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In the dining room at Sorin’s house, Masha tells Trigorin that she has decided to “tear the love out of [her] heart, just tear it out by the roots” (37). She is to marry Medvedenko, even though she does not love him, as a way to forget her broken heart. Trigorin notices Masha is drinking heavily again and comments on it, but Masha shrugs him off. She sees her fate as set in stone, and is determined to see her plan through, even if it means continuing to keep the pain at bay with her alcohol and snuff.
Nina, meanwhile, is at a crossroads in her life. As a game, she holds a fist to Trigorin and asks him to guess odd or even. He picks even and she replies “Wrong. That means ‘No’. I’m trying to decide whether or not to go on the stage. If only somebody would tell me what to do” (39). Trigorin warns her that this is a decision only she can make for herself. Nina then presents Trigorin with another decision of his own to make when she gives him a parting gift. She presents him with a gold medallion that has his initials engraved on one side of it, and on the other side is the title of one of his books. Trigorin is touched by her gift—he must soon choose between Arkadina and the blossoming affair with Nina.
Upon hearing Arkadina approaching, Nina leaves, begging Trigorin for a few minutes alone before he leaves for town. Arkadina enters with Yakov, one of the workers on the estate. They are packing to leave, and Trigorin’s impending departure begins to feel even more real. Sorin enters and asks to go with them to town, but Arkadina shuts down the idea and tells him he must stay in the country. She tells Sorin, “Keep an eye on my son […] I’m going, and I still don’t know why Konstantin tried to shoot himself. I think it was mostly jealousy” (40).
Sorin defends his nephew, saying that Konstantin feels financially insecure and artistically suffocated in the country. He wonders if Arkadina might send Konstantin abroad, or at the very least give her son some money for a proper wardrobe, since the boy’s clothes are in shambles. Arkadina insists that she does not have any money to give him. Sorin laughs at her, then apologizes, praising her generosity.
As he is laughing, Sorin suddenly becomes dizzy and begins to stagger a bit. Arkadina calls for help, and Konstantin enters with a bandage on his head to grab his uncle. He tells his mother that Sorin gets these dizzy spells at times, but it is nothing to worry about. He tells Sorin to go lie down, but Sorin still wants to go to town. Eventually Sorin agrees to rest, leaving Arkadina and Konstantin alone. Arkadina mentions that Sorin’s frailty scares her, and Konstantin tells her that “[l]iving in the country isn’t good for him. […] It gets him down. Now, if you had a fit of generosity and lent him a couple of thousand, he’d be able to live in town all year round” (42-43). Again, Arkadina replies that she has no money to give, since she is an actress.
Konstantin asks Arkadina to change out the bandage on his head, since no one does it as nicely as she does. Arkadina makes him promise that he will not try to shoot himself again while she is away, and he tells her he won’t. In a sudden burst of affection, Konstantin grabs his mother’s hands and kisses them, reminiscing about when he was a little boy. He asks her if she remembers when a washerwoman in their building was hurt, and that Arkadina was “always going in to see her, [she] brought her the medicine, [and] used to wash her children in her washtub” (43). Arkadina tells him she does not remember, but she does remember the two dancers who used to come have coffee with them.
Konstantin basks in the tenderness of his mother changing out his bandage. He tells her, “These last few days, I’ve loved you as tenderly and trustfully as when I was little […] Only, why do you let that man have such a hold over you?” (44). Arkadina assures him he does not know Trigorin, but he is a noble man. Konstantin scoffs at this, saying he is probably wooing Nina behind their backs at that very instant, and his books are not good at all. Arkadina warns Konstantin not to speak of Trigorin like that in her presence, saying he is only envious of her lover because he is talented, and Konstantin is not. This remark enrages Konstantin, who retorts, “You hacks and mediocrities have grabbed all the best places for yourselves and you think the kind of art you do is the only kind that counts” (44). He tells her he does not buy the illusion she and Trigorin are selling of being the best and most talented.
The fight builds until finally Konstantin breaks down crying, and Arkadina holds him in an embrace. He admits the true source of his anger is, first and foremost, the loss of Nina, his true love. Arkadina assures him Nina will love Konstantin again after Trigorin leaves. She asks if the two of them can make up and then tells him he should make things right with Trigorin before he leaves, too. Konstantin ponders it, but ultimately cannot bring himself to face his rival. He exits as Trigorin enters.
Trigorin is distracted when he approaches Arkadina. She tells him that everything is almost packed, and they will be leaving soon. Trigorin asks her if they can stay one more day, but Arkadina says no, because she knows he wants to stay to be with Nina. Trigorin begs her to let him stay, saying, “It’s as if I’m being called to her—perhaps this is the one thing that’s always been missing from my life” (46). He tells her that he never pursued romance like this in his youth, since he was always so focused on writing and editing. Now that he has found Nina, he does not want to leave her.
This infuriates Arkadina, who replies, “Am I really so old and ugly that you think you can prattle to me about other women without any shame?” (47). She then moves to kiss him, telling him she cannot live without his love. Trigorin weakly tries to resist, saying someone could come in and see them. Arkadina continues as she does not care if they do see. She tells him, “[Y]ou’re the best writer there is—you’re the only hope for writing in Russia!” (48). He must return to town and share his gift with everyone, instead of spending his days out in the countryside with an unknown actress. Trigorin begins to crumble at her praise and gives in to Arkadina, agreeing to leave with her willingly.
She convinces him to go just in time, as Shamraev shortly enters to tell them the carriages await them. Everyone bids them goodbye as they prepare to leave the estate. Trigorin realizes he has left his walking stick behind and leaves to find it. Nina approaches him and tells him that she has made up her mind to leave for a new life in Moscow. Trigorin tells her to meet him there at a hotel, and they kiss, knowing they will soon meet again.
The Consequences of Disillusionment is once more a prominent theme in this Act. At the outset of Act III, it is revealed that Konstantin tried to shoot himself, an act of desperation that Sorin sympathetically presents as the result of Konstantin’s personal and professional frustrations. Konstantin’s writing career is still stalling, and Nina’s affections are now decidedly elsewhere. As a result, Konstantin “now wants to challenge [Trigorin] to a duel” (38) but does not even have the satisfaction of risking his own life against his rival’s: Trigorin replies that “there’s plenty of room for all, there’s no need to push and shove” (38). While Trigorin’s comment appears to be meant for putting Konstantin’s mind at ease about them both being writers, it also reveals that he does not mind “sharing” in another way: Trigorin loves both Nina and Arkadina, and much of the Act involves him trying to make a choice, while ultimately keeping both women as options for himself.
As he and Arkadina are packing to leave for town, Chekhov gives another subtextual clue about the impending battle for Trigorin’s love. When asked if he wants to take the fishing rods with him, he says, “Yes—I’ll be wanting them. The books can be given away” (40). This symbolizes Trigorin’s growing love for Nina and its embodiment in the life in the country, as he considers leaving his writing (and a life in town with Arkadina) behind. These subtle hints build up to the scene between Arkadina and Trigorin, in which she fights for him not only to stay with her romantically, but not to abandon his pursuits of writing.
Living in the Shadow of a Renowned Parent is also an important thematic part of Act III. One especially revealing piece of information about Arkadina’s character is given in the scene between Konstantin and Arkadina. As she bandages his head, Konstantin asks if she remembers how, when he was little, she would help a poor workwoman, showing kindness by visiting with her and taking care of her kids when necessary. Arkadina claims she does not remember it, but she does remember the two dancers who would have coffee with them. Konstantin’s memory, whether Arkadina admits it or not, shows that she was not always as selfish as she is now. Significantly, she was not always as famous, rich, or admired, either. While Arkadina does all she can to forget this part of her past, it is the only thing that Konstantin can cling to and remind himself of the mother he once loved. In his memories, Konstantin can sidestep his sense of inferiority to his famous mother by remembering a time when her professional standing was no threat to him—she was simply his mother and caregiver, and their dynamic was simpler and more satisfying as a result.
The ensuing fight between Konstantin and Arkadina also furthers this theme while also speaking to The Purpose of Art. The argument is, at first, centered on Trigorin and Konstantin’s lack of respect for him. It soon shifts to being about the different types of art they each make, as the mother and son battle to qualify their own as being superior. While the play just implied that these two are capable of feeling love for one another, the one thing that they share—art—is once again the thing that causes the most conflict in their relationship. Arkadina’s assertion that Trigorin is talented while Konstantin is not and Konstantin’s enraged rebuttal that both she and Trigorin are “hacks and mediocrities” (44) expose the rift between them. It also suggests that fame and talent do not necessarily always coincide, at least in Konstantin’s view: His angry response suggests that he wrestles with the uneasy dynamic between art and public acclaim both as a son and as an artist.
While there have been hints at Trigorin’s true feelings for Nina throughout, it is not until Act III that Trigorin approaches Arkadina and asks to be released from her so he can be with Nina. Arkadina, who has paraded around the estate talking about her youthful looks and attitude, must face the fact that she is losing her lover to a younger woman. A different side of Arkadina emerges as she seduces Trigorin into coming back to her, first as a lover and then as a colleague and an artist: She finally is able to seal the deal when she relies not on her looks and charm, but on her praises of him as a writer. She tells him, “Do you think I’m flattering you, putting you on a pedestal? […] I’m the only one who knows your true worth—the only one” (48). Her words are intoxicating for someone who struggles with low self-esteem, and ultimately he is willing to sacrifice his love for Nina and return to town. Trigorin’s susceptibility to flattery and his ultimate decision to continue pursuing his writing career in town suggest that, despite what he said to Nina in the previous act, fame still holds some sway over him.
Finally, Nina seals her own fate when she decides to go to town. Trigorin’s arrangement to meet her at a hotel in secret once again proves that he has no problem in continuing to be with Arkadina while also pursuing Nina. This foreshadows the unhappiness that awaits Nina later in the play, even as the Act ends with her kissing the man she loves and leaving for a life on the stage—The Consequences of Disillusionment await her.
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By Anton Chekhov