at
Sorin’s.
Treplyov, however, is now on a tear about his mother’s This passage reveals the true depths of Treplyov’s insecurity about
mercurial, hypocritical, narcissistic tendencies. Treplyov his identity and agenda as an artist. He wants very badly to create,
believes that his vain mother hates him because he is a and to make art for art’s sake—but he knows how the machinery of
reminder of her age—and the ways in which the “modern fame and recognition work, and he is aware of how easy it is for real
theater” is changing and leaving her behind. Treplyov knows art to slip through the cracks. Treplyov wants to prove himself as an
that his mother is content to trod the boards performing artist—but having been raised by a famous actress, there is a part of
outdated, sentimental works—but he himself believes theater him that remains cynical about his ability to ever truly do so.
is in need of “new forms.” In spite of his lofty ideals about art
and expression, he feels barred from participating in real
artistic communities because of who his mother is, and he
constantly worries that he’s only allowed to attend certain
parties and participate in certain conversations because other
people “put up with [him] just because” he’s Arkadina’s son.
Sorin interjects to ask Treplyov what he knows about This passage hints at Treplyov’s deep underlying hatred of his
Arkadina’s beau, the novelist Trigorin. Treplyov describes the mother’s much-younger paramour, and suggests that Treplyov has
man as “clever enough” and taciturn—in his late thirties, he is something of an Oedipal complex where his mother’s affections are
younger than Arkadina, but is so “jaded” that he “can love only concerned. A narcissistic and self-centered person, Arkadina has a
those who are no longer young.” Sorin laments that he himself limited amount of attention and love to give—and when Trigorin is
never got to be even a “second-rate author”—to write was his getting it, Treplyov is getting none.
life’s dream.
Treplyov is overcome by emotion as he hears Nina This passage explores Treplyov and Nina’s relationship more deeply.
approaching—“even the sound of her footsteps,” he says, Though Treplyov appears head-over-heels in love with Nina, Nina is
enchants him. As Nina enters, flustered but happy, Treplyov more drawn to the atmosphere of Treplyov’s life than to the man
greets her as the “girl of [his] dreams.” Nina states that while himself. She won’t tell him that she loves him back, tries to quiet his
she was lucky enough to be able to sneak out of her father’s affections when she hears people approaching, and will only kiss
house unnoticed, she can only stay for a little. Sorin hurries off him when they’re alone and unobserved.
to gather the others and bring them down for the performance.
Treplyov and Nina, left alone, share a kiss. Nina remarks that,
though her father and stepmother don’t like her coming down
to the “bohemian” lake estate, she’s drawn to it “like a
gull”—being around Treplyov and his family of artists fills her
heart. Treplyov tells Nina that he loves her, but she shushes him
as she hears footsteps approaching.
Polina Andreevna, the wife of Sorin’s estate overseer Polina and Dorn represent yet another example of unrequited love.
Shamraev, comes down to the lake with Dorn, a doctor and Polina is resentful of the fame Arkadina has, and of the ways in
guest of Sorin—and her own lover. She chides Dorn for failing which people react to it. Fame is a destructive force within this play,
to take care of himself in the damp weather in spite of knowing and Polina knows that the desire to be around famous people in
better due to his profession. She accuses him of being “so hopes of elevating one’s own social status is a dangerous thing.
infatuated” with Arkadina that he exposes himself to rain and
cold to be near her. All men, she laments, are “ready to fall on
[their] faces at an actress’s feet.” Dorn says people naturally
idealize actors and actresses, and Polina retorts that women
have always idealized Dorn himself because of his status as a
doctor.
Arkadina, Sorin, Trigorin, Shamraev, Medevenko, and Masha all Arkadina comes down to her son’s performance already lamenting
arrive at the lake for the performance. Shamraev and Arkadina all that’s wrong with Russian theatre. This shows that she is
are discussing the declining state of Russian theater. At the judgmental and not predisposed to like her own son’s work.
sound of his mother’s voice, Treplyov comes out from behind
the stage. In a booming voice, he calls out to the audience to
enter into the world of his play—a “drama of what will be in two
hundred thousand years.”
The curtain rises, and behind it, the moon’s reflection on the Treplyov’s experimental play imagines a cold, desolate, lonely
beautiful lake can be seen. Nina, dressed all in white, is seated world—perhaps a reflection of his fears not just of the fate of the
on the stage on a large boulder. In a whimsical monologue, she earth, but of his own life. As Arkadina begins to mock the play,
explains that “all living things” are, in the future, completely Treplyov is clearly in distress—the play is as much for her as it is for
extinct. The earth is “chilly,” “empty,” and “ghastly.” Nina explains himself or for Nina.
that she represents the “universal soul” of “human
consciousness” and “animal instinct” mingled together.
Arkadina remarks, in a low voice, on the ostentatiously “avant-
garde” nature of the play. Treplyov begs his mother to be quiet.
Nina’s monologue continues. She describes her existence as a Though Treplyov’s play attempts to wrestle with large, existential
“prisoner, flung into a deep empty pit.” On the desolate surface themes—and incorporate effects and new ideas—Arkadina sees it as
of the ruined earth, there is now only one battle left to fight—a a joke. The others around her, compelled by her fame and status,
struggle with Satan. Nina spots Satan approaching, and as she join her in making fun of the play, and Treplyov realizes his worst
does, Arkadina remarks on a “stink of sulphur” overpowering fears are true—without his mother’s approval, he believes, he will
the air—one of Yakov’s special effects. At this point, Arkadina not be able to succeed or gain clout as an artist.
and the others begin to poke fun at the play, and Treplyov,
embarrassed and angry, calls for its end, instructing Yakov to
lower the curtain before storming away from the lake.
Trigorin speaks up to defend Treplyov, stating that “everyone As soon as the conversation revolves around actual art and not
writes the way […] he can.” As the others begin debating the Arkadina or her fame and status, she doesn’t want it to take place
nature of art and theater, Arkadina calls for them all to stop anymore. She needs to be the center of attention at all times.
taking about plays and enjoy the “glorious night.” Arkadina
begins reminiscing aloud about the old days at the lake, when
six or seven other families used to live at the shore. As she
waxes poetic about the loud, decadent summers full of noise,
music, and love affairs, she begins to feel guilty for how she
treated Treplyov, and begins calling for him. Masha volunteers
to go off and look for him.
Nina comes out from behind the stage and greets everyone Nina has barely finished her performance, and already she’s bashing
warmly. Sorin and Arkadina congratulate her on her Treplyov’s play as a way of hopefully getting closer to Trigorin and
performance, and Arkadina tells her she has an “obligation” to Arkadina. Meanwhile, Trigorin’s love of “fishing” seems to tie into his
become an actress. Nina says that though acting is her “fondest desire to keep Nina on his hooks—however subconscious that
dream,” it won’t ever come true. Arkadina introduces Nina to impulse is at this point in the action.
Trigorin—Nina shyly tells him that she’s read all of his work, and
then asks whether he thought Treplyov’s play was “strange.”
Trigorin says he didn’t understand a single word of it—but
enjoyed Nina’s acting. He looks out at the lake and remarks on
how much he loves fishing.
Nina says it’s time for her to go. Arkadina begs her to stay The others pity Nina and see her as a bird trapped in a cage. Their
longer, and Sorin and the others follow suit, asking her to linger infantilization of her blinds them to her darker impulses—her desire
just another hour. Nina, in tears, hurriedly runs off, stating that for fame and her need to use other, more establish artists as fodder
she can’t be out any longer. After she’s gone, Arkadina remarks for her dreams.
on what a shame it is that Nina’s father has willed the entirety
of her late mother’s fortune to his new wife, leaving Nina
penniless. Dorn agrees that Nina’s father is a controlling
“swine.” Arkadina, Sorin, and all the others except Dorn head
back up to the house to get out of the cold.
Dorn, alone, says to himself that he really enjoyed the play. He Dorn is one of the very few characters in the play who seems to
spots Treplyov and resolves to tell the young man how much he encourage Treplyov’s art seriously and kindly. Treplyov, who is used
liked his work. Treplyov enters and tells Dorn that he’s hiding to judgment, sarcasm, and alienation, takes Dorn’s words to
from the “unbearable” Masha. Dorn tells Treplyov how much he heart—perhaps a bit too much.
enjoyed the play, and how much he admires Treplyov’s talent.
With tears in his eyes, Treplyov embraces Dorn, incredulously
asking if the man really thinks he should continue writing plays.
Dorn urges him to keep writing about things that are
“important and everlasting.”
Masha tells Dorn that she needs his help. She tells him that she The empathetic Dorn feels bad for Masha, and also for Treplyov. His
feels on the verge of “wreck[ing]” her life—she is in terrible pain attitude towards unrequited love in this passage suggests it’s a folly
because of how much she loves Treplyov. She lays her head on and a necessary rite of passage—but as the play continues on,
Dorn’s chest and sobs. Dorn comforts her, remarking on how Chekhov will demonstrate the dark, serious consequences of
“high-strung” the “spellbinding lake” makes all the young lovers destroying oneself in the name of love and affection.
around him.
ACT 2
Later in the week, Arkadina, Dorn, and Masha are together on Arkadina can hardly stand any conversation or activity that isn’t
the croquet lawn at midday. It is bright and hot outside. Dorn is about her glorification—a lovely afternoon reading on the lawn is
reading aloud from a book, and Arkadina and Masha are interrupted by her need to brag about her youthfulness and
standing side-by-side. Arkadina asks Dorn to tell her who is compare her sexual and social capital to that of those around her.
younger—her or the twenty-two-year-old Masha. Dorn says
Arkadina is younger. Arkadina says that though she’s “nearly
twice” Masha’s age, she is “constantly on the go” while Masha
sits languidly in the same place. Masha admits that she feels
old: like she is lugging her life around “like a dead weight.”
Arkadina urges Masha to take better care of herself and invest
more in her appearance.
Arkadina picks up the book Sorin has been reading and begins When confronted with her own bad behavior examined even from a
reciting from its pages aloud. The passage she reads concerns fictional angle, Arkadina feels the need to justify her choices and
“people in society […] pamper[ing] novelists,” and advises deflect any possible criticism to reassure herself that her choices are
against “loving them” and “flattering” them. Arkadina stops valid.
reading, and insists that her situation with Trigorin is different
from what the passage describes—she was “head over heels” in
love with him before she began wooing him.
Sorin, Nina, and Medvedenko come down to the croquet field. Nina, free from her parents’ watchful gaze, is able to realize her
Sorin excitedly announces that Nina’s father and stepmother dream of living with the artists on the other side of the lake for
are out of town—Nina is free for three whole days. Nina, several days. Nina, whose home life is, apparently, miserable and
ecstatic, embraces Arkadina and tells her she’s all hers. Nina loveless, craves the attention and compliments of these glamorous
asks what Arkadina is reading. Arkadina replies that it’s a book visitors.
by Guy du Maupassant—but it is “uninteresting and untrue.”
Arkadina shakes Sorin awake—he has been snoring—and In spite of his flagging health, Sorin doesn’t want to listen to
chides him for not taking better care of himself or seeking help anyone’s opinions about how he might better take care of himself.
from Dorn. Dorn says that he doesn’t prescribe treatments for He’s afraid of facing down the end of his life—and seems to want to
patients as old as Sorin. Medvedenko suggests Sorin stop live in denial about his age and his health, afraid of admitting to
smoking, but Sorin calls the idea “rubbish.” Medvedenko says himself or anyone else what stage of life he’s really in and how he’s
that alcohol and tobacco turn people into “fuzzy” versions of failed to “enjoy” things enough along the way.
themselves, but Sorin says that after working in the
Department of Justice for twenty-eight long years, he deserves
to fill his retirement with some enjoyment. Masha heads up to
the house for lunch, and as she goes, Sorin remarks that Masha
is someone who has known “no happiness in her life.”
Arkadina remarks how “boring” it is in the rural countryside. Again, Arkadina cannot stand any conversation that isn’t about her.
She’s sick of everyone philosophizing, and would rather be in a Nina doesn’t see Arkadina’s shallowness and narcissism—she only
posh hotel room somewhere learning lines for a play. Nina sees the glamour and independence the woman represents.
“rapturously” longs for the glamorous city life Arkadina
describes.
Shamraev and Polina come down to the lawn. Arkadina Arkadina has gotten so used to the trappings of fame that when a
suggests she and Polina go into town for a while, but Shamraev request she makes is refused and she’s not treated as more special
says that because today is the day the rye is being carted to or worthy than anyone else, she completely loses her cool. Her
town, there won’t be horses for them. Arkadina is incensed, and egotism has completely overtaken her life, and she’s unable to deal
says that if there are no horses, she’ll return to Moscow with situations in which she’s not the most important person.
immediately. Shamraev blusteringly states that he’s resigning
from his position as overseer and storms back up to the house.
Arkadina vows to never set foot on her brother’s estate again
and heads up, too—Trigorin, coming up from the lake, follows
her across the lawn.
Nina chides Polina for refusing to give the “famous actress” Nina clearly also believes that famous people should be afforded
Arkadina a horse to take into town, but Polina says there’s special, preferential treatment—the idea that one day she could be
nothing she can do—there are simply no free horses. Sorin asks afforded such treatment after years of being mistreated by her
Nina and Medvedenko to come up to the house with him to try parents is one of the things, perhaps, driving her goals of achieving
to change Arkadina’s mind. Dorn and Polina stay behind. fame and fortune.
Nina walks by picking flowers on the lawn—Dorn asks her how Polina is frustrated that Dorn will barely give her the time of day,
things are going inside. Nina reports that Arkadina is crying and but rushes to the aid of others when they’re in physical or emotional
Sorin is having an asthma attack. Dorn stands up to head inside need.
so that he can give them both some calming valerian, and Nina
urges him to take the flowers in to them. Polina follows him,
ripping the flowers from his hands and tearing them up as they
near the house and get out of Nina’s line of sight.
Alone on the lawn, Nina remarks how odd the behavior of these Nina idealizes fame so greatly that she doesn’t seem to realize
bohemian people is—it’s strange, she thinks, to see “a famous celebrities and artists, too, often behave badly. Nina’s dangerous
actress crying, and over such a trivial matter,” while her equation of artistic merit with inner goodness will lead to several
paramour, a “best-selling author,” spends his whole days down problems for her in the future as she chases down fame and
at the lake by himself. Nina admits that she always thought that celebrity at great cost to her own moral values and physical well-
famous people were “proud” and “inaccessible,” but now sees being.
that they are, more or less, just like “anybody else.”
Treplyov approaches Nina, “carrying a rifle and a slain gull.” In one of the most iconic and well-known scenes in the entire play,
After confirming that Nina is alone, he sets the gull down at her Treplyov brings a dead gull he has killed to set at Nina’s
feet. Nina asks him what it means—Treplyov doesn’t answer, feet—informing or threatening her that he wants the same fate for
but says only that he killed the gull and now wants to lay it at himself, and implying that Nina’s indifference towards him will be
her feet. Nina asks Treplyov what’s wrong with him. He tells her the cause of his death. Nina, who once enjoyed Treplyov’s symbolic
that he’ll soon kill himself “the very same way” he killed the gull. gestures and esoteric behavior, now plays dumb and insists she has
Nina tells Treplyov that she doesn’t recognize who he is no idea what he’s trying to do—when in all likelihood, she just wants
anymore—he’s always talking in codes and symbols lately, but to distance herself even further from him rather than play his games
though she recognizes the gull as one of his symbols, she’s “too any longer.
ordinary” to understand him.
Treplyov says he believes Nina stopped loving him the night of Treplyov is clearly disturbed and even moved to violence by Nina’s
his “fiasco” of a play—he can’t stand her sudden coldness favoring Trigorin over him. Trigorin has already stolen Treplyov’s
towards him, and he is distressed over the idea that she sees mother’s heart—now, he is stealing Nina’s too, and Treplyov is
him as “a mediocrity.” As Treplyov sees Trigorin approaching helpless to keep Nina for himself.
with a notebook in hand, he tells Nina that he knows she thinks
Trigorin is the “real genius.” Treplyov hurriedly runs off.
Trigorin says that no matter how much praise he receives, it’s In spite of Trigorin’s garish behavior and sense of entitlement to the
never enough—but Nina can’t stop waxing poetic about what it lives and experiences of others, in this speech, he reveals himself to
must be like to live a “brilliant, meaningful” life full of art, be just as human and insecure as anyone else. He knows that his
beauty, and fame. Trigorin tells Nina that she’s upsetting motives and indeed his actions are often sketchy or even cruel, and
him—he decides to tell her the truth about his “beautiful, though he wishes he could change, he is simply too afraid of the
brilliant life.” He laments that he is obsessive about his craft to embarrassment failure would bring.
the point of ignoring real life. Everything, he says, is just fodder
for his stories. He is so determined to make good art and
surpass his previous attempts that he cannibalizes his own
friendships, interactions, and feelings for his work—he “know[s]
no peace,” and never feels anything he writes is good enough in
spite of the unceasing effort he puts in.
Nina asks if the moments in which Trigorin experiences Trigorin worries that he is a mediocrity in spite of all his hard work.
inspiration—or even the moments in which he’s just He fears realizing that he has chased success so long for
writing—are happy ones. Trigorin admits that writing is “nice nothing—even as he admits to desiring fame for fame’s sake and
enough,” but as soon as his work is published, he begins to find sacrificing his artistic practice in order to pawn off the stories of his
errors and things he wishes he could revise. Reviews always friends and acquaintances as things of his own invention.
compare him to great writers like Tolstoy and Turgenev, and he
fears he’ll never be as truly good as they are. He is never
satisfied with himself, he says, and worries that his writing isn’t
even fulfilling a “social” obligation to the world around him. He
feels like a “phony” all the time.
Nina tells Trigorin that he’s working himself too hard—and that In spite of Trigorin’s frankly disturbing confessions, Nina remains
even if he’s disappointed in himself, there are many others who idealistic about fame to the point of delusion. She is so transfixed by
regard his work as beautiful and important. Nina says that if the attention and adoration Trigorin and Arkadina both receive that
she could live as a writer or an actress, she’d sacrifice she doesn’t realize the gravity of what Trigorin is telling her about
everything—her family, money, personal happiness. She’d be the dark side of fame.
fine with personal dissatisfaction, she says, if only she could be
famous.
Arkadina calls for Trigorin again—but shouts out to him that In spite of Trigorin having shown Nina the dark, selfish side of
they’re going to stay after all. Trigorin heads into the house to himself, she maintains that fame and adoration are her greatest
talk to Arkadina. Nina, alone again, cries out: “It’s a dream!” “dream.”
ACT 3
In the dining room of Sorin’s estate, trunks and boxes are lined It is clear from the outset that things have deteriorated between
up against the walls: the summer is coming to an end and his acts two and three. Treplyov has tried to kill himself—ostensibly out
guests are preparing to depart. Trigorin eats lunch while a very of his despair over Nina—and Masha is beside herself but using
drunk Masha stands nearby and talks to him. She tells him that alcohol to numb the pain. Even though Masha tells Trigorin of her
if Treplyov had “wounded himself seriously,” she would have plans to get over Treplyov, she drinks heavily—a sign that she’s
killed herself. She vows to “rip [her love] up by the roots” by desperate to escape her feelings rather than deal with them.
marrying Medvedenko and blotting out her old problems with
new ones. Masha pours a shot of vodka for herself and one for
Trigorin—he tells her she’s had enough, but she insists on
drinking “openly,” and downs her shot quickly. Trigorin says he
wishes he could stay, but Arkadina will never let him—now that
Treplyov has tried and failed to kill himself, he wants to
challenge Trigorin to a duel.
Masha replies that Treplyov is surely jealous of Trigorin—a Masha tries to have a sense of humor or sarcasm about the depths
predicament she can understand. She tells Trigorin that she’s of her own pain, but it’s clear that even as she makes plans to marry
marrying Medvedenko because she feels sorry for him—and Medvedenko, she has no idea what she’s doing “in this world.”
because she knows he’s “awfully in love” with her. She asks Chekhov is beginning to show just how truly destructive feelings of
Trigorin to send her his next book—and to inscribe it to unrequited love can be.
“[Masha,] […] who lives in this world for no apparent reason.”
She leaves, and Nina enters the room.
Nina asks Trigorin if he thinks she’ll become an actress or Nina has designs on Trigorin, and is clearly desperate to keep his
not—he replies that no one can “give advice about things like attentions even as he prepares to depart Sorin’s estate. Nina said in
that.” Nina presents Trigorin with a small medallion engraved the previous act that she’d do anything for fame and her dreams of
with his initials and the name of his most recent book. Trigorin success, adoration, and glory—here, Chekhov shows Nina’s devious
happily accepts the gift, and Nina begs him not to forget her. He side putting her plans into motion and latching onto the person she
promises to always remember her as she was on the bright day believes can give her a taste of the life she so wants.
last week when they were talking by the lake, near the dead
gull lying on the ground. Nina hears someone coming, and
hurries form the room—but asks Trigorin to “save two minutes”
to say goodbye to her before he leaves.
Sorin is planning on going into town, but Arkadina suggests he Even though her brother is in bad health and her son has recently
stay and rest for his health. Sorin argues the opposite—he’s attempted suicide, Arkadina longs to get back to her glamorous life
been feeling “stale,” and thinks getting into town for a little in Moscow. She has no empathy for those around her and no
while will rejuvenate him. Arkadina asks Sorin once more to concern for anyone but herself.
stay home and “keep an eye” on Treplyov. Arkadina is anxious
that she has to depart so soon after her son “took a shot at
himself”—but knows that the sooner she gets Trigorin away
from Treplyov, the less jealous her son will feel. Sorin suggests
that “vanity” and anxiety over his art are at the root of
Treplyov’s problems—not just his jealousy over Nina and
Trigorin.
Sorin suggests Arkadina give Treplyov some money, but she Arkadina is just as selfish with her finances as she is with her time. A
says she has none to give. Sorin laughs at her, and gift of money could greatly improve both Sorin and Treplyov’s
condescendingly says he knows his “generous, selfless” sister lives—but Arkadina insists she needs the money for her “costumes.”
would of course give her son money if she had it. Sorin says he Whether or not Arkadina’s career is actually thriving is impossible to
doesn’t have any money to give either—Shamraev takes it all know—but what is clear is that she’s too selfish to even think of
and spends it on the farm. Arkadina admits she does have some helping anyone but herself.
money, but says she must save it to spend on her costumes.
Sorin says he’s about to faint and wobbles on his Even as her brother suffers right in front of her, Arkadina doesn’t
feet—Arkadina calls for help. Treplyov (with a bandage change her tune or offer any help—emotional, financial, or physical.
wrapped around his head) and Medvedenko rush into the
room, but by the time they get there Sorin claims to have
recovered and waves them away. Medvedenko escorts Sorin to
the other room so that he can take a nap, while Sorin mumbles
about resting up so he can make it into town later.
Arkadina and Treplyov are alone. Treplyov suggests Arkadina In a rare moment of affection, Arkadina changes her son’s bandages
lend Sorin some money so that he can get out of the and shows him some attention and even love. Even as she does so,
countryside—Arkadina again states that she has no money. however, she makes light of his recent suicide attempt and belittles
Treplyov asks Arkadina if she’ll change his bandage, as the his pain—she doesn’t even ask him how he’s doing, but rather tells
doctor is late. She goes over to a cabinet and retrieves a first- him that his wound is nearly healed, thus ignoring and negating his
aid kit, then sits Treplyov down and removes his bandage. She physical pain alongside his emotional pain.
tells him delightedly that his wound is nearly healed, and begs
him not to “do any more click-click” while she’s away. Treplyov
insists he won’t—he was merely seized by “a moment of insane
desperation.”
Treplyov begs Arkadina to see how Trigorin has destroyed their This passage shows just how much resentment there is between
own relationship—whilst “cultivating” Nina and basking in her Treplyov and Arkadina. Treplyov hates his mother for parading
admiration. Arkadina asks Treplyov to stop saying “nasty around with Trigorin, and Arkadina hates Treplyov merely for
things” about Trigorin. Treplyov insults Trigorin’s talent, and existing: as he grows older, she’s reminded of the fact that she’s
Arkadina retorts that Treplyov is the one with no talent. growing older, too. They are terrible threats to one another’s egos,
Treplyov boasts that he has more talent than Arkadina and and just being around one another fills them both with insecurity
Trigorin put together and calls them a pair of “hacks.” The two and rage.
of them trade cruel insults until Treplyov begins weeping.
Arkadina begs Treplyov to forgive her for calling him a
“nobody” and embraces him.
Treplyov confesses to Arkadina that he has “lost Even as Treplyov opens up to his mother, Arkadina pushes his fears
everything”—his drive to write, his beloved Nina, and indeed his to the side and tries to end the moment of genuine communication
“hope.” Arkadina reassures Treplyov that once Trigorin leaves, between them as quickly as possible.
Nina will love Treplyov once again. Trigorin approaches the
dining room and Treplyov hurries out, stating that he won’t
confront Trigorin—but can’t bear to look at him any longer.
Trigorin enters the room holding the book whose title Nina Trigorin doesn’t want Nina very badly at all until he realizes that she
inscribed into the medallion—he reads aloud the lines her is offering herself up to him, no strings attached—and using his own
engraving references. “If ever my life is of use to you,” he work to do it. Trigorin’s ego is given such a boost by Nina’s bald
recites, “come and take it.” Having realized the depths of Nina’s idolatry of him that he tells Arkadina straight out that he wants to
devotion to him, he begs Arkadina to stay just one more day. end their relationship and move on to Nina. Trigorin and Arkadina
She tells Trigorin that she knows what’s going on and asks him share the need to have their talent, fame, and sexual viability
to “show some self-control.” In response, Trigorin begs confirmed by another, younger individual who adores them and
Arkadina to “let [him] go.” Realizing the truth of Trigorin’s love reassures them they haven’t become irrelevant or undesirable.
for Nina, Arkadina is stunned, and accuses him of torturing her.
Trigorin replies that he has never known love as pure as the
love Nina is showing him—and is determined to chase it and
taste it.
Arkadina, now hysterical, laments her “old and ugly” face and Arkadina knows that if Trigorin leaves her for Nina, it will mean that
kneels at Trigorin’s feet, begging him to see that he is “the last she herself is old, irrelevant, and sexually and romantically
chapter in [her] life story.” She says she won’t survive if he uninteresting to Trigorin and thus, in her egotistical mind, to all men.
leaves her—and she won’t let him. She flatters him Arkadina is desperate not so much for Trigorin’s love, but for what
beseechingly, calling him the “greatest living writer” and his love brings her—attention, validation, and proximity to youth
“Russia’s only hope” while also complimenting his “silky hair” and “new” fame.
and gorgeous eyes. Trigorin succumbs to her flattery, even as
he quietly chides himself for his spinelessness. He tells
Arkadina to take him away and never let him out of her sight.
A few moments later, Trigorin re-enters, claiming he’s forgotten Trigorin is excited that Nina is coming to Moscow—but not because
his walking stick. As he crosses through the dining room, he he’s happy she’s chasing her dreams. Nina has essentially told
bumps into Nina. Nina excitedly tells him that she’s made up Trigorin that her life is in his hands, using his own words—this
her mind—she’s going to try to be an actress. She plans to amount of flattery is more than he knows what to do with, and he is
abandon her life in the country and start a new one in Moscow. determined to use Nina as a wellspring of praise for as long as she’s
Trigorin, thrilled, surreptitiously tells her to stay at a certain able to give him what he wants.
hotel in the arts district and write to him the minute she
arrives—he will meet her there. He tells her that he can’t wait
to see her again and gives her a passionate kiss.
ACT 4
Two years have passed since the end of act three. Treplyov has The time jump that has occurred allows Chekhov to investigate the
turned a drawing-room in Sorin’s house into an office, and it is long-term effects of the large existential themes the play wrestles
covered in stacks of books and scattered papers. The room is with it. The fourth act will examine how unrequited love, the fear of
empty, but lit by a single lamp against the dark of the evening. mediocrity, and the pursuit of fame have changed each of his
Masha and Medvedenko enter, calling for Treplyov, whom Sorin characters’ lives—for better or for worse.
has asked for. Medvedenko looks out the window onto the
lawn, and remarks that someone should really take down the
creepy old stage by the lake.
Medvedenko asks Masha if they can go home—they have been Even though Masha said that in marrying Medvedenko, she’d surely
at Sorin’s estate for three days now, and their baby is at home forget all about Treplyov, it’s clear that she has no love in her heart
with the nursemaid. Masha says she wants to stay the night. for Medvedenko, and even seems to want to ignore him at best and
Medvedenko says he’s going to go home without her and begs antagonize him at worst.
her to come home soon—Masha drolly states that she’ll come
home tomorrow. Treplyov and Polina enter, carrying sheets and
bedclothes. Polina begins setting up a bed on a divan in the
corner, explaining that Sorin has asked for a bed to be made up
in Treplyov’s room. Masha helps her, ignoring Medvedenko’s
cloying goodbyes as he leaves.
The sound of Treplyov playing violin in the next room comes Masha continues to live in denial, believing her feelings of love for
through the door. Masha begins swaying to the music, and says Treplyov (and hatred of her own husband) will go away if she puts
again that once she moves, she’ll forget Treplyov within a distance between herself and her unrequited love.
month. Dorn and Medvedenko, who hasn’t left after all, wheel
Sorin into the room in a chair. The three men complain about
how expensive things are, and how little money they all have. At
the sight of her husband, Masha asks Medvedenko why he
hasn’t left yet, and says she wishes she’d “never set eyes on
[him.]”
Sorin asks where Arkadina has gone, and Dorn answers that Sorin picks up a thread from earlier in the play and begins lamenting
she’s gone to the station to meet Trigorin. Sorin says that for his failure to take full advantage of his lie. It’s clear that Sorin feels
Arkadina to come back to the estate, he must be “seriously ill.” shame and angst over not having lived up to his potential—in this
Dorn offers him some medicine, but Sorin scoffs at the idea of regard, he is much like many of the other characters in the play who
taking anything. He begins reminiscing about his youth—he also wrestle with feelings of mediocrity and disillusionment.
says he has never achieved any of the dreams he set out for
himself, like becoming an author, getting married, and living in
town. Dorn urges Sorin not to complain about his life. Treplyov
comes back into the room and sits near Sorin. Masha stares at
Treplyov, unable to take her eyes off him.
Dorn asks Treplyov where Nina Zarechnaya has gotten to Treplyov’s apparent delight in describing the hardships and indeed
these days—he’s heard she’s living “a rather peculiar life.” horrors that have befallen Nina shows that he resents her for
Treplyov reluctantly explains that after she ran away from leaving him behind—and feels, perhaps, that she got what she
home and went off with Trigorin, she bore him a child—but the deserved for chasing a second-rate writer like Trigorin and her own
baby died, and Trigorin fell out of love with her and returned to hollow dreams of fame.
Arkadina, with whom he’d never officially severed ties. “Nina’s
private life has not been a roaring success,” Treplyov says with
just a hint of satisfaction.
Treplyov reveals that Nina is back in town, staying at a hotel Even though Treplyov repeatedly points out to the others how pitiful
near the railway. She has been back for five days, and though Nina has become, they can’t help but recall her bright, sunny
Treplyov has gone to visit her, she won’t receive any guests. demeanor and her naïve but hopeful outlook on life. Treplyov’s
Medvedenko chimes in and says that he ran into Nina meanness and delight in Nina’s mediocrity is highlighted as the
yesterday, and she told him she’d pay them all a visit soon. others express genuine sorrow to learn what has befallen her.
Treplyov claims she won’t—her father and stepmother have
disowned her and installed watchmen around their estate so
that she cannot even get close. Sorin laments Nina’s hard luck,
reminiscing about what a lovely girl she was—and admitting
that even he was “a little bit in love with her for a while.”
Arkadina, Trigorin, and Shamraev all enter the drawing room, Trigorin and Treplyov have gone from being rivals to peers, in a way,
laughing and talking. Shamraev compliments Arkadina on her over the last two years. They publish in the same magazines, and
youthful appearance after all these years. Trigorin greets Treplyov has achieved a kind of success that mirrors Trigorn’s own.
Masha and then Treplyov, asking whether Treplyov has Trigorin seems to respect Treplyov as an equal—but Treplyov seems
renounced his “grudge.” Treplyov, in response, shakes Trigorin’s slightly less interested in embarking on a friendship with the man
hand. Arkadina tells Treplyov that Trigorin has even brought who has stolen so much from him.
along the magazine which printed Treplyov’s latest
story—coincidentally, Trigorin has a story in it, too. Trigorin
says he is constantly fielding questions from Treplyov’s adoring
fans in Moscow, who all want to know what he looks like.
Arkadina and Polina set up a card table so that they can all play As Treplyov looks through Trigorin’s copy of “their” magazine, he
a lottery game similar to bingo. Masha asks Shamraev if realizes that the egotistical older writer has merely read his own
Medvedenko can borrow a horse to ride home—Shamraev says work several times and has completely ignored Treplyov’s piece.
they’re already in for the night. Medvedenko says he’ll go on Treplyov, who writes because he wants attention from specific
foot in spite of the bad weather. He heads out, insisting he’s people—Trigorin, Nina, and Arkadina—is dismayed that his work is
leaving for real this time. Arkadina asks Trigorin to come over not reaching those he wants it to and disgusted by Trigorin’s
and play the lotto. Treplyov looks through the magazine narcissistic behavior to boot.
Trigorin has brought—both of them have stories printed in it,
and Treplyov can see that, though Trigorin has leafed through
his own story many times and wrinkled the pages, he hasn’t
even gotten to Treplyov’s piece yet. Arkadina asks Treplyov if
he’ll play the lotto, but Treplyov leaves the room.
Treplyov comes back into the room and goes to his desk. The revelation that Trigorin asked to have the gull Treplyov shot
Shamraev tells Trigorin that a “thing” of his is still at the house. stuffed shows that Trigorin wanted to preserve either the moment
Trigorin asks what “thing” he means, and Shamraev replies that of inspiration for his voyeuristic story about Nina, or the moment
"a while back,” Trigorin asked him to have a gull that Treplyov that he realized he could be the one to take her life into his own
shot stuffed. Trigorin says he doesn’t remember any such thing. hands and do with her what he wished. This demonstrates Trigorin’s
He wins the game, and Arkadina suggests they all go into the enormous ego and his delight in inspiring unrequited or unmatched
kitchen for a bite to eat. Treplyov says he's not hungry. love in the women around him.
Everyone goes out, leaving him alone at his desk. He sits with
his papers, lamenting aloud his “trite” writing and lack of talent.
There is a knock at the window, and Treplyov goes over to it, Even though just moments ago Treplyov seemed to be
but can’t see outside. He goes out to the veranda, and comes celebrating—or at least drawing personal satisfaction from—the
back in a few moments later with Nina Zarechnaya, who lays many difficulties that have befallen Nina, as soon as he sees her
her head on Treplyov’s chest and begins sobbing. Treplyov again, he welcomes her with open arms and admits to having never
welcomes her ecstatically, claiming to have had a “premonition” abandoned his feelings for her. Treplyov has perhaps been pushing
of her arrival and saying he’s been nursing an “aching” heart. aside his feelings for Nina in order to dull or forget the pain of
Nina begs Treplyov to lock the study doors so that no one else unrequited love—but now, in her presence, he can no longer ignore
will come into the room and see her. He obliges her request. them.
Nina looks around the room, remarking upon how it’s changed. Nina, once a lovely and bright young woman, now appears gaunt,
She asks Treplyov if he thinks she has changed, too—he says frail, and frightened. She was confident, self-assured, articulate, and
that she’s lost weight. He asks why she hasn’t called on him the happy as a girl—now, she is the opposite in every way. For years
week she’s been in town, and Nina confesses that she was Treplyov pined for Nina and worried she hated him—now, it is Nina
afraid Treplyov “hated” her—every night, she dreams that she who is haunted by visions of Treplyov.
encounters him, but he refuses to acknowledge her.
Nina’s speech grows frenzied, and she urges Treplyov to sit so Nina jumps from subject to subject in a manic, uncontrolled state.
that they can “talk and talk.” She asks if he can hear the wind She can’t restrain her own tears, and continually backtracks through
raging outside, and says she’s “a gull” before second-guessing her own assertions about herself, unable to decide who she really is
herself and saying she was “wrong” to call herself one. She tries or how she wants to present herself to Treplyov. She seems both to
to discuss the work of the writer Turgenev with Treplyov, but want to pretend that she’s doing all right, and to admit to Treplyov
then breaks down in sobs. Treplyov tries to comfort her, but once and for all the true, horrifying depths of her misery.
Nina says she hasn’t wept in years and is in need of a cry. She
says that though she and Treplyov have both realized their
dreams, she’s still sad—once she dreamed of love and fame, but
now she lives a “sordid” life marked by disappointment.
Nina tells Treplyov that he shouldn’t love her—she believes she Nina’s disoriented state reflects the trauma she’s been through. The
“should be killed.” She begins rambling and babbling again, world has beaten her down: disappointed by the failed promises of
speaking in half-sentences as she refers to herself as a “gull,” fame and fortune, and used as a pawn in love, Nina’s life has
then an actress. She begins speaking about her affair with become a perverse inversion of what she dreamed it would be.
Trigorin, though she doesn’t mention him by name. She
confesses that he “laugh[ed] at [her] dreams,” and her anxiety
over Trigorin’s inability to love her warped her acting. She asks
Treplyov if he remembers the gull—something a man “comes
along, sees, and with nothing better to do destroys.”
Nina continues babbling, telling Treplyov that she has realized This brief exchange suggests that while Nina set out in search of
that in real art, fame doesn’t matter—endurance does. She fame and fortune, she has realized that fame is not the goal of art.
resolves to remain faithful to her craft and her “calling” even in She may yet be able to achieve redemption—but it’s also possible
the face of uncertainty. Treplyov laments that Nina has found that this epiphany has come too late, and Nina’s fate is already
her “path” while he is still poking around in the dark for his. sealed.
Nina tells Treplyov she’s going to leave, and asks him to come This passage demonstrates just how fully being spurned by Trigorin
find her in the city once she’s become “a great actress.” She is has destroyed Nina’s life. She gave everything for him—but her love
unable, though, to walk out the door—she keeps wondering for him was unrequited, and he cast her aside. Now, even in the
about Trigorin, and whether he came here with Arkadina. She depths of her misery, she can’t focus on anything other than him for
becomes lost in reminiscences of Trigorin, and then starts very long. The knowledge that Nina still pines for Trigorin is more
reciting haunting, mournful lines from Treplyov’s play about the than Treplyov can bear—Trigorin has usurped Treplyov’s mother’s
end of the world. She embraces Treplyov once more, fiercely, affections, his lover’s affections, and indeed, Treplyov feels, his own
before running out of the house. Treplyov, alone, silently rips up chances at artistic success.
every single manuscript in the room before exiting.
Dorn and the others re-enter the room. Arkadina gaily sits In this passage, Arkadina and Trigorin both show the depths of their
down at the lotto table, seeming not to notice the disarray abilities to ignore anything that threatens their easy, self-centered
throughout the room. Shamraev goes over to a cupboard and lives. Arkadina doesn’t notice the disarray in her son’s studio, and
pulls out the stuffed gull. He shows it to Trigorin, asking if Trigorin willfully asserts that he does not remember wanting a kind
Trigorin remembers asking him to stuff it—Trigorin stares at of souvenir of the symbol of Nina’s destruction.
the gull, but still claims he doesn’t recall anything about it.
To cite any of the quotes from The Seagull covered in the Quotes
HOW T
TO
O CITE section of this LitChart:
To cite this LitChart: MLA
MLA Chekhov, Anton. The Seagull. W. W. Norton & Company. 2010.
Tanner, Alexandra. "The Seagull." LitCharts. LitCharts LLC, 14 Aug CHICA
CHICAGO
GO MANU
MANUAL
AL
2019. Web. 21 Apr 2020.
Chekhov, Anton. The Seagull. New York: W. W. Norton &
CHICA
CHICAGO
GO MANU
MANUAL
AL Company. 2010.
Tanner, Alexandra. "The Seagull." LitCharts LLC, August 14, 2019.
Retrieved April 21, 2020. https://www.litcharts.com/lit/the-
seagull.