finished_summaries/sparknotes/Uncle Vanya/section_6_part_0.txt
Uncle Vanya.act iv
act iv
{"name": "Act IV - Part One", "url": "https://web.archive.org/web/20210227035013/https://www.sparknotes.com/drama/unclevanya/section7/", "summary": "Act IV is set in Voynitsky's bedroom, which doubles as the estate office. Chekhov describes it at length in his stage notes: a large table stands by the window, piled with account books and papers; Astrov's drawing table sits to the side; a map of Africa hangs on the wall. Telegin and Marina sit opposite each other, winding stocking wool. Again an unspecified period of time has passed; it is still autumn. Through the conversation of the nurse and landowner, we learn that Yelena and the professor are departing that evening for Kharkov, not even bothering to pack their things. Marina is relieved that the household will resume its routine. She then asks after Sonya--apparently she is searching for Voynitsky in the garden with Dr. Astrov, fearful that her father might injure himself. Voynitsky and Astrov then enter, and the former orders the Marina and Telegin out. Astrov asks Voynitsky to return what he took from him, threatening to use force if necessary. Voynitsky responds that Astrov can do what he likes as his friend is now nothing but a fool, a madman. Ironically, he notes that though he might be mad, no one would ever consider a sham professor or treacherous wife mad. He also accuses Astrov of infidelity with Yelena . Astrov thumbs his nose. The conversation continues: for Astrov, Voynitsky is not mad but \"simply eccentric\" and, indeed, \"being eccentric is the normal condition of mankind.\" Suddenly Voynitsky buries his face in shame, repeating the refrain from the act previous: \"What can I do?\" He dreads the many empty years to come, dreaming of a new life and begging Astrov to help him start one. Annoyed, Astrov tells him he can do nothing, that his situation is hopeless, and that, though they were once the only decent, educated men in the district, provincial life has poisoned them both. Astrov then renews his request for what Voynitsky has stolen, which is apparently a bottle of morphine. Voynitsky can shoot himself if he feels suicidal, but morphine would unnecessarily implicate the doctor. Sonya then enters, and the doctor appeals to her for help. After his daughter pleads with him, Voynitsky surrenders the bottle and crumbles. Astrov prepares to leave.", "analysis": "These final scenes are significant as they show Uncle Vanya asking for redemption; all too clearly, this redemption brusquely is denied to him. Intimately related to this final blow are the themes and motifs we have discussed thus far: estrangement, the memory of a wasted life, and so on. Voynitsky concludes that he is a madman and a fool. Astrov retorts that Voynitsky is not mad but \"simply eccentric\"--as Astrov himself has been described throughout the play. Though Astrov once considered eccentricity \"sick and abnormal\", he has come to realize it is the \"normal condition of mankind.\" As we have noted throughout, \"eccentricity\" refers in this play to an estrangement from both others and oneself. Thus, though the characters here might not be mad, we can certainly identify them they as doubly alienated in the manner described above. This estrangement is now a condition of existence. Voynitsky also brings up the subject of time and memory, begging the doctor for a new life. To quote: \"If you could wake up one clear, quiet morning and feel that you're beginning your life over again, that the entire past is forgotten, scattered to the winds like smoke.\" In begging for a new life, Voynitsky would escape his monotonous existence and make the memory of his wasted life disappear. Astrov, however, has no words of solace. Indeed, apparently no longer the visionary we saw in Act I, he remarks that the only happy visions one can hope for are those that may come in the grave. As we will see, Astrov's sentence, condemning Vanya to his misery, prefigures Sonya's similarly fatalistic speech at the end of the play. These final moments will above all reveal how a rebirth for Vanya is impossible-only drudgery awaits him. Indeed, the restoration of daily routine is already prefigured here, not only by the interlude between Marina and Telegin that precedes their conversation, but by Chekhov's detailed description of his office as well. was a famous painter of seascapes.]"}
ACT IV

VOITSKI'S bedroom, which is also his office. A table stands near
the window; on it are ledgers, letter scales, and papers of every
description. Near by stands a smaller table belonging to ASTROFF, with
his paints and drawing materials. On the wall hangs a cage containing a
starling. There is also a map of Africa on the wall, obviously of no use
to anybody. There is a large sofa covered with buckram. A door to the
left leads into an inner room; one to the right leads into the front
hall, and before this door lies a mat for the peasants with their muddy
boots to stand on. It is an autumn evening. The silence is profound.
TELEGIN and MARINA are sitting facing one another, winding wool.

TELEGIN. Be quick, Marina, or we shall be called away to say good-bye
before you have finished. The carriage has already been ordered.

MARINA. [Trying to wind more quickly] I am a little tired.

TELEGIN. They are going to Kharkoff to live.

MARINA. They do well to go.

TELEGIN. They have been frightened. The professor's wife won't stay here
an hour longer. "If we are going at all, let's be off," says she, "we
shall go to Kharkoff and look about us, and then we can send for our
things." They are travelling light. It seems, Marina, that fate has
decreed for them not to live here.

MARINA. And quite rightly. What a storm they have just raised! It was
shameful!

TELEGIN. It was indeed. The scene was worthy of the brush of Aibazofski.

MARINA. I wish I'd never laid eyes on them. [A pause] Now we shall have
things as they were again: tea at eight, dinner at one, and supper in
the evening; everything in order as decent folks, as Christians like to
have it. [Sighs] It is a long time since I have eaten noodles.

TELEGIN. Yes, we haven't had noodles for ages. [A pause] Not for ages.
As I was going through the village this morning, Marina, one of the
shop-keepers called after me, "Hi! you hanger-on!" I felt it bitterly.

MARINA. Don't pay the least attention to them, master; we are all
dependents on God. You and Sonia and all of us. Every one must work, no
one can sit idle. Where is Sonia?

TELEGIN. In the garden with the doctor, looking for Ivan. They fear he
may lay violent hands on himself.

MARINA. Where is his pistol?

TELEGIN. [Whispers] I hid it in the cellar.

VOITSKI and ASTROFF come in.

VOITSKI. Leave me alone! [To MARINA and TELEGIN] Go away! Go away and
leave me to myself, if but for an hour. I won't have you watching me
like this!

TELEGIN. Yes, yes, Vanya. [He goes out on tiptoe.]

MARINA. The gander cackles; ho! ho! ho!

[She gathers up her wool and goes out.]

VOITSKI. Leave me by myself!

ASTROFF. I would, with the greatest pleasure. I ought to have gone long
ago, but I shan't leave you until you have returned what you took from
me.

VOITSKI. I took nothing from you.

ASTROFF. I am not jesting, don't detain me, I really must go.

VOITSKI. I took nothing of yours.

ASTROFF. You didn't? Very well, I shall have to wait a little longer,
and then you will have to forgive me if I resort to force. We shall have
to bind you and search you. I mean what I say.

VOITSKI. Do as you please. [A pause] Oh, to make such a fool of myself!
To shoot twice and miss him both times! I shall never forgive myself.

ASTROFF. When the impulse came to shoot, it would have been as well had
you put a bullet through your own head.

VOITSKI. [Shrugging his shoulders] Strange! I attempted murder, and am
not going to be arrested or brought to trial. That means they think
me mad. [With a bitter laugh] Me! I am mad, and those who hide their
worthlessness, their dullness, their crying heartlessness behind a
professor's mask, are sane! Those who marry old men and then deceive
them under the noses of all, are sane! I saw you kiss her; I saw you in
each other's arms!

ASTROFF. Yes, sir, I did kiss her; so there. [He puts his thumb to his
nose.]

VOITSKI. [His eyes on the door] No, it is the earth that is mad, because
she still bears us on her breast.

ASTROFF. That is nonsense.

VOITSKI. Well? Am I not a madman, and therefore irresponsible? Haven't I
the right to talk nonsense?

ASTROFF. This is a farce! You are not mad; you are simply a ridiculous
fool. I used to think every fool was out of his senses, but now I
see that lack of sense is a man's normal state, and you are perfectly
normal.

VOITSKI. [Covers his face with his hands] Oh! If you knew how ashamed
I am! These piercing pangs of shame are like nothing on earth. [In an
agonised voice] I can't endure them! [He leans against the table] What
can I do? What can I do?

ASTROFF. Nothing.

VOITSKI. You must tell me something! Oh, my God! I am forty-seven years
old. I may live to sixty; I still have thirteen years before me; an
eternity! How shall I be able to endure life for thirteen years?
What shall I do? How can I fill them? Oh, don't you see? [He presses
ASTROFF'S hand convulsively] Don't you see, if only I could live the
rest of my life in some new way! If I could only wake some still, bright
morning and feel that life had begun again; that the past was forgotten
and had vanished like smoke. [He weeps] Oh, to begin life anew! Tell me,
tell me how to begin.

ASTROFF. [Crossly] What nonsense! What sort of a new life can you and I
look forward to? We can have no hope.

VOITSKI. None?

ASTROFF. None. Of that I am convinced.

VOITSKI. Tell me what to do. [He puts his hand to his heart] I feel such
a burning pain here.

ASTROFF. [Shouts angrily] Stop! [Then, more gently] It may be that
posterity, which will despise us for our blind and stupid lives, will
find some road to happiness; but we--you and I--have but one hope, the
hope that we may be visited by visions, perhaps by pleasant ones, as we
lie resting in our graves. [Sighing] Yes, brother, there were only two
respectable, intelligent men in this county, you and I. Ten years or so
of this life of ours, this miserable life, have sucked us under, and we
have become as contemptible and petty as the rest. But don't try to talk
me out of my purpose! Give me what you took from me, will you?

VOITSKI. I took nothing from you.

ASTROFF. You took a little bottle of morphine out of my medicine-case.
[A pause] Listen! If you are positively determined to make an end
to yourself, go into the woods and shoot yourself there. Give up the
morphine, or there will be a lot of talk and guesswork; people will
think I gave it to you. I don't fancy having to perform a post-mortem on
you. Do you think I should find it interesting?

SONIA comes in.

VOITSKI. Leave me alone.

ASTROFF. [To SONIA] Sonia, your uncle has stolen a bottle of morphine
out of my medicine-case and won't give it up. Tell him that his
behaviour is--well, unwise. I haven't time, I must be going.

SONIA. Uncle Vanya, did you take the morphine?

ASTROFF. Yes, he took it. [A pause] I am absolutely sure.

SONIA. Give it up! Why do you want to frighten us? [Tenderly] Give it
up, Uncle Vanya! My misfortune is perhaps even greater than yours, but I
am not plunged in despair. I endure my sorrow, and shall endure it until
my life comes to a natural end. You must endure yours, too. [A pause]
Give it up! Dear, darling Uncle Vanya. Give it up! [She weeps] You are
so good, I am sure you will have pity on us and give it up. You must
endure your sorrow, Uncle Vanya; you must endure it.

VOITSKI takes a bottle from the drawer of the table and hands it to
ASTROFF.

VOITSKI. There it is! [To SONIA] And now, we must get to work at once;
we must do something, or else I shall not be able to endure it.

SONIA. Yes, yes, to work! As soon as we have seen them off we shall
go to work. [She nervously straightens out the papers on the table]
Everything is in a muddle!

ASTROFF. [Putting the bottle in his case, which he straps together] Now
I can be off.

HELENA comes in.

HELENA. Are you here, Ivan? We are starting in a moment. Go to
Alexander, he wants to speak to you.

SONIA. Go, Uncle Vanya. [She takes VOITSKI 'S arm] Come, you and papa
must make peace; that is absolutely necessary.

SONIA and VOITSKI go out.

HELENA. I am going away. [She gives ASTROFF her hand] Good-bye.

ASTROFF. So soon?

HELENA. The carriage is waiting.

ASTROFF. Good-bye.

HELENA. You promised me you would go away yourself to-day.

ASTROFF. I have not forgotten. I am going at once. [A pause] Were you
frightened? Was it so terrible?

HELENA. Yes.

ASTROFF. Couldn't you stay? Couldn't you? To-morrow--in the forest--

HELENA. No. It is all settled, and that is why I can look you so bravely
in the face. Our departure is fixed. One thing I must ask of you: don't
think too badly of me; I should like you to respect me.

ASTROFF. Ah! [With an impatient gesture] Stay, I implore you! Confess
that there is nothing for you to do in this world. You have no object
in life; there is nothing to occupy your attention, and sooner or later
your feelings must master you. It is inevitable. It would be better if
it happened not in Kharkoff or in Kursk, but here, in nature's lap.
It would then at least be poetical, even beautiful. Here you have the
forests, the houses half in ruins that Turgenieff writes of.

HELENA. How comical you are! I am angry with you and yet I shall always
remember you with pleasure. You are interesting and original. You and
I will never meet again, and so I shall tell you--why should I conceal
it?--that I am just a little in love with you. Come, one more last
pressure of our hands, and then let us part good friends. Let us not
bear each other any ill will.

ASTROFF. [Pressing her hand] Yes, go. [Thoughtfully] You seem to be
sincere and good, and yet there is something strangely disquieting about
all your personality. No sooner did you arrive here with your husband
than every one whom you found busy and actively creating something was
forced to drop his work and give himself up for the whole summer to
your husband's gout and yourself. You and he have infected us with your
idleness. I have been swept off my feet; I have not put my hand to
a thing for weeks, during which sickness has been running its course
unchecked among the people, and the peasants have been pasturing their
cattle in my woods and young plantations. Go where you will, you and
your husband will always carry destruction in your train. I am joking of
course, and yet I am strangely sure that had you stayed here we should
have been overtaken by the most immense desolation. I would have gone
to my ruin, and you--you would not have prospered. So go! E finita la
comedia!

HELENA. [Snatching a pencil off ASTROFF'S table, and hiding it with a
quick movement] I shall take this pencil for memory!

ASTROFF. How strange it is. We meet, and then suddenly it seems that
we must part forever. That is the way in this world. As long as we are
alone, before Uncle Vanya comes in with a bouquet--allow me--to kiss you
good-bye--may I? [He kisses her on the cheek] So! Splendid!

HELENA. I wish you every happiness. [She glances about her] For once
in my life, I shall! and scorn the consequences! [She kisses him
impetuously, and they quickly part] I must go.

ASTROFF. Yes, go. If the carriage is there, then start at once. [They
stand listening.]

ASTROFF. E finita!

VOITSKI, SEREBRAKOFF, MME. VOITSKAYA with her book, TELEGIN, and SONIA
come in.

SEREBRAKOFF. [To VOITSKI] Shame on him who bears malice for the past. I
have gone through so much in the last few hours that I feel capable of
writing a whole treatise on the conduct of life for the instruction
of posterity. I gladly accept your apology, and myself ask your
forgiveness. [He kisses VOITSKI three times.]

HELENA embraces SONIA.

SEREBRAKOFF. [Kissing MME. VOITSKAYA'S hand] Mother!

MME. VOITSKAYA. [Kissing him] Have your picture taken, Alexander, and
send me one. You know how dear you are to me.

TELEGIN. Good-bye, your Excellency. Don't forget us.

SEREBRAKOFF. [Kissing his daughter] Good-bye, good-bye all. [Shaking
hands with ASTROFF] Many thanks for your pleasant company. I have a deep
regard for your opinions and your enthusiasm, but let me, as an old man,
give one word of advice at parting: do something, my friend! Work! Do
something! [They all bow] Good luck to you all. [He goes out followed by
MME. VOITSKAYA and SONIA.]

VOITSKI [Kissing HELENA'S hand fervently] Good-bye--forgive me. I shall
never see you again!

HELENA. [Touched] Good-bye, dear boy.

She lightly kisses his head as he bends over her hand, and goes out.

ASTROFF. Tell them to bring my carriage around too, Waffles.

TELEGIN. All right, old man.

ASTROFF and VOITSKI are left behind alone. ASTROFF collects his paints
and drawing materials on the table and packs them away in a box.

ASTROFF. Why don't you go to see them off?

VOITSKI. Let them go! I--I can't go out there. I feel too sad. I must go
to work on something at once. To work! To work!

He rummages through his papers on the table. A pause. The tinkling of
bells is heard as the horses trot away.

ASTROFF. They have gone! The professor, I suppose, is glad to go. He
couldn't be tempted back now by a fortune.

MARINA comes in.

MARINA. They have gone. [She sits down in an arm-chair and knits her
stocking.]

SONIA comes in wiping her eyes.

SONIA. They have gone. God be with them. [To her uncle] And now, Uncle
Vanya, let us do something!

VOITSKI. To work! To work!

SONIA. It is long, long, since you and I have sat together at this
table. [She lights a lamp on the table] No ink! [She takes the inkstand
to the cupboard and fills it from an ink-bottle] How sad it is to see
them go!

MME. VOITSKAYA comes slowly in.

MME. VOITSKAYA. They have gone.

She sits down and at once becomes absorbed in her book. SONIA sits down
at the table and looks through an account book.

SONIA. First, Uncle Vanya, let us write up the accounts. They are in a
dreadful state. Come, begin. You take one and I will take the other.

VOITSKI. In account with [They sit silently writing.]

MARINA. [Yawning] The sand-man has come.

ASTROFF. How still it is. Their pens scratch, the cricket sings; it is
so warm and comfortable. I hate to go. [The tinkling of bells is heard.]

ASTROFF. My carriage has come. There now remains but to say good-bye to
you, my friends, and to my table here, and then--away! [He puts the map
into the portfolio.]

MARINA. Don't hurry away; sit a little longer with us.

ASTROFF. Impossible.

VOITSKI. [Writing] And carry forward from the old debt two
seventy-five--

WORKMAN comes in.

WORKMAN. Your carriage is waiting, sir.

ASTROFF. All right. [He hands the WORKMAN his medicine-case, portfolio,
and box] Look out, don't crush the portfolio!

WORKMAN. Very well, sir.

SONIA. When shall we see you again?

ASTROFF. Hardly before next summer. Probably not this winter, though, of
course, if anything should happen you will let me know. [He shakes
hands with them] Thank you for your kindness, for your hospitality, for
everything! [He goes up to MARINA and kisses her head] Good-bye, old
nurse!

MARINA. Are you going without your tea?

ASTROFF. I don't want any, nurse.

MARINA. Won't you have a drop of vodka?

ASTROFF. [Hesitatingly] Yes, I might.

MARINA goes out.

ASTROFF. [After a pause] My off-wheeler has gone lame for some reason. I
noticed it yesterday when Peter was taking him to water.

VOITSKI. You should have him re-shod.

ASTROFF. I shall have to go around by the blacksmith's on my way home.
It can't be avoided. [He stands looking up at the map of Africa hanging
on the wall] I suppose it is roasting hot in Africa now.

VOITSKI. Yes, I suppose it is.

MARINA comes back carrying a tray on which are a glass of vodka and a
piece of bread.

MARINA. Help yourself.

ASTROFF drinks

MARINA. To your good health! [She bows deeply] Eat your bread with it.

ASTROFF. No, I like it so. And now, good-bye. [To MARINA] You needn't
come out to see me off, nurse.

He goes out. SONIA follows him with a candle to light him to the
carriage. MARINA sits down in her armchair.

VOITSKI. [Writing] On the 2d of February, twenty pounds of butter; on
the 16th, twenty pounds of butter again. Buckwheat flour--[A pause.
Bells are heard tinkling.]

MARINA. He has gone. [A pause.]

SONIA comes in and sets the candle stick on the table.

SONIA. He has gone.

VOITSKI. [Adding and writing] Total, fifteen--twenty-five--

SONIA sits down and begins to write.

[Yawning] Oh, ho! The Lord have mercy.

TELEGIN comes in on tiptoe, sits down near the door, and begins to tune
his guitar.

VOITSKI. [To SONIA, stroking her hair] Oh, my child, I am miserable; if
you only knew how miserable I am!

SONIA. What can we do? We must live our lives. [A pause] Yes, we shall
live, Uncle Vanya. We shall live through the long procession of days
before us, and through the long evenings; we shall patiently bear the
trials that fate imposes on us; we shall work for others without rest,
both now and when we are old; and when our last hour comes we shall
meet it humbly, and there, beyond the grave, we shall say that we have
suffered and wept, that our life was bitter, and God will have pity on
us. Ah, then dear, dear Uncle, we shall see that bright and beautiful
life; we shall rejoice and look back upon our sorrow here; a tender
smile--and--we shall rest. I have faith, Uncle, fervent, passionate
faith. [SONIA kneels down before her uncle and lays her head on his
hands. She speaks in a weary voice] We shall rest. [TELEGIN plays softly
on the guitar] We shall rest. We shall hear the angels. We shall see
heaven shining like a jewel. We shall see all evil and all our pain sink
away in the great compassion that shall enfold the world. Our life will
be as peaceful and tender and sweet as a caress. I have faith; I have
faith. [She wipes away her tears] My poor, poor Uncle Vanya, you are
crying! [Weeping] You have never known what happiness was, but wait,
Uncle Vanya, wait! We shall rest. [She embraces him] We shall rest. [The
WATCHMAN'S rattle is heard in the garden; TELEGIN plays softly; MME.
VOITSKAYA writes something on the margin of her pamphlet; MARINA knits
her stocking] We shall rest.

The curtain slowly falls.


Act IV - Part One
Act IV is set in Voynitsky's bedroom, which doubles as the estate office. Chekhov describes it at length in his stage notes: a large table stands by the window, piled with account books and papers; Astrov's drawing table sits to the side; a map of Africa hangs on the wall. Telegin and Marina sit opposite each other, winding stocking wool. Again an unspecified period of time has passed; it is still autumn. Through the conversation of the nurse and landowner, we learn that Yelena and the professor are departing that evening for Kharkov, not even bothering to pack their things. Marina is relieved that the household will resume its routine. She then asks after Sonya--apparently she is searching for Voynitsky in the garden with Dr. Astrov, fearful that her father might injure himself. Voynitsky and Astrov then enter, and the former orders the Marina and Telegin out. Astrov asks Voynitsky to return what he took from him, threatening to use force if necessary. Voynitsky responds that Astrov can do what he likes as his friend is now nothing but a fool, a madman. Ironically, he notes that though he might be mad, no one would ever consider a sham professor or treacherous wife mad. He also accuses Astrov of infidelity with Yelena . Astrov thumbs his nose. The conversation continues: for Astrov, Voynitsky is not mad but "simply eccentric" and, indeed, "being eccentric is the normal condition of mankind." Suddenly Voynitsky buries his face in shame, repeating the refrain from the act previous: "What can I do?" He dreads the many empty years to come, dreaming of a new life and begging Astrov to help him start one. Annoyed, Astrov tells him he can do nothing, that his situation is hopeless, and that, though they were once the only decent, educated men in the district, provincial life has poisoned them both. Astrov then renews his request for what Voynitsky has stolen, which is apparently a bottle of morphine. Voynitsky can shoot himself if he feels suicidal, but morphine would unnecessarily implicate the doctor. Sonya then enters, and the doctor appeals to her for help. After his daughter pleads with him, Voynitsky surrenders the bottle and crumbles. Astrov prepares to leave.
These final scenes are significant as they show Uncle Vanya asking for redemption; all too clearly, this redemption brusquely is denied to him. Intimately related to this final blow are the themes and motifs we have discussed thus far: estrangement, the memory of a wasted life, and so on. Voynitsky concludes that he is a madman and a fool. Astrov retorts that Voynitsky is not mad but "simply eccentric"--as Astrov himself has been described throughout the play. Though Astrov once considered eccentricity "sick and abnormal", he has come to realize it is the "normal condition of mankind." As we have noted throughout, "eccentricity" refers in this play to an estrangement from both others and oneself. Thus, though the characters here might not be mad, we can certainly identify them they as doubly alienated in the manner described above. This estrangement is now a condition of existence. Voynitsky also brings up the subject of time and memory, begging the doctor for a new life. To quote: "If you could wake up one clear, quiet morning and feel that you're beginning your life over again, that the entire past is forgotten, scattered to the winds like smoke." In begging for a new life, Voynitsky would escape his monotonous existence and make the memory of his wasted life disappear. Astrov, however, has no words of solace. Indeed, apparently no longer the visionary we saw in Act I, he remarks that the only happy visions one can hope for are those that may come in the grave. As we will see, Astrov's sentence, condemning Vanya to his misery, prefigures Sonya's similarly fatalistic speech at the end of the play. These final moments will above all reveal how a rebirth for Vanya is impossible-only drudgery awaits him. Indeed, the restoration of daily routine is already prefigured here, not only by the interlude between Marina and Telegin that precedes their conversation, but by Chekhov's detailed description of his office as well. was a famous painter of seascapes.]