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47 pages 1 hour read

Anton Chekhov

Uncle Vanya

Fiction | Play | Adult | Published in 1897

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Act IVChapter Summaries & Analyses

Act IV Summary

The house is quiet that evening. Telegin and Marina sit in Voitski’s room, winding wool. Voitski’s desk is covered in papers, a smaller table holds Astroff’s paints and drawing materials, and a map of Africa is affixed to the wall next to a caged starling. Sonia and Astroff are in the garden searching for Voitski to ensure he doesn’t die by suicide, and Helena and Serebrakoff are preparing to leave for Kharkov. Telegin and Marina believe that fate has decreed it is time for Helena and Serebrakoff to go. Helena is frightened, so they plan to leave immediately and send for their luggage later. Both Telegin and Marina are glad that the household can now return to its former order. After the shameful commotion earlier, Marina wishes that she had never laid eyes on the couple. Telegin says that he has hidden Voitski’s gun in the cellar. He recounts how a shopkeeper called him a “hanger on” that morning, hurting his feelings, and Marina consoles him that everyone is dependent on God.

Voitski enters the room with Astroff and shoos Marina and Telegin out. He tries to get Astroff to leave too, but Astroff says that he will be happy to go as soon as Voitski returns the bottle of morphine he stole from Astroff’s bag. Voitski denies any knowledge of the theft, and Astroff tells him it would have been better for him to shoot himself rather than Serebrakoff. He says that Voitski should hang himself in the woods if he wants to die rather than using Astroff’s morphine, which risks involving Astroff in a scandal. Voitski berates himself for having missed the shot that would have killed Serebrakoff. Voitski believes that the reason he hasn’t been arrested for trying to kill Serebrakoff is that they all think him mad. Astroff protests that Voitski isn’t mad; he is just a fool. Voitski confesses that he is ashamed and he finds the prospect of having to live out the rest of his natural life unendurable; he wishes he could begin his life anew. He pleads with Astroff for guidance, but Astroff—first angry and then gentle—tells him that although future generations may discover a path to happiness, there’s no hope for either of them, apart from the possibility that death may make them content. He says they’re the only two intelligent and respectable people in the countryside, but that a decade of misery has made them just as bad as everyone else.

Sonia enters and Astroff tells her about Voitski’s theft. She begs Voitski to give the morphine up, along with all thoughts of suicide, weeping and pleading with him to have pity and endure his sorrow for their sakes. She says that her own misfortune is even worse than his but that she will endure until her life reaches a natural end, as must he. Voitski cedes to her demands and returns the morphine to Astroff, telling Sonia that the only way that he can endure living is by immediately returning to work. She agrees, and as they sort their papers, Helena enters. She tells Voitski that Serebrakoff wishes to see him, and Sonia tells Voitski that they must make peace before Serebrakoff leaves.

Helena and Astroff remain in Voitski’s room together, and Astroff asks if she can’t stay until their planned meeting in the forest the next day. When she refuses, he insists that her feelings will eventually overcome her since she has nothing else in her life and no aims to otherwise occupy her. It would be better if she succumbed in nature, where the act might be beautiful, rather than in a city. Helena denies this and says that she is only able to face him now because of her imminent departure. She tells him that she is angry with him and finds him comical even though he is interesting and original, and she says that she will always remember him with pleasure. Since they will never meet again, she confesses that she is a little bit in love with him and asks that he not think badly of her. She wants him to respect her and for there to be no ill will between them so that they can part as good friends.

Astroff agrees and says that although she is sincere and good, she has a disquieting contagious idleness that makes everyone around her forsake their work. He has neglected his medical practice and his forestry all summer, and he thinks that it is good that she is leaving now since he’s certain that desolation would have come if she and Serebrakoff had stayed longer. He predicts that they will always bring destruction in their wake.

Helena takes one of Astroff’s pencils as a souvenir to remember him by, and he remarks that it is strange that they would meet so suddenly only to part ways forever. With her permission, Astroff kisses her on the cheek in farewell, only for her to say she doesn’t care about the consequences for once in her life as she kisses him passionately on the mouth. They hear the carriage outside, and Helena wishes Astroff every happiness as she says goodbye.

Voitski, Serebrakoff, Mme. Voitskaya, Telegin, and Sonia return to say their final goodbyes to the couple. Serebrakoff accepts Voitski’s apology and apologizes himself. They all share embraces, kisses, and farewells. Voitski and Helena part tenderly after he kisses her hand and asks her forgiveness, promising that they’ll never meet again. Everyone except Astroff and Voitski leaves to see the carriage off. Voitski gets to work on his papers, and Astroff waits for his own carriage. Then, Marina returns and takes up her knitting, Mme. Voitskaya returns and begins reading, and Sonia joins Voitski at his work table.

As she lights a lamp and refills an inkwell, Sonia observes that it has been a while since the two of them went through the accounts together. Astroff is reluctant to leave, given how comfortable and warm the room is, but he nonetheless collects his portfolio and refuses Marina’s offer to stay. Keeping his promise to Helena, he tells Sonia that he won’t see much of them until the following summer, certainly not through the winter, although they should call him if anything happens. He thanks them for their hospitality and kindness and says his farewells. He mentions that he’ll have to get his horse reshod on the way home, and, looking at Voitski’s map of Africa, he muses that it must be hot there. He refuses Marina’s offer of tea or bread but drinks a shot of vodka before leaving. Sonia accompanies him out to his carriage with a light.

Sonia returns and works alongside Voitski for a while as Telegin tunes his guitar. Gradually, tiredness envelops the whole party. Voitski begins to cry and tenderly tells Sonia how miserable he is. She kneels before him on the floor, with her head in his lap, and weeps along with him, sympathizing with him and consoling him. She says that there’s nothing they can do but patiently endure the trials of fate and live through the remainder of their lives, working for others without rest even through their old age. She says that although her dear Uncle Vanya has never known happiness on Earth, she has faith that when they die, God will pity them for their suffering. They will be welcomed into a new bright and beautiful life in heaven, from which they will be able to look back on their current hardships with fondness. She says that then, they will finally be able to rest.

Act IV Analysis

This final act is shorter than the play’s preceding sections and functions as a denouement to the climactic drama of Act III. There is little action, and much of the content of this act is taken up by fraught but generally civilized conversations between the characters. The subtlety of this approach explores The Complexities of Interpersonal Relationships. It is also one of the innovations in drama and performance that made Chekhov a revolutionary trailblazer in the transition from traditional to modern drama in Russian theater. In the play’s early productions, the successful translation of these subtle emotional developments and expressions from script to stage was contingent upon the revolutionary acting methods pioneered by the director Konstantin Stanislavski. Stanislavski pioneered methods of training and rehearsal that are intrinsic to modern acting practices, such as pre-planned mise en scène and self-analysis in emotional expression. These were developed in large part due to the influence and requirements of Chekhov’s dramas, which were too subtle and character-based to be done justice by the more rudimentary proclamatory styles that were previously favored.

This act also includes the notable symbol of Voitski’s map of Africa. The description of Voitski’s room at the opening of the section is notable in general because Chekhov’s principle of concision and essentialism means that every element that occurs in a work provides some insight and meaning, and this is also true of Voitski’s character and circumstances. The map, in particular, provides a physical representation of the theme of The Pain and Regret of Wasted Potential. It shows the lingering importance that Voitski’s dreams of a life beyond his own still hold over him. The map of Africa is displayed prominently in his room, symbolizing Voitski’s dream of a full and adventurous life, though he no longer believes he will ever travel there due to his self-declared “old age.” Still, the potential to do so certainly existed for him in his youth. The map is also directly beside a caged songbird, reflecting Voitski’s feelings of entrapment and his inability to escape the oppressive surroundings of the estate.

The fact that all the characters part on good terms with each other casts a retrospective layer of absurdity over their previous conflicts, particularly Voitski’s drastic and dramatically unsuccessful attempted murder of Serebrakoff. The civility of their parting makes the extremeness of Voitski’s violent outburst seem outlandish in comparison. The anticlimactic close to the play’s major conflict—the antagonism between Serebrakoff and Voitski—echoes the lack of satisfying or conclusive endings in real life. The audience is given no true sense of closure, particularly because the characters’ circumstances at the play’s conclusion appear to revert to how they were before the events of the play even occurred, arguably rendering the play’s events moot. The lack of forward progress calls up the theme of Despair Versus Work and Faith. This idea of a lack of progress is driven home by Astroff’s downing a shot of vodka before leaving, just as he did in Act I, and in defiance of his vow in Act II.

The theme of despair dominates this final act of the play as Voitski’s despair reaches its fever pitch in his determination to die by suicide. He is enveloped in helpless, all-consuming misery when Sonia attempts to talk him out of this decision. In Sonia’s final monologue, she consoles both herself and Voitski in an unrestrained appeal to the value of work and faith as a bulwark against despair. However, this consolation rings hollow due to her bleak reliance on hopes of a happy afterlife rather than believing in any hope of happiness while still alive. Although the remaining characters shake off their summer-long lethargy as soon as Serebrakoff and Helena leave, their work ethic only entrenches them in a new, more profound type of despair that threatens to last the duration of their remaining lives.

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