LitCharts assigns a color and icon to each theme in The Three Sisters, which you can use to track the themes throughout the work.
Change, Suffering, and the Meaning of Life
Happiness, Longing, and Disappointment
Love and Marriage
Summary
Analysis
It is about 21 months later, on an evening in late winter. Natasha is walking through the house with a candle. She finds Andrey reading and explains that she’s looking for any lights that have been left burning; the servants can’t be trusted. She says that Olga and Irina are still at work, Olga at a teachers’ meeting and Irina at the Telegraph Office. She also frets about their little boy, Bobik. Andrey assures her that Bobik is healthy.
Natasha and Andrey are now married and have a child. Already, Natasha shows more confidence and initiative than she did in the first act, apparently seeing herself as the mistress of the house. Irina has also fulfilled her aim of beginning to work. Things appear to be moving forward for the family.
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Mummers are scheduled to come to the house tonight, but Natasha says perhaps they shouldn’t come, in case Bobik is sick. Andrey wavers, pointing out that it’s his sisters’ house. Natasha is sure they’ll agree. In fact, she suggests that they move Irina into Olga’s bedroom so that Bobik can have her room, which is drier and sunnier—Irina is seldom at home anyway. Andrey doesn’t say anything. Natasha exits, forgetting her candle. Ferapont comes in with some papers for Andrey to sign.
Mummers were costumed or disguised figures who would travel house to house during festive times, offering entertainment. In striking contrast to her shy, fragile presentation in the first act, Natasha now dominates the household, including Andrey. Humorously, she leaves her candle burning despite making a big deal about others’ carelessness. This might also be a hint about the later town fire—Chekov was intentional in his use of such small details.
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Andrey tells Ferapont, “how strangely life changes, how it deceives us!” He explains that, out of boredom, he began reading his old university lectures. He is now secretary of the District Council, where Protopopov is chairman, and his greatest ambition is to become a member of that council—but at night, he still dreams of becoming a professor in Moscow, “a famous scholar who is Russia’s pride.”
Andrey is less forthcoming with his emotions than his sisters, but he confides readily in his servant. Here he reveals that he’s disillusioned with his life, even feeling “deceived” by its unexpected turns. It’s not clear what’s holding him back from his academic ambitions, but readers can reasonably assume that Natasha has something to do with it.
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Ferapont says he can’t really hear, and Andrey replies that that’s why he is confiding in Ferapont. His wife, Natasha, doesn’t understand him, and he fears that his sisters will laugh at him. He wishes he were in Moscow, where “you don’t feel [like] a stranger.” In this provincial city, “everyone knows you, but you’re a stranger.” Andrey asks Ferapont if he’s ever been to Moscow. Ferapont explains that he hasn’t; “it hasn’t been God’s will.” Andrey dismisses him.
Andrey doesn’t have anyone else he feels comfortable confiding in, and he doesn’t even want Ferapont to know the whole truth and his unhappiness. However, he clearly wants to be known—he harbors his own longings for Moscow because he imagines that there, he wouldn’t “feel [like] a stranger.”
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Masha and Vershinin enter. Masha is telling him about her marriage—how she was intimidated by Kulygin’s intelligence at first but no longer thinks him clever, and how she finds his colleagues unrefined and coarse. Vershinin, for his part, complains about his “worthless” and quarrelsome wife. He tells Masha that if it weren’t for her, he’d have no one. He begins telling Masha how much he loves and admires her. Someone is coming, so Masha tells him to change the subject.
Masha and Vershinin have begun an affair, which seems to be grounded on their own marriages’ failures to live up to their hopes. Masha, in particular, longs for cleverness and refinement, which Vershinin now offers her. For now, at least, they’re keeping their relationship under wraps.
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Irina and Tuzenbakh enter. Tuzenbakh accompanies Irina home from the Telegraph Office each day. Irina complains of tiredness. She wants to find another job—the Telegraph Office is “work with no poetry.” She tells Masha that Andrey has recently been losing money playing cards. If he lost everything, perhaps they’d move to Moscow. She dreams of Moscow every night, “like a madwoman.” They’re supposed to move there in June—almost half a year away.
Though Irina has fulfilled her goal of getting a job, she’s already unhappy with it—suggesting that she’s unrealistically romanticized work, expecting it to be “poetry.” She is still fixated on Moscow as the solution to those disappointed hopes, and at this point, there’s still at least a concrete plan to get there.
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Chebutykin reads his newspaper while Irina sits at the table playing a card game. Vershinin suggests that they talk about philosophy—such as what life will be like two or three hundred years from now. Tuzenbakh says that humanity will be fundamentally the same, even if technology and science have advanced. Vershinin ponders and replies that he believes a “new, happy life will dawn.” Even though they won’t live to see it, they must work and suffer to create that life; this is the goal of life and happiness.
Vershinin and Tuzenbakh discuss the meaning of life. At the turn of the 20th century, life in parts of Russia and Europe was rapidly progressing technologically and socially, so the idea that life is evolving toward a happier future makes sense in the context of the time. Tuzenbakh has a more moderate view, tempering his expectations with the notion that humans can’t really change.
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Tuzenbakh objects that Vershinin’s view keeps happiness out of reach. He argues that, even a million years from now, life will remain the same; that’s because life follows unchanging, inscrutable laws. For example, migratory birds fly without knowing why or where. Masha interjects that unless people have faith and search for meaning, life is empty and nonsensical.
Tuzenbakh believes that life is fundamentally predictable because of scientific laws, which Masha finds depressing. Birds come up several times in the play in association with human freedom and happiness (or lack thereof); Tuzenbakh’s view suggests that life is mostly instinctual and not governed by a sense of inherent purpose.
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The group, now including Fedotik and Rode, continues to converse around the table. They complain of the lingering winter, and Masha remarks that if she were in Moscow, she wouldn’t mind the weather. In response, Vershinin describes something he’s read recently—the diary of an imprisoned French minister who pined for the sight of birds. After he was released, he no longer noticed the birds. He says that it would be the same once the sisters moved to Moscow—they wouldn’t notice it. “We have no happiness and it doesn’t exist, we only desire it,” he claims. But then he gets a message from his daughter, telling him that his wife has attempted suicide again. Masha is in a bad mood after he leaves.
Vershinin picks up the bird imagery—here symbolizing happiness that is forever out of reach, because human beings constantly long for what they don’t have, implicitly making themselves discontent for no reason. Even Masha’s longing for Moscow, then, is ephemeral; it says more about her inability to be happy than about a desire for a concrete place. Perhaps the same is true of Vershinin’s longing for Masha in the midst of his plainly unhappy marriage.
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The group continues playing, drinking, and chatting while they wait for the mummers to arrive. Later, Natasha comes in and whispers to a couple of the guests, then leaves. Andrey, embarrassed, admits that the mummers won’t be coming—Bobik isn’t feeling well. Masha retorts that it’s Natasha who isn’t well—she’s a “common little woman.” People begin to say their goodbyes.
In keeping with the idea that people constantly long for happiness that’s out of reach, it turns out that the anticipated party is not to be. Natasha still lacks social graces much as she did in the first act, only now she inconveniences and dominates others as well.
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Andrey and Chebutykin continue talking. Chebutykin says that he never found time to marry, although he always loved their mother. Andrey replies that marriage is “boring” and should be avoided. Chebutykin says that loneliness is “frightful,” but that it “absolutely cannot matter.” They head out to play cards together, hurrying so that Natasha won’t try to stop them.
Chebutykin carries a deep disillusionment himself, which he apparently suppresses as meaningless. Andrey seems to be on a similar path, taking refuge in meaningless things like card-playing to stifle his unhappiness. Their attitudes show how much disappointed love can detail a person’s sense of purpose.
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Solyony reenters and finds Irina alone. He tearfully confesses his love for her, but Irina rejects him. Solyony says that he can’t force her to love him, but he swears to kill any rival.
The awkward, uncouth Solyony loves Irina, too—a scene that’s mainly significant because of Solyony’s worrisomely violent oath, which will have climactic significance later. Again, disappointed love distorts people’s lives in many different ways.
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Natasha comes in and tells Irina that Irina must move in with Olga so that Bobik can have her room. Then a maid tells Natasha that Protopopov has arrived and invites Natasha to take a sleigh ride with him. She agrees and exits. Olga arrives home with a headache, exhausted from school and troubled by rumors of Andrey’s gambling losses. After she and the lingering guests leave the room, Irina finds herself alone and is “overcome by longing,” saying, “Moscow! Moscow! Moscow!”
Natasha’s sleigh ride with another man suggests that she is having an affair—with the leader of the District Council that Andrey wants so much to join, no less. This underscores Andrey’s pathetic situation, as well as the prevalence of failed marriages among Chekov’s characters; in the world of the play, mutual romantic happiness is rare. Meanwhile, Irina voices her continued longing for escape from her life.