Uncle Vanya

“The peasants were all lying side by side in their huts, and the calves and pigs were running about the floor among the sick. Such dirt there was, and smoke! Unspeakable! I slaved among those people all day, not a crumb passed my lips, but when I got home there was still no rest for me.”

Astroff’s description of conditions during a typhoid epidemic is drawn from Chekhov’s own experience working as a physician among the impoverished peasantry. The vivid imagery creates a sense of horror and pathos for the patients and the doctors who treat them, and it also highlights the poverty of the peasants who often served as bonded laborers for the Russian aristocracy. The one-word exclamation “Unspeakable!” emphasizes the impact of the experience on Astroff.

“No, it is all stale. I am just the same as usual, or perhaps worse, because I have become lazy. I don’t do anything now but croak like an old raven. My mother, the old magpie, is still chattering about the emancipation of woman.”

Voitski uses a simile to compare his manner of speaking to the croak of a raven. This shows his self-awareness in realizing the senselessness and repetition of his complaining. He is similarly dismissive of his mother’s conversation, declaring her a “magpie.” Both birds are members of the corvid family and are symbols of death and misfortune, which shows the darkness and negativity of Voitski’s thoughts.

“But I’ll tell you something; the man has been writing on art for twenty-five years, and he doesn’t know the very first thing about it. For twenty-five years he has been chewing on other men’s thoughts about realism, naturalism, and all such foolishness; for twenty-five years he has been reading and writing things that clever men have long known and stupid ones are not interested in; for twenty-five years he has been making his imaginary mountains out of molehills.”

Voitski expresses his frustration and contempt for Serebrakoff. The repetition of the phrase “for twenty-five years” emphasizes the lengthy duration of time Serebrakoff has spent in futile pursuits. It also shows Voitski’s anger over the amount of time he “wasted” by working for the professor.

“The woods of Russia are trembling under the blows of the axe. Millions of trees have perished. The homes of the wild animals and birds have been desolated; the rivers are shrinking, and many beautiful landscapes are gone forever.”

Astroff uses emotional language and violent imagery in words such as “perished” and “desolated” to drive home the severity of environmental degradation. The word “trembling” vividly invokes the force of the axe strikes, and it also personifies the trees by suggesting that they are reacting physically in fear of their imminent destruction.

“Do you know, Ivan, the reason you and I are such friends? I think it is because we are both lonely and unfortunate. Yes, unfortunate. Don’t look at me in that way, I don’t like it.”

Helena’s use of hypophora, a rhetorical question that is asked and then immediately answered by the speaker, illustrates the complexity of her relationship with Voitski as well as the disconnect between them. When she asks a question, she doesn’t wait for his answer, and he does not attempt to give one. They are speaking at each other rather than engaging in a meaningful conversation, reflecting the fact that the connection of “friendship” she perceives between them is not genuine or wholesome. The repetition of the word “unfortunate” immediately before she objects to his amorous look reinforces the association between her unhappy state and his unwelcome advances.

“It is funny that everybody listens to Ivan and his old idiot of a mother, but the moment I open my lips you all begin to feel ill-treated. You can’t even stand the sound of my voice. Even if I am hateful, even if I am a selfish tyrant, haven’t I the right to be one at my age? Haven’t I deserved it? Haven’t I, I ask you, the right to be respected, now that I am old?”

The figure of the hypocritical and entitled patriarch is a common feature of Chekhov’s works, hypothesized to be drawn from memories of his own abusive and devoutly Orthodox father. Serebrakoff demands respect for himself while showing outright contempt for Voitski and Mme. Voitskaya, even though the latter respects him unreservedly. His accusations toward Helena and incessant, rapid-fire rhetorical questions create a plaintive, self-pitying tone that invites scorn and exasperation as much as pity.

“[Alone] She is gone! I met her first ten years ago, at her sister’s house, when she was seventeen and I was thirty-seven. Why did I not fall in love with her then and propose to her? It would have been so easy! And now she would have been my wife.”

Voitski reflects on his regrets in a soliloquy that exemplifies his perpetual preoccupation with missed opportunities in the past, reinforcing the theme of The Pain and Regret of Wasted Potential. The simple stage direction “[Alone]” reflects Voitski’s loneliness and his bereft tone while imagining what might have been. His lament is rife with rhetorical questions asked in self-recrimination, and the use of exclamation marks illustrates his depth of feeling.

“[Sings with his arms akimbo.]

The hut is cold, the fire is dead;

Where shall the master lay his head?”

Astroff’s drunken shenanigans are a comedic interlude, but they carry an undercurrent of tragedy given that he drinks excessively to cope with deep-seated trauma and unhappiness. Similarly, he appears uncharacteristically expressive and merry as he sings raucously, even though the words of his song are dark and depressing. The helpless question and the imagery of a “cold” and “dead” hearth create a sense of loneliness and exclusion.

“SONIA. You love no one?

ASTROFF. Not a soul. I only feel a sort of tenderness for your old nurse for old-times’ sake.”

Astroff shows the depth of his obliviousness to Sonia’s feelings by entirely missing the implications of her careful questioning and implied confession. Astroff’s unhappiness manifests in an inability to feel or admit to meaningful positive emotions for the people around him, save for a distant, vicarious fondness born of nostalgia. Such dissociation is recognized in the modern day as a common side effect of trauma, such as Astroff’s experiences in his work.

“I wish you happiness with all my heart; you deserve it. [She gets up] As for me, I am a worthless, futile woman. I have always been futile; in music, in love, in my husband’s house—in a word, in everything. When you come to think of it, Sonia, I am really very, very unhappy. [Walks excitedly up and down] Happiness can never exist for me in this world. Never. Why do you laugh?

SONIA. [Laughing and covering her face with her hands] I am so happy, so happy!”

The fact that Sonia is overcome by happiness just as Helena is expressing the extent of her unhappiness shows the disconnect between the two of them and illustrates how isolated each of the characters is, even in company. Although they are communicating, both women are too wrapped up in their own feelings and experiences to truly connect, contributing to the sense of isolation and alienation that afflicts them.

“HELENA. I want to hear music. I might play a little.

SONIA. Oh, do, do! [She embraces her] I could not possibly go to sleep now. Do play!

HELENA. Yes, I will. Your father is still awake. Music irritates him when he is ill, but if he says I may, then I shall play a little. Go, Sonia, and ask him. […] It is long since I have heard music. And now, I shall sit and play, and weep like a fool. […]

SONIA. [Comes back] He says, no.”

This moment where Helena proposes to play music is the only time in the play that she expresses a desire and a resolve to pursue it with action. However, she is prevented from doing so by Serebrakoff, which shows the oppressive force that her husband plays in her life. It implies that her idleness is likely a consequence of repressive circumstances. Serebrakoff’s refusal also curtails a moment of joyful reconciliation and bonding between Sonia and Helena, showing the disruptive and unpleasant impact he has on family life and dynamics.

“Why should you languish here? Come, my dearest, my beauty, be sensible! The blood of a Nixey runs in your veins. Oh, won’t you let yourself be one? Give your nature the reins for once in your life; fall head over ears in love with some other water sprite and plunge down head first into a deep pool, so that the Herr Professor and all of us may have our hands free again.”

Voitski accuses Helena of having the blood of a “Nixey,” which is a water spirit from European mythology known for dragging unwary passersby into lakes and rivers to drown them, often by beguiling them in the form of a beautiful and seductive young woman. This reflects the power that Helena holds over the men who are attracted to her and her apparent influence over the household by infecting them with her idleness. Voitski encourages her to give in to her nature, conflating a desire to be rid of her with a desire for her to eschew her moral hangups and succumb to lust.

“I have loved him now for six years, I have loved him more than one loves one’s mother. I seem to hear him beside me every moment of the day. I feel the pressure of his hand on mine. If I look up, I seem to see him coming, and as you see, I run to you to talk of him.”

Sonia’s feelings for Astroff are the epitome of youthful infatuation. Her feelings for him took hold when she was just a child, emphasizing how young she still is and how innocent her love remains. Her description of Astroff’s influence over her various senses—she hears, sees, and feels him—shows the depth of her emotions and how all-consuming thoughts of him are to her.

“We are confronted by the degradation of our country, brought on by the fierce struggle for existence of the human race. It is the consequence of the ignorance and unconsciousness of starving, shivering, sick humanity that, to save its children, instinctively snatches at everything that can warm it and still its hunger. So it destroys everything it can lay its hands on, without a thought for the morrow. And almost everything has gone, and nothing has been created to take its place.”

Astroff’s monologues on deforestation are some of the earliest arguments in Western literature in favor of environmental conservationism and discussions of climate change resulting from human action. This topic provides further insight into the theme of The Pain and Regret of Wasted Potential by illustrating how resources as well as human potential can be exhausted to negative effect. Astroff’s description of humanity as desperate and pathetic shows the nuances of a complex topic, where even those committing the destruction have valid motives.

“ASTROFF. […] Oh, my sweet tigress! don’t look at me in that way; I am an old bird!

HELENA. [Perplexed] A tigress? I don’t understand you.

ASTROFF. Beautiful, sleek tigress, you must have your victims! […] I surrender. Here you have me—now, eat me.”

Astroff refers to Helena by the pet name “tigress,” showing his presumptive sense of closeness with her based on his incorrect assumption of her motives. He views her as dangerous and seductive, and he sees himself as a victim of her wiles. This is a comedic misinterpretation of the situation, which is highlighted by the stage direction “perplexed.”

“SEREBRAKOFF. I want to ask you for your assistance and advice, and knowing your unfailing amiability I think I can count on both. I am a book-worm and a scholar, and am unfamiliar with practical affairs. I cannot, I find, dispense with the help of well-informed people such as you, Ivan, and you, Telegin, and you, mother.”

Serebrakoff speaks in a pompous, pontificating manner that contrasts with the genuine and expressive speech styles of the other characters. This sets him apart from the rest of the household, showing that he does not belong there. Serebrakoff’s use of excessive flattery and self-deprecation rings hollow and highlights his hypocrisy, given that he has previously expressed contempt for these same characters.

“Wait! It is clear that until this moment I have never had a grain of sense in my head. I have always been stupid enough to think that the estate belonged to Sonia. My father bought it as a wedding present for my sister, and I foolishly imagined that as our laws were made for Russians and not Turks, my sister’s estate would come down to her child.”

Voitski uses sarcasm to criticize Serebrakoff’s presumption and to defend Sonia’s ownership of the estate. The sarcastic retort is humorous and highlights the audacity of Serebrakoff’s plan. Voitski’s hostility and the building disagreement create mounting tension as the play approaches its climax. Chekhov also uses a juxtaposition with the repressive laws of the 19th-century Ottoman Empire (modern-day Turkey) to acknowledge the relatively privileged position of women under Russian inheritance law compared with contemporaneous nations in Europe and Asia.

“HELENA. Take me away! Take me away! I can’t stay here—I can’t!

VOITSKI. [In despair] Oh, what shall I do? What shall I do?

SONIA. [Softly] Oh, nurse, nurse!”

Voitski’s attempted murder of Serebrakoff fails, leaving the characters in a state of shock and horror. Their emotional reactions are captured in this quote, with the short, truncated sentences showing the depth of their discombobulation and anguish. The different emotions—fear, despair, and quiet horror—show how the different characters react to this crisis.

“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.”

The stage direction describing the setting of Voitski’s bedroom provides insight into his characterization. Chekhov prized concision and relevance in his works, so all of the mentioned elements here are intended to provide some meaningful insight. For instance, the map of Africa is a symbol representing Voitski’s yearning for another life, while the commingling of office and bedroom shows how Voitski dedicated himself wholeheartedly to his work in former years and has yet to find meaning beyond it. The caged starling parallels Voitski’s own sense of being imprisoned in the countryside and estate.

“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.”

This passage illustrates the extent of Voitski’s misery and desperation following his failure to kill Serebrakoff. There is a pathos in his desperate and helpless entreaties to Astroff, which elicits pity from the audience. His wish for a new life and a break with the past, as well as his horror at the thought of the coming years, emphasizes how unhappy Voitski is in his current life.

“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.”

Similarly to Sonia, Astroff is motivated by his faith that death will provide some respite from the suffering they experience in life. Although he is speaking to console Voitski, Astroff’s own certainty that there is no hope for either of them left in life is darkly ironic in that it is far more depressing a perspective than even Voitski’s own despair.

“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!”

Although neither Helena nor Serebrakoff set out to infect the other characters with their own indolence and stagnation, they are nonetheless blamed for the unproductive summer. Helena, in particular, shoulders criticism for her contagious idleness from all sides, regardless of the truth of her culpability. Astroff sends her away with a blasé Italian declaration that translates to “The comedy is over.” This juxtaposes the actual events—which ended in a comical anticlimax and no infidelity on her part—with the tragedy he predicts would come of their staying.

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

VOITSKI. To work! To work!”

This quote reinforces the association between Helena and Serebrakoff’s presence in the estate with the malaise of indolence and stagnation that accompanied them, underscoring the theme of Despair Versus Work and Faith. It shows how their parting is immediately followed by Voitski and Sonia returning to work. Voitski’s exclamation creates a sense of vigor and haste, which contrasts with his prior sluggishness and avoidance of effort.