The Seagull

Characters

Irina Arkadina
Konstantin
Sorin
Nina
Shamraev
Polina
Masha
Trigorin
Dorn
Medvedenko
Yakov
Housemaid
 Act One

Part o[the pure on Sorin's estate.

A stage, hastily knocked together [or a private perfor-
mance, with a curtain which is at present closed, hiding a
view o[a lake.
A [ew chairs, a small table.
The sun has just gone down. On the stage behind the
curtain are Vakov and other workmen; coughing and
hammering can be heard. Masha and Medvedenko enter,
returning [rom a stroll.
(NOTE: words bracketed in the dialogue are uiupoken.)
Medvedenko Why do you always wear black?
Masha I'm in mourning for my life. I'm unhappy.
Medvedenko Why are you? I don't see why. You've got
your health, [and] your father may not be rich but he
doesn't go short here. Look at me with my twenty-three
roubles a month — I don't go about in mourning. And
that's before they take off the pension.
Masha Money isn't everything. A pauper can be happy.
Medvedenko A happy pauper? Yes ... yes, in theory, but
in practice what you've got is me and my mother, my two
sisters and little brother, and my salary of twenty-three
roubles a month. It isn't as if we don't have to eat and
drink — is it? — [or] don't need tea - and sugar — tobacco
. it's everywhere you turn.
Masha looks at the stage.
Masha [It'sj nearly time for the performance, anyway.

I
Medvedenko Oh, yes: the performance. Nina
Zarechnaya: appearing in: a play by: Konstantin
Gavrilovich. They're in love and today their two souls
will merge into one in an effort to create a single work of
art. Your soul and mine, by way of contrast, don't meet at
all. I love you and can't stay at home for longing for you,
every day I walk four miles here and back again, and you
don't care. Well, why should you? I have no money, large
family to support . . Who wants to marry a man who
can't even feed himself?
Masha takes snuff“.
Masha That's all rot. I'm touched that you love me but I
can't return your feelings and that's all there is to it, [so]
have a pinch of snuff.
Medvedenko I don't want a pinch of snuff . . thank you
all the same.
Masha It's stifling. There'll be a storm tonight, I
shouldn't wonder. You're always either philosophizing or
talking about money. You think there's nothing worse
than being poor. I'd a thousand times rather go about in
rags and beg than — well, I wouldn't expect you to [under-
stand] ...
Sorin, leaning on a stick, and Konstantin enter.
Sorin With me, what it is is, the country somehow
doesn't agree with me and never will, that's what and
there you have it. Last night I went to bed at ten — woke
up at nine — had the feeling I'd slept so long my brain was
stuck to my skull, and the rest of it. He laughs.) Then
aher dinner I dropped off without knowing it and now I
feel a complete wreck, it's like one long nightmare, that's
what.
Konstantin You're right, you ought to live in town.
(H‹sriiig caught sight o[ Masha and Medredeiifio.) Look
out, you two - members of the public aren't allowed —
you'll be called when it starts. Please go away.
Sorin Be a good girl and speak to your father about let-
ting the dog off its chain, otherwise it howls all night —
my sister never slept a wink again.
Masha You can speak to him yourself — I'm not (going
to], and I'd rather you didn't ask me. to Medvedenko)
Come on, then.
Medvedenko You'll let us know when it's starting ...
They both go o[[.
Sorin So the dog will be howling all night again. It's a
funny thing - I never get my own way in the co,untry,
never have. In the old days one used to take a month's
leave to come down here and relax, recoup, and the rest
of it, and from the moment you got here you'd be so
pestered with every kind of nonsense, you couldn't wait to
get away. Leaving was always the best part of coming
here. But now I'm retired there's nowhere else to go, I
have to live here like it or not, and there you have it.
Yakov Konstantin Gavrilovich, sir — we're going for a
swim.

Konstantin All right, but [be back in your] places in ten

minutes. Not long now.
Yakov Yes, sir.
Konstantin Now there's a theatre for you. Curtain —
wings — then nothing but empty space — no scenery, sight-
lines straight to the lake and the horizon. Curtain up
eight-thirty on the dot, as the moon is rising.
Sorin First rate.
Konstantin If Nina's late, of course, the whole effect will
be lost. She ought to be here by now. Her father and step-
mother watch her like hawks. Getting out of the house is
like breaking out of prison. Your hair and beard could do
with a comb — actually, a pair of scissors, do you think?
Sorin (combing his beard) It's the tragedy of my life. I
looked like a down-and-out even as a young man, as if I
drank and the rest of it - [it] used to put all the women
off [me]. Why is my sister out of sorts?
Konstantin Because she's bored and she's jealous, that's
why. She's taken against the performance just because
Nina's acting and might take the fancy of her writer fel-
low. She doesn't know anything about my play and she
already hates it.
Sorin Oh, now really, come now ...
Konstantin She's cross in advance because here on this
pathetic little stage it's Nina who's going to get the
applause and not her. She's a case, my mother. Talented
all right - not stupid — quite capable of shedding tears
over a novel - [she] can reel off Nekrasov by heart —
wonderful with the sick ... But just try praising Eleonora
Duse in her presence - oh-ho-ho! - no one's got to be
praised but her — she's the one who has to be written up,
bravo'd, encore'd, and generally send people into rap-
tures over her amazing performance in La Dame aux
Camelias or one of those — but here in the country this
drug is not available so she gets bored and crotchety — she
has to take it out on someone, so it's us, it's all our fault.
And then, she's superstitious — terrified of three candles
on the table, the thirteenth of the month ... And mean,
too — she's got seventy thousand in the bank, I know that
for a fact, but ask her for a loan and she'll start to weep.
Sorin What it is is you've convinced yourself your mother

4
won't llke your play, that's what, and you're upsetting
yourself before the fact and the rest of it — calm down,
your mother adores you.
Konstantin (pluck ing the petals from a |1ower) She loves
me, she loves me not, she loves me, she loves me not, she
loves me, she loves me — not: you see? My mother doesn't
love me. Of course she doesn't! — she wants to live and
love and dress like a girl, and there am I, twenty-five years
old, a constant reminder that she's not as young as she
thinks. When I'm not there she's thirty-two, when I am
she's forty-three, no wonder she hates me. Furthermore,
she knows I don't believe in her theatre. She worships the
theatre, she thinks she's serving humanity and the sacred
flame of art, while I happen to think [thatj the modern
theatre is a narrow-minded and predictable ragbag of
worn-out routines. Up goes the curtain, and there in a
room with a w'all ITllssing, inexplicably bathed in artificial
light, are these great artists, these high priests of the
sacred mystery, demonstrating how people eat, drink,
make love, walk about and wear their coats; and when
they strain to squeeze out from their trite little scenes
some trite little moral for us to take home for use about
the house — when I'm handed this same old stuff in a
thousand variations over and over and over, then I'm
afraid I run — like Maupassant ran when he clapped eyes
on the Eiffel Tower and took to his heels thinking his
brain was about to be crushed by the sheer weight of all
that vulgarity.
Sorin But we must have theatre.
Konstantin We need a new kind of theatre. If we can't
make it new [it's] better to have none. I love my mother, I
love her very much, but what a futile life [she leads] .
forever obsessed with that novelist, her name constantly
bandied about in the newspapers — I'm so tired of it;
though it's also simple egotism on my part — not wanting
a famous actress for a mother, thinking I'd be happier if
she were just anybody ... Honestly, Uncle, can you think
of anything more hopeless and stupid than being me in
mother's df aWlng-room when she's got celebrities in ...
writers and artists everywhere you look; and me, the only
nobody in the lot, indulged only because I'm her son.
Who am I? What am I? Sent down from unlversity with-
out a degree for having opinions which are not necessarily
those of the editor as the saying goes — I have no talents,
no money, and in my passport I'm down as shopkeeper
class, from Kiev - I'm from the Kiev shopkeeping classes!
My father actually did keep a shop in Kiev, but he had a
name as an actor. So anyway — when all those artists and
writers in her drawing-room'd politely turned their glance
on me I'd have the feeling they were sizing up my insignif-
icance. I knew what they were thinking, and I felt so
humiliated.
Sorin A propos — could you tell me - what sort of fellow
is this writer of hers? I can't make him out, he never says
anything.
Konstantin Intelligent — unaffected — a melancholy streak,
I'd say ... a decent fellow, famous at still well under
forty, and tired of it all. As for his writing — well, how can
I put it? — a very pretty talent, but if you've been readlng
Tolstoy or Zola you don't feel any urge to read Trigorin.
Sorin Still — I'm rather keen on literary men. There was a
time when there were two things I passionately wanted —
to get married and to be a literary man. Never managed
either one. Even to be an unknown literary man must be
very nice, that's what.
Konstantin I can hear her coming. (He embraces his
uncle.) I can't live without her! — even the sound of her
footsteps is enchanting - I could go mad, I'm so happy —

6
 Konstantin quickly hurries to meet Nina as she enters.
My angel! — my dream -
Nina i agitatedly) I'm not late — tell me I'm not late.
Konstantin (Missing her hand) No ... no ... no ...
Nina I've been worried sick all day — oh, I was so terri-
fied my father would stop me coming. But they've gone
out - he and my stepmother. The sky was red, the moon
was rising, and I was urging on the horse — come on —
come on — come on! ishe laughs.) I feel happy now,
though. ishe shakes Sorin arm/y by the hand.)
Sorin Oooh, do I see tears? That won't do!
Nina It's nothing - it's j ust how out of breath I am. I've
got to go in half an hour, we have to hurry, I can't be late.
I simply can't — don't make me late, for God's sake — my
father doesn't know I'm here.
Konstantin It's time to start anyway — we must call
everyone.
Sorin I'll go, I'll go — all done, that's what and there you
have it. (He goes and sings.)
Two grenadiers were riding to France,
Home from their prison in Russia . .
He loobs round.
I once started to sing like that, and one of the assistant
prosecutors said to me, ‘You have a powerful voice, Your
Excellency, then he thought for a moment and added,
‘powerful, but perfectly horrible.’ He laughs and goes

Nina My father and his wife don't let me come here —

they say you're all bohemians. They're terrified I'll go on
the stage. But I'm drawn here like a seagull drawn to the

7
lake. Oh, my heart's so full of you.
Konstantin [It's all right,] we're alone here.
Nina I think there's someone ...
Konstantin There isn't anyone.
They kiss.
Nina What kind of tree is that?
Konstantin Elm.
Nina Why does it look so dark?
Konstantin The light's going now — everything starts
looking dark. Don't leave too soon, please don't!
Nina I can't stay on.
Konstantin What if I came back with you, Nina? I'll
stand the whole night in your garden looking up at your
window.
Nina You'd better not! - The watchman would see you!
— Tresor isn't used to you, he'll bark.
Konstantin I love you.
Nina Shh ...
Konstantin Who's that? - is that you, Yakov?
Yakov Yes, sir, it's me.
Konstantin Everyone [get) ready, we'll be starting. Is the
moon up?
Yakov Yes, sir.
Konstantin Have you got the methylated spirits? — and
the sulphur? We must have the smell of sulphur as soon as
the red eyes appear. (to Nina) Go on then — everything's
ready for you — Are you nervous?

8
Nina Very. I don't mind your mother, I'm not nervous
about her, but to have Trigorin here, I've got stagefright
just thinking about acting in front of him, I feel so unwor-
thy — such a famous writer! Is he young?
Konstantin He is, yes.
Nina All those wonderful stories he writes!
Konstantin I wouldn't know, I haven't read them.
Nina Your play's difficult to do. Being as there aren't any
real people in it.
Konstantin Real people! The idea is to show life the way
we experience it in dreams — not the way it is or [the way]
you think it ought to be.
Nina Yes, but there isn't much action in your play, it's all
— you know — lines. I think there ought definitely to be
love in a play ...
They both go behind the stage.
Polina and Down enter.
Polina It's getting damp. Do go back and put on your
galoshes.
Dorn I'm too hot.
Polina You don't look after yourself. It's plain mulish-
ness. You're a doctor, you know perfectly well dampness
in the air is bad for you, [but] you just do it to upset me.
Last night you deliberately sat the whole evening out on
the verandah ...
Dorn (f›«es) ‘Say not your youth was ruined.’
Polina You were so carried away talking to madam you
never noticed the cold. You like her — admit you do.
Dorn I'm fifty-five.

9
Polina Oh, tarradiddle — that's not old for a man. You've
worn well and you're still attractive to women.
Dorn What is it you want me to do about it?
Polina You men would kiss the ground for an actress —
not one of you wouldn't.
Dorn (Toms) ‘Again I stand before you ...’
If it so happens that artists in our society are treated dif-
ferently from, say, tradesmen, that's only natural, that's
called idealism.
Polina You've always had women throwing themselves at
you — that's their idealism too, is it?
Dorn Well, in a way ... What women liked most about
me was that I was a damn good doctor. If you remember
ten or fifteen years ago, I was the only decent obstetrician
in the whole province. And besides — I was always
straight with them.
Polina Oh, my dear - !
Dorn Hush — they're coming.
Enter Arkadina on Sorin's arm, with Trigorin,
Shamraev, Medvedenko and Masha.
Shamraev In i 873 at the Poltava Fair, she was amazing —
gave a superb performance, quite wonderful. Do you hap-
pen to know what became of the comedian Chadin? He
gave an incomparable Raspliuyev — better than Sadovsky,
you have my word, ma'am. What is he doing now?
Arkadina You keep asking me about people from before
the Flood! How should I know?
Shamraev Pashka Chadin. They don't make them like
that any more. The theatre's not what it was. There used
to be mighty oaks! — now we've got nothing but stumps.
Dorn There aren't as many outstanding actors nowadays,
that's true, but the avefage level is much higher.
Shamraev There I have to disagree. But it's all a matter of
.taste. De gustibus ant bene ant nihil.
Konstantin comes out from behind the stage.
Arkadina My darling! — isn't it starting?
Konstantin In a minute — if you could just be patient.
Arkadina ‘Oh, Kostya, speak no more!
Thou turn'st mine eyes into my very soul;
And there I see such black and gfained spots
As will not leave their tinct.’
Konstantin ‘... Nay, but to live
In the rank sweat of an enseamed bed
Stew'd in corruption, honeying and making low
Over the nasty sty ...’
A horn sounds behind the stage.
Ladies and gentlemen, the performance is about to
begin. Your attention, please. Here we go, then. (He taps
with a stick and speaks in a loud voice.) Harken, ye
ancient and hallowed shades that haunt the hours of
night about this lake — send us asleep, perchance to
dream of what will be two hundred thousand years from
now!
Sorin Two hundred thousand years from now there'll
be nothing.
Konstantin Then let them show us the nothing that
will be!
Arkadina Let them, do. We're asleep.
The curtain parts; the view over the lake is revealed, the
moon above the horizon, its rejection in the water;
Nin‹i, all in white, is sitting on a large rock.

II
Nina Mankind and monkeys — ostriches and partridges,
antlered stags, ganders, spiders - unfathomable fishes that
dwell in the deep and all creatures too small to be seen —
every living thing and life itself — all has come to the end
of its melancholy round and is now extinct. Thousands of
centuries have passed since the earth bore any living crea-
ture, and this poor moon lights its lantern all for nothing.
No more do the cranes wake and cry in the meadows, no
more are the may-bugs heard in the lime groves. There is
nothing but the cold - the cold, cold emptiness — empti-
ness and more emptiness — terrible it is — terrible — it is
terrible ...

The bodies of all creatures that ever lived are as dust —

their indestructible matter is become stones, water, clouds
— and their souls are become one soul, and that soul is —
me! — I am the souls of Alexander the Great, of Caesar, of
Shakespeare, of Napoleon and of the lowest of the
leeches. In me, godlike reason is fused with animal
instinct, every memory is in my memory, and every life is
lived again in me.
Marsh light appears.
Arkadina quietly) Sounds like one of those Decadents
Konstantin Mama!
Nina I am all alone. Once in a hundred years I open my
lips to speak and my voice echoes dismally in the void and
there is no one to hear me ... not even you, pale fires —
born at the turn of the night, from the rotting swamps, to
wander the earth till day is breaking — devoid of thought
or will or any pulse of life. The Devil — Lord of Eternal
Matter — fearful of life coming to life in you, has caused a
ceaseless exchanging of your atoms as in rocks and water,
so [that] you are forever altering as you alter, and in the
whole universe spirit is the only constant.

I'm like a prisoner cast into a deep empty well, not

know- ing where I am or what awaits me. One thing only
has been made known to me — (that] in the bitter struggle
with the Devil who commands the forces of matter, I am
destined to be victorious, and then will follow a won-
drous fusion of Matter and Spirit to bring about the rule
of the Cosmic Will. Yet first, the Moon and bright Sirius
and the Earth, little by little, over millennia after millen-
nia, must come to dust. Until that time, there shall be only
the horror - the horror — the horror.
Pause.- two red spots appear in the back ground over the
lake.
Look where he comes! — my mighty adversary the Devil
approaches - I see his terrible crimson eyes -
Arkadina I can smell sulphur - is that part of it?
Konstantin Yes.
Arkadina !laughing) Oh, yes — I see — it's an effect!
Konstantin Mama!
Nina He's so lonely without Man ...
Polina (to Down! Now you've taken off your hat — put it
on before you catch cold.
Arkadina The doctor's taken his hat off to the Devil,
Lord of Eternal Matter.
Konstantin Right! The play's over! Curtain!
Arkadina What are you so cross about?
Konstantin That's enough! Curtain! Can we have the cur-
tain closed please?
 The curtain is closed.
I must apologize. I quite forgot that w riting and acting in
plays is only for the chosen few. I have defied the monop-
oly! I'm — I — (He wants to say something more but waves
his hand and goes o[[.)
Arkadina What's got into him?
Sorin Irina — my dear girl — that's no way to treat a young
man's self-respect.
Arkadina Why, what did I say?
Sorin You've hurt him.
Arkadina But he told us himself it wa5 going to be a bit
of fun and I took it as a bit of fun.
Sorin Even so ...
Arkadina Now it turns out he's written a masterpiece. I
ask you! So he got up this show and stank out the place
with sulphur not to amuse us after all but to teach us the
kind of thing we ought to be writing and acting in.
Really, it's becoming a bore ... and his constant digs
and pointed little remarks, I don't care what anyone
says, it'd bore anybody — he's a petulant, conceited little
boy.
Sorin He was tryinb to please you.
Arkadina Was he? Then why couldn't he choose a proper
play instead of making us sit through this oh-so-decadent-
my-dear gibberish. I don't mind listening to gibberish
once in a while if it's to entertain, but this was apparently
supposed to be a new theatrical form, the art of the
future. Since when has the exhibition of a morbid person-
ality been a new art form?
Trigorin We write aS we must, and as best we can.
Arkadina I-le's welcome to write as he must but don't
drag me into it.
Dorn When Jupiter's angry, Jupiter's wrong.
Arkadina Jupiter wasn't a woman. (She lights a
cigarette. Anyway, I'm not angry, I'm just annoyed that a
young man should spend his time being such a bore. I
hadn't the slightest intention of offending him.
Medvedenko It's quite unsound, you know, to take spirit
and matter separately, for the simple reason that, for all
we know, spirit itself is nothing else but the totality of
material atoms. (animatedly to Trigorin) But actually,
what someone should do is put on a play showing what
life is like for schoolteachers, it's a hard life, you know,
very hard.
Arkadina I'm sure you're right but can we not talk about
plays or atoms. What a lovely evening! — is that singing?
Can you hear? Heaven.
Polina It's coming from across the lake.
Arkadina (to Trigorin Come and sit by me. A dozen
years ago you could have heard music and singing across
the water almost every evening. There are six properties
on this side. There was laughter — noise - gunfire ... and
the love affairs, love affairs going on all the time — and the
leading man in all of this, the idol of all six estates, was
none other than - your very own - Dr Yevgeny
Sergeyevich. HeSs still attractive but in those days he was
irresistible. However, my conscience is beginning to prick
me. How could I have hurt my poor little boy's feelings
like that? - Now I'm worried about him. (.She calls
loudly. Kostya! — Darling! — Kostya.
Masha I'll go and look for him.
Arkadina Would you? There's a dear.

zj
Masha Halloo-oo — Halioo—oo ...
Masha goes off.
Nina enters from behind the stage.
Nina We're obviously not going on, I might as well come
out. Hello! (She kisses Arkadina and Po/inc.)
Sorin Bravo! Bravo!
Arkadina Yes, bravo! — We were all enchanted. With
those looks, and that lovely voice it's a sin for you to be
hidden away in the country. I'm convinced you must have
talent. You hear? — you definitely have to go on the stage!
Nina Oh, it's what I dream of! But it won't ever come
true.
Arkadina Who can tell? Now — let me introduce —
Trigorin, Boris Alexeyevich.
Nina Oh, I'm so pleased to — I've read all your books . .
Arkadina (making her sit down beside them) No need to
be shy, my sweet, he's a famous man but a simple soul.
Look — he's as bashful as you are.
Dorn I suppose it's all right to open the curtain now — it's
rather sinister like that.
Shamraev Ya kov, open the curtain, would von.
The curtain goes up.
Nina (to Trigorin) It's certainly an unusual play, didn't
you think?
Trigorin I didn't understand a word. But I liked watching
it. You did it with such sincerity. And the scenery was
wonderful. Pause.) There must be plenty of fish in this
lake.
Nina Oh, yes.

i6
Trigorin I love fishing. There's nothing nicer than sitting
on the bank as the evening comes on, watching the float.
Nina I'd have thought that for someone who has experi-
enced the joy of creation, all other pleasures must be
insignificant.
Arkadina Oh, you mustn't talk like that. When people
make pretty speeches at him he wants to run away and
hide.
Shamraev I remember once in Moscow at the opera, the
famous Silva took a bottom C. Well, by no coincidence, it
happened that the bass from our church choir was up in
the gallery. Imagine our astonishment when suddenly we
heard above our heads, ‘Bravo, Silva!’ a whole octave
lower, like this ... in a deep bass) ‘Bravo, Silva!’ — The
entire audience froze.
Posse.
Dorn An angel flew over.
Nina I've got to go. Goodbye.
Arkadina Go where? Where do you have to go so early?
We shan't let you go.
Nina My father's waiting for me.
Arkadina Too dreadful of him - really ...
They kiss each other.
But if you must, you must. What a shame — it's a shame to
lose you.
Nina If you only knew how much I'd like to stay.
Arkadina Somebody should see you home, my precious.
Nina Oh — no! — no —

7
Sorin Please stay a while -
Nina I really can't.
Sorin Just for an hour, no more — surely —
Nina hesitates a moment.
Nina (through her tears) No — I simply can't. (She shaked
hands and goes o[[ quickly. )
Arkadina Poor girl! — literally. They say her mother left
her entire fortune to the husband and the girl's going to
get nothing because he's leaving it all to his second wife.
Perfectly scandalous.
Dorn Oh yes, her dear papa's a regular swine, to glve him
his due.
Sorin We should go in, too, good people — it's getting
damp. My legs hurt.
Arkadina Your legs are like peg-legs, they barely work -
well, off we go then, foolish, fond old man.
Dorn speak s to no one in particular; no one in particu-
lar takes note.
Dorn I don't know — perhaps I'm fooling myself, or I've
lost my mind, but I liked the play. There is something in
it. When that little girl was saying how lonely it was ...
Shamraev i o[[ering his arm to his wi[e Madame?
Dorn ... and then the Devil appeared with his red eyes,
my hands were shaking with excitement. There was some-
thing fresh and artless about it ...
Meanwhile Arkadina has taken Sorin by the arm.
Sorin There's that dog howling again. (to Shamraev)
Would you be good enough to have him let off the chaln?

i8
Shamraev Not possible, Piotr Nikolayevich - I'm afraid
of thieves getting into the barn. I've got the millet in there.
(to Medvedenko, who is walking beside him) Yes, a
whole octave lower - ‘Bravo, Silva!’. And he wasn't an
opera singer, mind — simply a member of our church
choir.
Medvedenko And how much would a member of the
choir get paid?
Dorn That's him coming, I think. I feel one should say
something encouraging ...
But no one is listening to him. He is lel'•alone.
Ko,nstantin enters.
Konstantin Cleared off already.
Dorn I'm here.
Konstantin Mashenka's been looking for me all over the
park. Unbearable woman.
Dorn Konstantin Gavrilovich, I liked your play very
much indeed. It was a bit strange, and of course we never
heard the end, but all the same it made a powerful
impression. You're a young man with talent. You must
carry on.
Konstantin shakes his hand warmly and embraces him
impetuously.
Oh — go along - what a sensitive creature [he is)! Tears in
his eyes! ... What is it I'm trying to say? You took your
subject from the realm of abstract ideas: which is right,
because a work of art must express a serious idea.
Without seriousness there can be no art ... Now he's
gone quite pale!
Konstantin So what you're saying is — I should go on?
Dorn Yes . but only write about what's important and
permanent. You know, I've lived a pick-and-choose sort
of life, plenty of variety, I'm not complaining, but let me
tell you, if I'd ever experienced that transcendent feeling
artists get in the moment of inspiration, then I believe I
would have had nothing but contempt for my physical life
and everything that goes with it and I'd have left the earth
behind me and soared away into the skies.
Konstantin Excuse me - sorry — where's Nina?
Dorn And there's another thing. When you write some-
thing, you must have a clearly defined thought. You have
to know why you're writing. Otherwise - if you set off
along that enchanted path without a definite goal in mind
— you'll lose your way, and your talent will turn on itself
and destroy you.
Konstantin Where is Nina?
Dorn What? She went home.
Konstantin What am I going to do? I have to see her! —
it's vital that I see her — I'm going after her.
Masha enters.
Dorn Now, you mustn't get so worked up — my dear boy —
Konstantin I'm going anyway — I have to go.
Masha Come indoors, Konstantin - your mother's wait
ing, she's worried about you.
Konstantin Tell her I've gone away. I wish you'd all leave
me alone! Just leave me! Stop following me about!
Dorn No, no, don't talk like that — that's not the right
way to ...
Konstantin (through leers) Goodbye, Doctor. Thank you
. (Pte goes.)
Dorn Oh ... youth ... youth ...
Masha When there's nothing more to be said, people say
‘Youth, youth’.
Masha takes sun[[. Down takes her sum[[ box and (ings

Dorn Disgusting habit! (Pause.) They'll be playing cards

now. I'd better go.
Masha Stay a minute.
Dorn What is it?
Masha There's something quite apart from all this I want
to ... [tell you]. Can we talk for a bit? I don't love my
father ... but I feel I can open my heart to you .. I feel
somehow [that] you're close to me. You have to help me.
Help me or I'll do something stupid and make a shambles
of my life, I'll ruin it — I can't go on ...
Dorn What? Help you how?
Masha I'm so unhappy. No one knows the agony I'm
going through. (She lays her head against Dorn's
breast, quietly.) I love Konstantin.
Dorn Another one! They're all such sensitive creatures!
So terribly sensitive! And [there's] all this love about! - It's
that lake! - they're all bewitched! (tenderly) But what can
I do, my child i — what can I do?
Curtain.
 Act Two

The lawn near the house. It is midday and it is hot. At the

side o[the lawn Arkadina, Dorn and Masha are sitting on
a garden seat in the shade o[an old lime tree. On Dorn's
lap is an open book.
Arkadina (to Masha l Stand up a minute.
They both get up.
[Stand] next to me. You're twenty-two and I'm nearly
twice that. Yevgeny Sergeyevich, which of us looks
youngeri
Dorn You, naturally.
Arkadina There you are. And why? Because I work - I
feel things — I do things! You don't stir from the same
place - you're not alive ... And I have a rule: not to look
ahead. I never think about old age or death. What will be
will be, if it be not now — and so on.
Masha Yes, well, I feel as if I was born about a century
ago, and I'm dragging my life behind me like the train of
a dress going back as far as I've come. A lot of the time I
don't feel like going on. That's silly, of course. You've got
to shake yourself out of it.
Dorn (hums so[tly ‘Tell her, my flowers .
Arkadina Next, I'm always properly dressed on parade,
llke an Englishman. I keep myself tip-top and up to the
mark, with my hair done comme il [ant. have you ever
seen me go out of the door - even into the garden — in my
housecoat and my hair not done? — never! The reason I'm
in this remarkablc state of preservation is that I refuse to
be a frump or let myself go like some people ... Look! -
you see? Frisk y as a fifteen-year-old — I could stlll play one
any day.
Dorn Albeit and regardless, I'm going to go on [reading].
l He pirks up the look.) We stopped at the cornchandler
and the rats ...
Arkadina And the fats. Read on, Macduff. (56c sits
down.) Or father, give it to me. It's my turn [to read]. !She
takes the book and searches with her eyes [or the place.)
And the fats. Here we afe. !She reads. ‘The truth is, it's
as inadvisable for people in society to fawn over writers
and invite them into their houses as for a cof nchandler to
faise rats in his granary. And yet writef s are considered a
catch, and much pursued. So it happens that when a
woman has picked out the lion she intends to bag, she
stalks him with compliments, favours, little acts of kind-
ness ...’ Well, it may be true with the French but it's not
like that here, we don't work to a pfogf amme. Here it's
mad'1y in love first and then the pursuit. You don't have to
look far — take Trigorin and me.
Sorin enters leaning on a stick, with Nina beside him
and behind them Medvedenko pushing a wheelchair.
Sorin So we're feeling cheerful today, are we? — we're
happy now are we? We're all smiles because Papa and
Stepmama have gone away and we are now free as a bird
for three whole days.
Nina sits down next to Arkadina and embraces her.
Nina I'm so happy. Now I can be all yours.
Sorin (sitting down in his wheelchair) She’s] looking
pretty as pretty can be.
Arkadina [She's] turned hef sclf out just so and very
fetching — she's a clever little miss. (She kisses line.) But
we mustn't overdo the compliments, it arouses envy in
the fates - where is Trigorin?
Nina Fishing by the bathing place.
Arkadina You'd think he'd get tired of
it. Nina What is your book?
Arkadina Maupassant, my sweet. On the Water - The
next bit is dull, and not even true. (She closes the book.
There is something in my soul o'er which etcetera. Will
somebody tell me what is the matter with my son? Why is
he so boring and churlish? He spends every day on the
lake, I hardly see him.
Masha He's heartsick. (to Nina, shyly Please, would you
do a bit from his play?
Nina Do you want me to? It's not very interesting.
Masha When he reads something his eyes burn and he
goes quite pale. He has a beautiful sad voice — really, he's
just like a poet ought to be.
Sorin is snoring.
Dorn Good night.
Arkadina Petroosha!
Sorin Eh!
Arkadina Are you asleep?
Sorin Certainly not.
Arkadina You're not taking anything for yourself, are
you? — you're very silly.
Sorin I'd be happy to take something for myself if only
the doctor here would give me something to take.

*4
Dorn What's the point at your age?
Sorin Even at sixty, one would rather stay alive than not.
Dorn Oh, very well — take some valerian drops.
Arkadina I think it would do him good to go to a spa
somewhere.
Dorn No harm in going, no harm in not going.
Arkadina Make sense of that if you can.
Dorn Nothlng to make sense of — couldn't be plainer.
Medvedenko Piotr Nlkolayevich shouldn't smoke.
Sorin Nonsense.
Dorn No, it's not nonsense. Wine and tobacco rob you of
your identity. After a cigar or a glass of vodka you're no
longer just you, you're you and this other fellow — your
first-person-singular-self goes out of focus and before you
know where you are you start thinking of yourself in the
third person — oh, his.
Sorin laughs) Well, that's all very well for you, you've
lived a bit in your time but what about me? — twenty-
eight years in the Department of Justice, and I haven't
lived at all, I haven't experienced anything. You've had
your fill and you don't care any more, which is why
you're inclined to be philosophical, whereas I still want to
have a bit of life, which is why I'm inclined to drink
sherry at dinner and smoke cigars, and there you have it.
There you have it.
Dorn Life is serious. Taking cures when you're sixty and
complaining you didn't have fun when you were young is
frivolous. To speak frankly.
Masha standi up.
Nlasha It iiiust be time for lunch. My leg's gone to sleep.
She goes out.)
Dorn [She's] gone to get down a couple of vodkas before
lunch.
Sorin Poor girl — she doesn't have much fun
elther. Dorn You're talking like a fool, Your
Excellency.
Sorin And you're talking like a man who's had his fill.
Arkadina Oh, what could be more weary than the sweet
weariness of life in the country ... The heat and quiet, no
one feels like doing anything — it's very pleasant ... listen-
ing to one's friends disputing away ... and yet ... there's
nothing to compare with sitting in a hotel room some-
where learning one's lines.
Nina Oh — yes! — that's what I think!
Sorin Town is best, that's what. You're sitting in your
office, no one gets in without sending their card up with
the porter ... telephone to hand ... cabs on the streets
. and the rest of it.
Dorn (hums) ‘Tell her, my flowers ...’
Shamraev enters, Polina follows him.
Shamraev So here you are: good morning! (He kisses
Arkadina's hand and then Nina's.) Delighted to find you
in good health. My wife tells ’me you were intending to go
into town together. Is that so?
Arkadina Are intending.
Shamraev Hm. That's all very well but, with great
respect, ma'am, how were you thinking of getting there?
We're carting rye today, all the hands are busy. Which
horses were you thinking of using, may one ask?

i6
Arkadina Which horses? How should I know?
Sorin We have carriage horses.
Shamraev Carriage horses? And where do I get harness
from? Where do I get harness' It's incredible! It beggars
belief! Madam — forgive me, ma'am — I worship your tal-
ent - I am ready to give you ten years of my life, but
horses I cannot give you.
Arkadina But what if I And to go? How very odd.
Shamraev With the greatest respect, you don't understand
about farming.
Arkadina Oh, that one again! — In that case I'm going
back to Moscow today. Be so good as to have horses
hired for me in the village, otherwise I'll walk to the
station!
Shamraev In that case, I resign! You can find yourself
another manager! JHe goes.)
Arkadina It's the same every summer! Every summer I
come down here and I'm insulted! I will not set foot in
this place again! (She goes.)
Sorin This is sheer impudence! This is the devil
knows what it is! I've finally had my fi11 of this, and
there you have it! Have all the horses brought round at
once!
Nina (to Polina) Imagine refusing Irina Nikolayevna the
famous actress! — surely her every wish - even her slight-
est whim — is more important than your farming. It's sim-
ply incredible!
Polina What can I do? Put yourself in my place. What
can I do?
Sorin (to Nina) We'll go to her, that's what. We'll plead
with her not to go. Impossible man! Tyrant!
Nina prevents Sorin trot i getting up. She and

*7
 Medvedenko begin to pu•fi the wheelchair.
Nina Sit down — sit down — we'll push you. Oh, what
a dreadful thing to happen!
Sorin Yes — yes, it's dreadful — but it won't come to him
leaving. I'll have a talk with him.
76 go o{[; only Down and Polina remain.
Dorn [God] how tedious people are. The simple truth is
your husband should be thrown out on his neck. But it'll
finish up with that old woman and his sister asking him to
forgive them, you'll see.
Polina He's put even the carriage horses to work in the
fields. Some mess-up like this happens every day. You
don't know how it upsets me. It's making me ill — look,
I'm shaking. I can't bear his rudeness. pleading) Yevgeny
— my dearest — my beloved - please let me come to you
— our time is running on, we're not young any more, and if
only we could end our days no longer having to hide and
pretend.
Dorn I'm fifty-five years old. It's a little late to change my
life.
Polina I know it's because I'm not the only one ... and
you can't have them all come to you - I know that — I'm
sorry - I'm being a nuisance.
Nina is seen near the house; she is picking a posy of
small wildflowers.
Dorn No, you're never . .
Polina I go through agonies of jealousy. I know you can't
avoid women, being a doctor — I know that —
Dorn to Nina who is approaching) What's happening up
there?

z8
Nina She's in tears and he's got his asthma.
Dorn ‹standing up) I'll go and distribute valerian
drops. Ninagiving him the posy) For you.
Dorn Merci bien.
Dorn goes towards the house. Polina goes with him.
Polina Oh, aren't they pretty, so tiny and delicate . .
(Near the house she speaks in a mused voice.) Give me
those (flowers]. Give them to me!
On getting the flowers she tears them apart and throws
them aside.
Polina and Dorn enter the house. Niitn is alone.
Nina How strange to see somebody famous crying ...
and over something so ordinary like that. But then it's just
as strange to think that a famous writer idolized by the
public, written about in all the papers, his photograph in
shop windows, his books translated into foreign lan-
guages — to think he should spend the whole day fishing
and be delighted with himself if he catches a couple of
chub! I thought famous people were proud and remote
and looked down on the common crowd, I thought [that]
with their fame and the glamour of their names they were
somehow getting their own back on rank and wealth and
birth being always put first. But here they are, crying, fish-
ing, playing cards and lo5ing their tempers just like any-
body else.
Konstantin enters with a gun and a dead seagull.
Konstantin Are you alone here?
Nina Yes.
Konstantin lays the seagull at her [eet.
And what's that supposed to mean?

*9
Konstantin I sank low enough today to kill this seagull. I
lay it at your feet.
Nina What has got into you?
Konstantin Soon I'm going to kill myself in the same way.
Nina I don't know you like this.
Konstantin That's true. And I don't know you like that.
You aren't like you were. You look at me from so far
away. You find my presence an embarrassment.
Nina Well, you've become so cross lately, and you keep
saying things somehow crosswise, in symbols or some-
thlng - I mean, look at this seagull, a symbol if ever I saw
one, but of what, I'm sorry, I've no idea. I'm not clever
enough to make it out.
Konstantin lt's all since that night when my play was
such a fiasco. Women can forgive anything but failure.
I've burned it, every last shred of it. You can't know how
unhappy I am. Your detachment is literally terrifying,
something inconceivable, as if I were to wake up one
morning and this lake had gone, simply evaporated, or
run away into the ground. Not clever enough? — what's
there to make out? My play was a failure, you despise
my inspiration, now you think I'm just another insignifi-
cant nobody just like they all — oh, I know about this!,
believe me I do know about this! It's like having a nail
hammered into my brain. To hell with it all! — and my
pride, too — that feeds on my blood, sucks it out of me
like leeches!
He sees Trigorfo it'fio is reading a book as he walks.
Oh - here comes the genuine article! Walking like Hamlet.
He's even got the book. Mimics.) ‘Words. Words. Words.’
The sun's rays have not yet kissed you but you're already
smiling — your glance melted in their warmth — well, let
me not stand between you and the [sun] (He goes o;/,

Trigorin (making notes in a small book) Takes snuff,

drinks vodka, wears black, loved by teacher ...
Nina Good morning, Boris Alexeyevich!
Trigorin Oh, good morning! I gather we're leaving today,
[owing to an] unexpected turn of events. I don't suppose
we'll meet again. Pity. It's not often I have the occasion to
meet young women, young and interesting women. Now
that I've forgotten and can't really imagine how it feels to
be eighteen or nineteen, the young women in my books
and stories don't quite ring true. I wish I could put myself
in y‹iur place for an hour or so, just to know how you
think and generally what kind of little creature this is.
Nina I'd like to put myself in your place, too.
Trigorin Why's that?
Nina Just to know how it feels to be a celebrated writer.
What is fame like? What does it feel like to be famous?
Trigorin What does it feel like? Well, it feels like not
being famous. Probably. I never think about it. having
thought Well - two possibilities: either I'm not as famous
as you think, or it doesn't feel like anything.
Nina What about when you read about yourself in the
newspapers i•
Trigorin When they're nice about me I like it. When
they're nasty I'm depressed for a day or two.
Nina Oh — how wonderful! You don't know how I envy
you. How different is different people's lot in life! Some of
them can barely drag out their dull, dim lives — all much
alike and equally miserable — while others, like you for one,
the one in every million, are blessed with an interesting,
brilliant life that means something. You're so lucky.
Trigorin Am I (sf›ruggfog f›fs 5fiou/ders) Hm ... here
you are talking about fame and fortune and some interest-
ing, brilliant life I'm supposed to be having, but I'm afraid
these sweet thoughts mean no more to me than sweet
cakes, which I never eat. You're young and you mean
well.
Nina But you have such a marvellous life.
Trigorin I don't see what's so specially good about it. (He
looks at his watch.) I have to go and do some writing now
— excuse me — I haven't the time - !He laughs.) - You've
trodden on my pet corn, you see! — and I start getting
upset and irritable — All right, let's talk about my wonder-
ful, brilliant life ... Well, where should we begin? (n/ter o
little thought) Well — there are people who develop an
obsession with something — say, a man who can think
about nothing but the moon, day and night. Well — I have
my own moon. Day and night I'm driven by one constant
thought: I must be writing — I must be writing — I've
scarcely finished one story before — God knows why — I
have to write another — then a third, and after the third a
fourth — I keep on without a break like the mailcoach
changing horses — on and on, and I can't do anything else.
What's so wonderful and brilliant about that? It's a ridicu-
lous life. Here I am with you, I've got myself all worked
up — and the whole time, I'm thinking [that] there's a
story waiting to be finished on my desk. I look up and see
there's a cloud shaped like a grand piano. I think — I must
get that into a story some time, [that] a cloud floated past
like a grand piano. I can smell heliotropes — I make a
quick mental note, sickly sweet scent, colour of widows'
weeds, mention when describing summer evening. I snap
up every word and phrase we urter and hurry off to shut
them away in my bottom drawer. When I finish some-
thing, I escape to the theatre or go fishing. There you'd
think I'd be allowed to relax, lose myself — but no: some-
thing is already moving in my braln like a heavy iron ball,
a new idea, a new story, and it's dragging me back to my
desk. I have to rush back and write - and write — and
that's how it is, all the time. I'm never left in peace, and
it's as if I'm devouring my own life — to make the honey
for the readers out there, I'm gathering up the pollen from
my best flowers, breaking off the flowers themselves,
trampling on their roots. I could be a madman. Are my
friends and acquaintances actually treating me as if I'm
sane? ‘What are you working on?’ ‘When are you going
to give us your next?’ - over and over, it never stops - and
I sometimes think, all this fascination - this admiration
and congratulation - it's all an act, they're humouring me
like an invalid and getting ready to creep up behind me
and pounce on me and carry me off to the madhouse like
in Gogol. Back in the days when I was starting out — the
years of one's youth, the best years - it was continuous
torture. A young writer, especially if he isn't having much
luck - feels awkward and not for anything — he's on edge,
his nerves are a wreck — he can't stop himself hanging
around the literary crowd, unknown and ignored, afraid
to look people in the eye, like a compulslve gambler with
nothing to bet with. I never met my readers, but for
some reason I always imagined them to be sceptical,
hostile. I was afrald of the public — the thought of them
terrified me. When I came to have a play put on I'd look at
the audience and decide that everyone with dark hair
had made up their minds to hate it, and everyone with
fair hair wasn't interested enough to care either way. Oh
— it was a nightmare! Sheer torture!
Nina I'm sorry, but - surely when you're in mid-inspira-
tion - actually in the very act of creation - doesn't that
give you, just for that moment, a feeling of belng lifted
up — of transcendent happiness?
Trigorin (casually) Oh yes, I love writing. Writing is very
enjoyable. Correcting proofs is very nice too ... But then
lt's got to be published. The moment the thing is off the
press I can't stand it. It's already no good — a mistake —
ought never to have been written in the £rst place — and I
feel tetchy and worthless. And people read it and say, ‘Oh
yes, a very pretty talent, quite charming, but not a patch
on Tolstoy’ — or, ‘Not bad at all, but lathers and Sons is
better.’ And it will go on like this till I die. I'll never be
anything more than charming and talented. And when I'm
dead it'll say on my gravestone, ‘Here lies Trigorin. He
was good — but not as good as Turgenev.’
Nina Well, I'm sorry but I refuse to sympathize. You've
simply become jaded with your success.
Trigorin What success are you referring to? I've never felt
I've succeeded, I don't like myself as a writer. The worst
of it is, I often write in a kind of fog and don't understand
what I'm writing about. I love this stretch of water here —
the trees - the sky - I have a feeling for nature, it excites a
passion in me — that irresistible desire to write. But when
all's said and done I'm not just here to do landscapes, I'm
a citizen. I love Russia and its people, and I feel that if I'm
a writer it's up to me to speak out about people's troubles,
their fate, and to have something to say about science,
and the rights of man, and so on and so on — so I speak
out about everything! — I rush around, urged on from
every side — people getting cross with me — I dash this way
and that like a fox with the hounds on its trail. Ahead of
me I can see Science and the Rights of Man leaving me
behind as I chase after them like some yokel missing a
train. And in the end I feel that landscape is the only thing
I know how to write and in everything else I'm a fake, a
fake to the marrow of my bones.

54
Nina You've been working so hard you've no time and
no curiosity to realize who you are. You may be dissatis-
fied with yourself but for everyone else you're a great and
important writer. If I were great like you I'd dedicate my
whole life to my public, but I'd always remember that it's
[the] reaching up to me which is what makes them happy
— and they'd pull my chariot through the streets.
Trigorin Oh, in a chariot — now you think I'm
Agamemnon.
Nina To have that feeling - whether as a writer or an
actress — I'd put up with family and friends turning
against me. I'd endure poverty and disappointment — I'd
live on black bread in a garret - [I'd] suffer self-doubt and
knowing I'm not good enough — but!, in return I would
demand fame — real resounding fame! — My head's
whirling — oof! —
Arkadina calls from the house.
Arkadina Boris Alexeyevich!
Trigorin I'm being summoned. To pack, no doubt. I wish
I wasn't leaving. Look how lovely it all is ... Paradise!
Nina You see that house with a garden on the other
side . ?
Trigorin [Yes.]
Nina That used to belong to my mother. I was born
there. I've grown up around this lake. I know every little
island.
Trigorin Well — you live in a magical place. l He sees the
seagull. What's this?
Nina A seagull. Konstantin shot it.
Trigorin Beautiful bird. I really don't want to leave. What
if you were to persuade Irina to stay? He makes notes in
his little book.)
Nina What are you writing?
Trigorin Idea for story — young girl, like you, brought up
on the shores of a lake. She loves the lake like a seagull
and is happy and free just like a seagull. Then a man hap-
pens to come along, he sees her, and, having nothing
much to do, destroys her, like this seagull.
Pause.
Arkadina appears at u window.
Arkadina Boris Alexeyevich — where are you?
Trigorin I'm coming.
He goes, then looks back at Nina; Arkadi'na is at the

Arkadina We're staying!

Trigorin goes into the house.
Nina [Oh, I see — it's] a dream!

36
 Act Three

The dining-room in Sorin's house. A sideboard and a cup-

board with medicines. In the middle of the room, a table.
A trunk and hat boxes; preparations for a iourney are to
be seen. Trigorin is having lunch. Masha stands 6y the
table.
Masha I'm telling you this because you're a writer. You
can use it. I'm telling you in all honesty, if he'd seriously
wounded himself I wouldn't have gone on living another
minute. [It's] not for lack of courage, mind you. I've
decided — I'm going to tear this love out of my heart, just
tear it out by the roots.
Trigorin How are you going to do that?
Masha I'm getting married. To Medvedenko.
Trigorin The schoolteacher?
Masha [Yes.]
Trigorin I think that's rather overdoing it.
Masha Loving without hope — waiting years on end for
something, you don't know what ... Better off married
and forget about love, I'll have new troubles to blot out
the old ones — and anyway, anything for a change. Shall
we have another [drink]?
Trigorin Wouldn't that be rather (overdoing it]?
Masha pours out a glass each.
Masha Oh, come on. You don't have to look (at me] like
that. Lots of women drink — more than you think. Not so

S7
many openly like me - mostly in secret. Vodka or brandy
for preference. ! clinking glasses} Here's to you! You're all
right [I approve of you]. I'm sorry you're leaving.
Trigorin I'm sorry too.
Nlasha Ask her ter stop on.
Trigorin No, she won't stay now. Her son is being
awfully difficult. Not content with trying to shoot himself,
he now wants to challenge me to a duel, apparently. I've
no idea why'. He sulks and stamps his foot and preaches
Els doctrinc of new forms. But there's plenty of room for
all, there's no need to push and shove.
Yasha Yes, but he's jealous. Not that it's any of my
affair.
y«l'or crosses the stage mith a trunk. Nina enters and
stands hy the u*indow.
Vy schoolteachcr's not very clever but he's kind, and he's
gi›t nothing. I-Ie’s devoted to me. I'm sorry for him. I'm
even sorry for his old mother. Well — time to wish you all
the best. Sparc mc a thought now and then. (She shakes
Trigorin warmly by the hand.) Thank you very much for
being nice to me. Send me your books and don't forget to
write in them — only, not the usual ‘To so-and-so, best
wishes’ — put ‘To Masha, God knows whence and God
knows why.’ Goodbye!
Masha leaves.
Nina stretches out her hand towards Trigorin, her est
clenched.
Nina Odd ‹›r evcn?
Trigorin Evcn.
Nina 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.
Trigorin It's not the sort of thing anybody can declde for
you.
Nina We're parting today and I don't suppose we'll ever
meet again. Would you take this little medallion? — to
remember me by? I've had your initials engraved on it —
and on the other side, the title of one of your books, Days
and Nights.
Trigorin But how sweet of you. kissing the medallion)
It's a lovely present.
Nina Will you think of me sometlmes?
Trigorin I'll thlnk of you as you were on that sunny day a
week ago — do you remember?, wearing your light-
coloured dress ... We talked ... and there was a seagull
lying on the seat.
Nina Yes ... the seagull.
Trigorin (reading the medallion) ’Days and Rights, page
i z i, lines i i and i z.’
Nina We can't talk now, they're coming — please — I beg
you — give me two minutes before you go —
She leaves. At the same time, Arkadina enters, with
Sorin in a tail coat with a star, and then ¥akov, who is
preoccupied with the packing.
Arkadina What wilt thou do, old man, driving around
paying calls with your rheumatism? Why don't you stay
at home? (to Trigorin) Who was that who just went out?
Nina?
Trigorin Yes.
Arkadina ñ 4ifJes pardons for interrupting . 1 think
everything's packed. I'm exhausted.

59
 Vabov is clearing ltte table.
Yakov Are the fishing rods to go?•
Trigorin Yes — I'll be wanting them. The books can be
given away.
Yakov Yes, sir.
Trigorin (›o Arkadina J Have you got any of my books
here in the house?
Arkadina ln my brother's study — in the corner bookcase.
Trigorin goes ow7.
I mean it, Petroosha, you'll be better staying at home.
Sorin It's depressing to be here by myself when you're
leaving.
Arkadina But what is there to do in town?
Sorin Nothing in particular, but still ... They're laying
the foundation stone for the municipal buildings, and the
rest of it — I want to get myself going if only for an hour
or two, I've been lying about the place like an empty ciga-
rette packet far too long. I've ordered the trap round for
one o'clock - we'll set off together.
Arkadina Well, your place is here, don't let yourself get
bored, and don't catch colds. Keep an eye on my son,
look after him and keep him out of trouble. I'm going,
and I still don't know why Konstantin tried to shoot him-
self. I think it was mostly jealousy. So the sooner 1 take
Trigorin away from here the better.
Sorin Well, look now, how do I say this? — there's other
things. It's obvious - he's an intelligent young fellow,
buried in the country, without a penny or a position or a
future - he has nothing to do and he's ashamed of it and
frightened by it. l'm very fond of him and he's attached to

4’*
me but when it comes down to it he feels he has no place
here, that he's a sponger, a parasite. It's his pride — only
natural.
Arkadina Oh, that boy is a constant trial! Perhaps if he
got a job .
Sorin whistles to himself for a moment.
Sorin I think the best answer is if you were to give him a
bit of money — It would be a good start if he dressed like a
human being, and the rest of it. He's been wearing out the
same coat for three years and does without an overcoat —
It would do him good to have a bit of fun — go abroad
perhaps - it wouldn't have to cost very much.
Arkadina Just the same ... well — I might manage a suit
of clothes for him, but as for going abroad ... No - just
at this moment I can't even manage the suit. I haven't any
money!
Sorin laughs.
I haven't.
Sorin whistles) I'm sorry, don't get angry, my dear — I
believe you — you're a wonderful woman, too generous
for your own good.
Arkadina I have no money!
Sorin Of course, if I had any money I'd glve it to him,
but I haven't, not a five-kopeck piece. My farm manager
takes every penny of my pension and spends it on cattle-
breeding, bee-keeping and the rest of it, and that's the
last I see of it, the bees get lost, the cows die, there's
never a horse when I want one .
Arkadina I mean, I have some money, but I'm an artist! —
my outfits alone have simply ruined me.

4*
Sorin You're a dear kind girl ... I really do sympathize
. J.. I'm having another of my ... !He staggers.) .
the room's going round ... I've just come over a bit
queer, that's what.
Arkadina, [tightened, tTies to support him.
Arkadina Petroosha! — Oh, Petroosha!, my dear — (culls)
Someone come and help — Help!
Konstantin, with a bandage round his head, and
Medvedenko come in.
He's taken ill!
Sorin lt's nothing, nothing ... (He drinks some water.}
all gone, that's what.
Konstantin [to Arbudina l [It's] nothing to be afraid of,
Mama, it's not serious — Uncle has these turns — {to
Sorin) You should go and lie down.
Sorin I will for a w'hile, all right But I'll be going into
town just the same — I'll have a little lie down, that's
what, and then I'll go
Medvedenko leads Surin by' the arm.
Medvedenko There's a riddle — in the morning on four, at
midday on two. in the evening on three.
Sorin laughs Quite so. And at night on your back.
Thank you, I don't need help to xs-alk.
Medvedenko Just fior form's sake, then —
Tfiey go out.
Arkadina He gave me such a fright.
Konstantin Living in the country isn't good for him, it
doesn't suit 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 llve in town all year round.
Arkadina I have no money, I'm an actress, not a banker.
Konstantin Mama, can you change my bandage? —
no one does it like you do.
Arkadina takes a box i' dressings [rom the medicine
cupboard.
Arkadina The doctor's late.
Konstantin Yes, it's midday — he said he'd be here at ten.
Arkadina Sit down. (She takes the bandage o[f his head.
You look like somebody in a turban. There was someone
asking in the kitchen last night what country you were
from. There . . it's practically healed over, just a tiny bit
left. Now promise me there'll be no more (pulling an
imaginary trigger) chk-chk! when I'm gone.
Konstantin [I] promise. I just went mad for a moment, I
was in such despair 1 lost control . . it won't happen
again. (He bisses Arkadina’s hands.) Your hands are the
hands of a ministering angel. I remember — ages ago -
when you were still working at the Imperial — when I
was a little boy - there was a fight in the courtyard where
we were living, and a washerwoman in our building got
badly hurt - do you remember this? - she was out cold
when they picked her up ... You were always going in to
see her, you brought her medicine, you used to wash her
children in her washtub. Can't you remember that?
Arkadina puts on a [resh bandage.
Arkadina No.
Konstantin There were rwo dancers living in our building
at the time ... they used to come in and have coffee.
Arkadina That I remember.
Konstantin They had religion. l Pause.) These last few
days, I've loved you as tenderly and trustfully as I did
when I was little. I have nobody but you now. Only —
why do you let that man have such a hold over you?
Arkadina You don't know him, Konstantin. He has the
noblest nature in the world.
Konstantin Oh, has he? Well, when he heard I wanted to
fight him his noble nature didn't get in the way of his pru-
dence. He's running away like a coward.
Arkadina What nonsense. He's leaving because I said
we're leaving.
Konstantin Noble nature! Here we are, practically falling
out over him, and he's next door or in the garden some-
where laughing up his sleeve and improving Nina's mind
in a last-minute attempt to convince her he's a genius.
Arkadina You seem to take pleasure in being horrible to
me. I have the greatest respect for that man and I'll
thank you not to speak of him like that in my presence.
Konstantin Well, I haven't the slightest respect for him.
You'd like me to think he's a genius, too, but — I'm sorry —
I can't lie, his books make me sick.
Arkadina That's envy. Talentless people with ldeas about
themselves can't do anythlng but run down anybody
who's got any real talent — it's thelr consolation.
Konstantin Real talent! If it comes to that, I've got more
talent than the lot of you put together! He tears of[ the
bandage.) 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 — anything else,
you stifle or stamp out. Well, I’m not taken in by any of
you! — not by him and not by you either!

44
Arkadina My son the Decadent!
Konstantin Go off to your cosy little theatre and act in
your pathetic stupid little plays.
Arkadina I have never in my life appeared in a play of
that description! Get away from me! You can't even write
a wretched little comic sketch! Go back to Kiev and open
a shop! Parasite!
Konstantin Skinflint!
Arkadina Rat's nest!
Konstantin sits down and cries quietly.
Little nobody! Crybaby. Stop crying. Don't cry. There's
nothing to cry about. Please don t cry ... Please, there's
s

no need to ... Oh, darling, I'm sorry - forgive me — for-

give your awful mother — your poor miserable mother ...
Konstantin embraces her.
Konstantin lf you only knew! — I’ve lost everything. She
doesn't love me — I can't write any more — I've lost all
hope.
Arkadina Don't say that — it'll all turn out all right. Now
he's going away she'll love you again. It'll be all right.
(She pipes away his tears.) There ... we're friends again,
aren't we?
Konstantin kisses her hands Yes, Mama.
Arkadina tenderly) Make it up with him, too. There's no
reason to fight him — there really isn't, is there?
Konstantin Yes, all right — only don't make me see him —
I couldn't face it — 1’m not up to it ...
Trigorin enters carrying his book.
[It's] all right, I'm going. (He quickly huts things away in
the medicine cupboard.) The doctor can do my bandage
later.
Trigorin \to himself, with the book in his hand} ‘If you
ever have need of my life, come and take it.’
Konstantin picbs up the bandage from the foor and
goes out.
Arkadina They'll be bringing the horses round soon.
Trigorin (to himsel) ‘If you ever have need of my life,
come and take lt.’
Arkadina All packed?
Trigorin Yes, yes . . Jto himsel) [Oh, but] why do I hear
such a note of sadness in this cry from an innocent heart?
— and why is it my heart that feels brokeni ‘If you
ever have need of my life, come and take it.’ (to
Arbadinal Let's stay one more day! Why can't we?
Arkadina Because, my love, I know why you want to.
But you mustn't let it make you forget yourself. You're a
little intoxicated, that's all. You have to come to your
senses.
Trigorin No - you have to come to yours — yes, to be sen-
sible - and wise - I beg you, see this as a true friend —
you're capable of the sacrifice — be generous, let me go.
Arkadina Are you so besotted with her?!
Trigorin It's as if I'm being called to her — perhaps this
is the one thing that's always been misslng in my life.
Arkadina What, the love of a little miss nobody? That's
all [how little] you know about yourself.
Trigorin People sometimes walk and talk and they're fast
asleep — it's like that, I'm talking to you but it's as if I'm
really asleep and she's my dream — I'm possessed by such
sweet visions ... Oh, please, I beg you, let me go!
Arkadina No — no — you can't say those things to me —
I'm just a woman like any other — you mustn't torture me
like this — Boris, you're frightening me —
Trigorin It's your chance to be a woman unlike any other.
Young love — an enchanting, lyrical love — is taking me off
into the land of my dreams. No one but her can bring me
happiness on this earth. I've never known love like this
. When I was young I spent every minute dogging edi-
tors, struggling to survive — there was never the time. But
now it's come — the love I never knew, it's calling to me,
what's the sense in running away from it?
Arkadina You've gone mad!
Trigorin I don't care.
Arkadina You're all in a plot to torment me today!
Trigorin She doesn't understand! — She refuses to under-
stand!
Arkadina Am I really so old and ugly that you think you
can prattle to me about other women without any shame?
!She embraces and kisses Trigorin.) Oh, you've lost your
poor mind! My dear darling wonderful man — my life's
last page! — my joy, my pride, my sweet content! If you
left me even for an hour, I won't be alive at the end of it,
I'll go mad — my magician — my prince - my king in all his
glory —!
Trigorin Look, somebody could come in at any moment —
Arkadina Let them! I'm not ashamed of loving you as I
do! My treasure, my reckless darling, what you're doing is
lunacy and I don't want you to, I won't let you ... You're
mine ... you're mine — this brow is mine ... these eyes,
this soft hair ... all of you is mine — You're so brilliant -

47
so gihed - you're the best writer there ls - you're the only
hope for writing in Russia! — you have such integrity —
such simplicity and freshness, and humour - you bring off
the essence of a character or a landscape with one stroke
— your people are alive, it's impossible to read you with-
out a thrill. Do you think ISm flattering you, putting you
on a pedestal? Look into my eyes — are these eyes lying
to you? There — you see? — I'm the only one who knows
your true worth - the only one. Nobody else tells you the
truth, my darling, my marvellous boy. You'll come, won't
you?
Won't you? You won't abandon me ...
Trigorin I've no will of my own. I've never had a will of
my own ... spineless — feeble — submissive to the last — is
that really what women want? — so have me — take me
away — only don't relax your grip for an instant.
Arkadina Got him. Wellsstay if you want to. I'll go and
you can come on later in a week or so, there's no
hurry.
Trigorin No, no — we'll go together.
Arkadina Whatever you like. Well, all right, together
then — we'll go together.
Trigorin makes a note in his little book.
What are you doing?
Trigorin [I] heard someone use that phrase this morning —
virgin ter, ritory .. might come in handy one day...........So —
off on our travels again. Railway carriages, railway stations,
railway cutlets ... conversations in companments ...
Shamraev enters.
Shamraev I have the honour to announce, with infinite
regret, that the carriage awaits. It's time to go to the sta-
tion, ma'am, the train is at five minutes past two. Would
you do me the favour, if you can remember, to ask
where
48
that actor Suzdaltzev is nowadays? — whether he's alive
and well? I used to have a drink with him in the old days.
He was simply incomparable in The 7hnif Ro66ery. I
remember at the time there was a tragedian, Izmailov,
who worked with him at Elizabetgrad — another remark-
able character. No need to hurry yourself, my lady, you
still have a few minutes. Once, they were playing conspir-
ators in some melodrama and when they were discovered
there was the line, ‘We're caught like rats in a trap,’ and
Izmailov said — ‘Caught like traps in a rat!’ Traps in a rat!
While he is speaking, ¥akov bustles about with suit-
cases and a Maid brings in Arkadina's hat, coat,
umbrella and gloves. Everyone helps Arkadina to dress.
The Cook looks in [rom the door and a[ter a while
enters hesitatingly. Polina, carrying a little basket,
comes in [ollowed by Sorin, wearing a coat with a cape,
carrying a hat and stick, and Medvedenko.
Polina I've got you some plums for the journey, they're
lovely and sweet. You might feel like something nice.
Arkadina That's so kind of you, Polina.
Polina Goodbye, my lady. If there was anything not as it
should be, please forgive me.
Arkadina Everything was just right, only don't cry —
Polina Our days are passing.
Arkadina But what's to be done?
Sorin Time to go if you're not going to miss it after all.
I'm going to get on board. He goes out.)
Medvedenko I want to walk to the station to see you off
— I'd better hurry — (He goes out.)
Arkadina Goodbye, my dears. If we live we'll meet again
next summer.

49
 The Maid, the Coo/l and y«fior kiss her hand.
Don't forget me. JShe gives a rouble to the Cooé.)
Here's a rouble. It's for the three of you.
Cook Thank you kindly, my lady — Have a good journey
. Most grateful ...
Yakov May God bless you.
Shamraev If you wrote sometime we'd like that.
Goodbye, Boris Alexeyevich!
Arkadina Where is Konstantin? Tell him I'm leaving. We
have to say goodbye. Well - remember me fondly. (›o
Ynéor) I gave the cook a rouble, it's for the three of you.
Xhey all go out. The stage is empty. 0[[stage are the
sounds o[people leaving. T/ie Maid returns to [etch the
basAet o[plums [rom the table and goes out again.
Trigorin returns.
Trigorin Leñ my stick somewhere ... On the verandah
. ‹He walks towards the door and meets Ninn who is
coming in.) Is that you? We're going.
Nina It's all right, we'll sec each other again. Boris
Alexeyevich, I've made up my mind once and for all! - the
die is cast - I'm going on the stage! Tomorrow I'll be gone
from here. I'm leaving my father, leaving everything. I'm
starting a new life. I'm going to Moscow, too [like you] -
we'll see each other there.
Trigorin Stay at the Slavyansky Bazaar — let me know as
soon as you arrive — the Grokholsky House on
Molchanovka. I have to hurry.
Nina Only one more minute.
Trigorin You're so beautiful. It makes me so happy
knowing we'll soon be seeing each other ... that I can

§O
look into those wonderful eyes — that inexpressibly sweet
smile, this lovely face — with its gaze of pure innocence
like an angel's — my darling ...
 Act Four

Two yenrs have passed.

One of the reception rooms in Sorin's house, turned
into a study by Konstantin. Doors leading to inner rooms,
and a glass door leading on to the verandah. Apart [rom
the usual drawing-room furniture there is a writing desk
in the corner and an ottoman. There is a bookcase, and
books lie on windowsills and on chairs.
It is evening. One lamp lit. Semi-darkness. The sound
of the wind shaking trees and fiotv/iog in the chimne
j•s.
The night-watchman is heard on his round, k nocbing on a
planb. Medvedenko and Masha enter.
Masha !calls} Konstantin! — Hello! — are you here? No.
The old man keeps asking for him, ‘Where's Kost ya?,
where's Kostya?’ — every minute. He's lost without him.
Medvedenko He gets frightened being on his own. Thls
awful weather , .. for the second day' ...
Masha turns up the lamp.
Masha There're waves on the lake, really big ones.
Medvedenko It's so dark outside. Somebody should get
that stage pulled down ... It's standing out there naked
and ugly as a skeleton, the curtain flapping in the wind
. Last night when I passed lt, it sounded as if someone
was crying inside.
Masha Someone crying ?
Medvedenko Let's be getting home, Masha.
Masha I'm staying the night.
Medvedenko Come on, Masha — the baby's probably
hungry -
Masha Rot. Matryona will feed him anyway.
Medvedenko Poor little mite. This'll be three nights with-
out his mother.
Masha What a bore you've turned out to be. At least one
used to get a bit of philosophy with it but now it's all the
baby — come on home — the baby — come on home — that's
all I hear.
Medvedenko Well, come on home, Masha.
Masha You go.
Medvedenko Your father won't give me a horse.
Masha Yes, he will if you ask him.
Medvedenko Perhaps I will. So you'll come
tomorrow, then?•
Masha takes snif{(.
Masha Yes — yes — tomorrow. Don't you ever let up?
Konstantin and Polina rose in. Konstantin carries pil-
lows and a blanket and Polina bed lineni they put them
on the ottoman, then Konstantin goes to his desk and
sits down.
What's this for, Mama?
Polina Piotr Nikolayevich wants his bed made up in
Kostya's room.
Masha [I'll help], let me have that.
Polina Old people are like children. (She walks up to the
desk and looks at a manuscript.)
Medvedenko Well, I'll be off, then. Goodbye, Masha. (He
kisses Masha’s hand.) Goodbye, Mother. {He tries to kiss
Polina’s hand.l
Polina Well, get along if you're going.
Medvedenko Well, goodbye, Konstantin Gavrilovich.
Konstantin gives him his hand in silence. Medvedenko
goes out.
Polina Who'd have thought, Kostya, [that] there was a
proper writer in you? - and now, thank the Lord, you're
starting to get money from the magazines. And you've got
so handsome ... Dear Kostya, be nicer to my little
Masha.
Masha is making the bed.
Yasha Leave him alone, Mama.
Polina She's a good girl. {Pause.) Women only need a
kind glance now and then, Kostya. I should know.
Konstantin gets up from the table and goes out in
silence.
Yasha Now you've annoyed him. What did you have to
pester him for?
Polina I feel so sorry for you, iVashenka.
Yasha Well, you don't have to be.
Polina My heart really aches for you. I'm not blind.
Masha Oh, it's all foolishness. A hopeless love is just
something you read about. It's nonsense. All you have to
do is get hold of yourself, not sit waiting for something to
change like waiting for the weather. If love worms its way
into your heart. dig it out. Semion's been promised a
transfer to another district. Once we're there I'll forget it
all - tear it out of my heart by the roots.

54
 Two rooms away a melancholy waltz is being played.
Polina That's Kostya [playing]. He does that when he's
unhappy.
Masha noiselessly does two or three turns o[ the waltz.
Masha The main thing is not to have him under my nose
all the time, Mama. Believe me, when Semion gets his
transfer I'll forget him in a month.
The door opens. Dorn and Medvedenko push Sorin in
in his wheelchair.
Medvedenko I've got six mouths to feed now, and flour
at two kopecks a pound.
Dorn It's everywhere you turn.
Medvedenko You can laugh. You've got pots of money.
Dorn Money? After thirty years' practice, with all the
responsibilities — when I couldn't call my soul my own
day or night — I've managed to put away two thousand
roubles, and I've just spent the lot on my Grand Tour. I
haven't a kopeck.
Masha [Are] you still here?
Medvedenko I'm sorry, but they won't give me a horse.
Masha mutters Why did I ever have to set eyes on you?
The wheelchair is positioned. Polina, Masha and Dorn
sit down near by. Demoralized, Medvedenko stands
npnri [rom them.
Dorn Well, there've been some changes here! You've
turned this drawing-room into a study.
Masha It suits Konstantin to work in here, he can walk
out into the garden whenever he feels like a think.
Sorin Where's my sister?
Dorn She went to the station to meet Trigorin - she'll be
back in a minute.
Sorin If you thought you should send for her it must
mean I’m seriously ill. !He is silent for a moment.) Well, I
must say, it's very odd — I'm seriously ill and no one gives
me any mediclne.
Dorn What would you like? Valerian drops? Soda?
Quinine?
Sorin Oh, it's the doctor of philosophy! My life sentence.
Has that [bed] been made up for me?
Polina {Yes] just for you.
Sorin I thank you.
Dorn !hums) ‘The moon glides through the night sky ...’
Sorin I've got an idea for a story for Kostya. A good title
would be The Man Who Wanted To. L'Homme qui a
Voolu. Long ago when I was young I wanted to become a
writer. But I never did. I wanted to be a good speaker — and
I was abominable. ‘And, er, as I was saying, so to speak, as
it were ...’ There were times when I'd & so long gening to
the point of my argument I'd break out in a sweat. I
wanted to be married and I didn't marry. I wanted to live in
town and I'm dying in the country. And there you have it.
Dorn You wanted to become an Actual State Councillor
and you did.
Sorin I never set my sights on that. It just happened.
Dorn It hardly shows a magnanimous spirit, does it?,
complaining about your life when you're sixty-two.
Sorin He never gives up! Can't you understand? — I want
to live!

$6
Dorn Pure frivolity. All that lives must die.
Sorin That's the argument of a man who's had his fill.
You're content so you're indifferent. But you'll be afraid,
too, when it's your turn.
Dorn Fear of death insults your humanity, and ought to
be overcome. The only people who can fear death ration-
ally are those who believe in life hereaher, because they
fear retribution for their sins. But you - in the first place
you don't believe, and in the second place, what sins?
You've never done anything except spend twenty-five
years in the Department of Justice.
Sorin Twenty-eight ...
Konstantin comes in and sits down on a little stool near
Sorin's feet. Masha doesn't take her eyes off him the
whole time.
Dorn We're stopping Konstantin from working.
Konstantin No, it's all right.
Medvedenko May 1 ask you, Doctor, which foreign
city did you like best?
Dorn Genoa.
Konstantin Why Genoa?
Dorn The crowds in the streets. When you step out of
your hotel in the evening, the streets are swarming with
people. You drift along with the crowd this way and that,
back and forth, it's got a life of its own and you become
part of it, body and soul, you start to think there really
might be a universal spirit like the one Nina acted in your
play. Where is she, by the way? How's she getting on?
Konstantin All right, I think.
Dorn One hears that she's been leading a somewhat
untidy life. What is she doing now?
Konstantin It*s really too long a story.
Dorn Well, make it brief.
Konstantin She left home and went to live with Trlgorin
. [as] I suppose you know.
Dorn (Yes.]
Konstantin She had a baby. The baby died. Trlgorin got
tired of her and went back to his old ties, as you might
expect. Or rather, he never let go of them. Having no
backbone he was able to bend both ways. From what I
know, Nina's private life hasn't exactly been a triumph.
Dorn And the stage?
Konstantin Even less, I'd say. She started off in summer
theatre outside Moscow, then went to the provinces. At
that time I never had her out of my sight. Where she
went I went, too. She played some big parts but she
played them crudely with a lot of declaiming and throw-
ing her arms about. There were moments when she
showed some talent, but only moments ... letting out a
cry ... dying ...
Dorn But [she did show] talent?
Konstantin Hard to tell. Probably. I saw her but she'd
never see me — she'd tell them at the hotel not to let me
up. I understood how she felt, and let it go. What more
can I tell you? Later, when I got back home, I'd get let-
ters from her, sensible friendly interesting letters. She
never complained but I could feel how terribly unhappy
she was, every line ached with unhappiness. Her mind
kept wandering, too. She'd sign herself ‘The Seagull’ —
like in Pushkin's play where the miller is so mad with
grief he calls himself a raven, so in her letters she'd keep

8
calling herself a seagull. She's back here now.
Dorn How do you mean, back here?
Konstantin She's in town at the hotel, she's been there for
several days. I went in to call on her, Masha tried, too,
but she won't see anyone. Semion says he saw her yester-
day after dinner, crossing the fields, only a mile or two
from here.
Medvedenko That's right, 1 did. She was walking back
towards town. I greeted her and asked her why she hadn't
come to call, and she said she would.
Konstantin She won't. Her father and his wife won't have
anything to do with her. They've posted watchmen all
over to stop her getting anywhere near. Life out there is
harder than is dreamt of, Doctor, in your philosophy.
Sorin [She was a] delightful girl.
Dorn What?
Sorin I said she was a delightful girl. In actual fact,
Actual State Councillor Sorin was just a little in love with
her for a while.
Dorn You old seducer!
Shamraev's laugh is heard.
Polina I think they're back from the station.
Konstantin Yes, that's Mama's voice.
Arkadina and Trigorin come in followed by Shamraev.
Shamraev We're all getting older and battered by the
ele- ments, but you, ma'am, are forever young, so full of
life and grace in your gay colours ...
Arkadina And you're tempting the fates again, you
dreadful man.

19
Trigorin (fo Sorin) How are you, Piotr Niko1a}'evich? —
What's all this about you being lll again? - that won't do
— And ›Vasha!
They shake hands.
Masha You still recognize me?
Trigorin Married?
Masha Long married.
Trigorin Happily? !He exchanges greetings with Dorn
and Medvedenko and then goes up to Konstantin with
some hesitation.) Your mother tells me ... (you've let}
bygones be bygones . and you're not angry with me any
more.
Konstantin of[ers him his hand.
Arkadina Look, Boris Alexeyevich has brought you the
magazine wlth your new story.
Konstantin Thank you. That's very kind of you.
Trigorin I bring greetings from your many admirers.
People are interested in you, both in Petersburg and
Moscow, they're always asking me about you — what's he
like? How old? Dark or fair? For some reason they think
you're older than you are — and of course no one knows
u'fio you are, behind your nom de plume you're a mys-
tery, like the Man in the Iron Mask.
Konstantin Are you staying for a while?
Trigorin No, l think 1 ought to get back to Moscow
tomorrow, I've got a story l'm desperate to finish, and
after that I've promlsed something for a collection — in
other words, as ever.
While they are talking Arkadina and Polina are setting
up a card table in the middle o[the room. They open it

6o
 out. Shamraev lights candles and puts out chairs. They
get Lotto out of the cupboard.
Not a very nice welcome from the weather. You couldn't
fish in this wind. If it dies down by morning l'll go to the
lake. Incidentally, I want to take a look at that place in
the garden - remember? — where you had your play. I've
got a new story and I want to refresh my memory of the
scene.
Masha Father, can you let Semion have a horse, he has to
get home.
Shamraev A horse. Get home. See for yourself, they've
only just been to the station. I can't send them out again.
Masha They aren't the only horses — (Seeing that
Shamraev says nothing she caves her hand.) Talking to
you is like ...
Medvedenko I'll walk, Masha, really ...
Polina Walk, in this weather ... Come along, then,
everyone who's playing.
Medvedenko It's only a few miles. Goodbye. (Kisses his
wife's hand.) Goodbye, Mother.
Polina reluctantly holdz out her hand for him to kiss.
l wouldn't have wanted to be a nuisance, but the baby
Well ... goodbye. (He bows to everyone and goes out
apologetically.
Shamraev He'll make it all right. He's not a general.
Polina Come on, please, let's not waste any time or they'll
be calling us in for supper.
Shamraev, Masha and Dorn sit down at the table.
Arkadina (to Trigorin We always play Lotto here when

6
the long autumn evenings set in. I.ook - it's an old set of
my mother's when she used to play with us as children.
Why don't you have a turn wlth us before supper? !She
sits down mith Trigorin at the table.) It's a stupid game
but after a while you don't notice.
She gives each person three cards.
Konstantin is leapng through the magazine.
Konstantin He's read his own story, but not even cut the
pages on mine. !He puts the magazine on his table, then
goes towards the door. Passing his mother he kisses her on
the head.)
Arkadina Are you in [the gome], Kostya?
Konstantin NO, lf you don't mind, I don't really want to
. I'm going for a breath of air ... He goes our.)
Arkadina The stake is ten kop£cks. Would you put in for
me, Doctor)
Dora Brett sw.
Masha Has everybody put in? Here we go . . Twenty-
two.
Arkadina 1 lere.
Masha Three.
Dorn Yes.
Masha You've covered ‘3’? Eight! Eighty-one! Ten!
Shamraev Don't go so fast.
Arkadina You should have seen the reception I had in
Kharkov, my goodness, my head hasn't stopped spinning.
Masha Thlrty-four!
A melancholy waltz is heard.

6z
Arkadina The students gave me such an ovation ... three
baskets of flowers ... two garlands — and this — She takes
a brooch [rom her breast and tosses it on the table.)
Shamraev That's certainly something.
Masha Fihy!
Dorn Five O?
Arkadina I wore a marvellous ensemble. If I know noth-
ing else, I know how to dress.
Polina Kostya's playing ... He's unhappy, poor lamb.
Shamraev They've been having a go at him in the news-
papers.
Masha Seventy-seven!
Arkadina Who cares about the newspapers?
Trigorin It's ronen luck — he can't seem to be able to find
his own voice, there's something oddly unfocused about
his writing, like a kind of delirium at times. And not a sin-
gle living character.
Masha Eleven!
Arkadina Hooking at Sorin) Petroosha, are you bored?
\Pause.) He's asleep.
Dorn His Excellency sleeps.
Masha Seven! Ninety!
Trigorin If I'd lived by a lake like this I wonder if I'd
ever have started writing. I would have conquered the
urge and just gone fishing.
Masha Twdnty-eight!
Trigorin To catch a perch, a chub is just delightful.

6$
Dorn Well, I believe in Konstantin. He's got something.
He's really got something. He thlnks ln images. His stories
are pictures, vivid and full of colour, I'm strongly affected
by them. The only trouble is, they don't go anywhere in
particular. He leaves you with a picture but that's all, and
you can't get far on that. Are you pleased you've got a
writer for a son?
Arkadina Can you imagine, I still haven't read anything
of his — there's never the time!
Masha Twenty-six!
Konstantin comes in quietly and goes to his desk.
Shamraev (›o Trigorin) By the way, Boris Alexeyevich —
we've still got something of yours here.
Trigorin What's that?
Shamraev Konstantin shot a gull once and you asked me
to have it stuffed.
Trigorin I did? I can't remember
that. Masha Sixty-six! One!
Konstantin sings open the window and listens.
Konstantin It's so dark! I don't know what lt is, I can't
settle.
Arkadina Kostya, shut the window, there's a draught.
Konstantin closes the window.
Masha Eighty-eight!
Trigorin Full house, ladies and gentlemen!
Arkadina Bravo! Bravo!
Shamraev Bravo!

64
Arkadina The man's luck is always in, wherever he
goes. Time for supper. Our celebrity hasn't eaten all
day. We can carry on later. !to Konstantin Kostya,
leave off your writing, we're going to supper.
Konstantin 1 don't want any, I'm not hungry.
Arkadina As you wish. (She wakes Sorin.) Petroosha —
time to eat. !She takes Shamraev's arm.) 1 must tell you
about the reception I got in Kharkov ...
Polina puts out the candles on the table, then she and
Trigorin push the wheelchair. Everyone goes out, except
Dorn and Konstantin who remains at his desk.
Konstantin glances at Dorn.
Konstantin After all I've said about new forms I think
I'm just slipping back bit by bit into the same old
conventions myself ... !He reads.) ‘The poster on the
fence pro- claimed ...’ ‘Apale face in a frame of dark
hair ...’ Proclaimed. A frame of dark hair. Hopeless. (He
crosses out. I'll start with my main character being
woken up by the sound of rain.
Dorn reacts slightly. a living character a[ter all? He
waits.
The rest will have to go. There's a descriptlOn of the
moonlit evening which lS too long and overwritten.
Trigorin has worked out a formula for hlmself, it makes it
easy for him ... He'll have the moon reflected in a broken
bottle on the weir, the dark shape of the mill-wheel, and
there's your moonlit night done. I've got shimmering
dark, twinkling stars, fading planos, sweet-smelling air
. excruciating. ! Pause. He glances at Dorn.) Yes, the
more I think of it the more I'm convinced it's nothing to
do with old or new - one has to write without thinking of
forms at all — just let it flow naturally from the heart.

6
 Dorn nods. He seems about to speak. A burst o[laugh-
ter [rom the dining-room: Arkadina calling for Dorn.
Konstantin starts writing. Dorn leaves.
Someone taps on the window nearest to the desk.
[What's that?] !He looks out of the window. CnSfs out.}
Hello? — who's there? !He opens the glass door and looks
into the garden. Sound o[footsteps receding. Calls out.)
Who's out there?! !He goes out and can be heard walking
qu+ckly across the terrace. Half a minute later he comes
back with Nina.} Nina! Nina!
Nina lays her head on his breast, near to tears.
Oh, Nina — Nlna ... It's really you. Oh, I had a feellng
. my heart's been aching all day — !He takes her hat
and cape from her.) Oh, my dear darling love, you've
come! — don't cry ... don't cry ...
Nina There's someone here.
Konstantin No — no one —
Nina Lock the door in case anybody ...
Konstantin No one will come in.
Nina I know your mother's here. Lock the doors ...
Konstantin locks the one door and puts an armchair
against the other.
Konstantin This one doesn't lock — I'll put a chair
against it. Don't be afraid, no one's going to come in.
Nina Let me look at you. It's nice and warm in here ...
This was the drawlng-room, before ... Have I changed?
Konstantin Yes. You’ve grown thinner ... your eyes are
bigger. 1 feel so strange, I can't believe I'm looking at you
, Why wouldn't you let me come and see you? Why
haven't you come before? I know you've been here nearly

66
a week. Every day — several times a day - I've gone and
stood under your window like a beggar.
Nina I was afraid you'd hate me. I dream of you every
night looking at me and not knowing me. If only you
knew! Since I got back I've spent hours walking all round
here - by the lake. Often I came right up to the house
without daring to come in. Can we sit down?
They sit down.
Let's sit and talk and talk. It's nice in here, so cosy and
warm. Listen to the wind. Remember Turgenev? —
‘Happy the man who on such a night as this has a warm
corner under his own roof ...’ I'm the seagull. No, that's
not what I mean. What was I talking about? Yes -
Turgenev - ‘And Lord help all those homeless wanderers.’
Konstantin Nina — you're crying again ... Nina.
Nina It's all right, it makes me feel better to cry. I haven't
cried for ages. Then, yesterday when it was dark, I came to
look in the garden to see if our theatre ... and to think it's
been standing there all this time. I began to cry for the first
time for two years — it was such a relief to cry, like a
weight lifting from my heart. Look, I've stopped now. (Sfie
takes Cfs hy the hand.) So you've become a writer. You're
a writer and I'm an actress - we both scrambled on to the
merry-go-round. Life used to be so carefree, I was like a
child, I'd wake up singing. I loved you and dreamed of
being famous ... And look at me now, first thing tomor-
row I'm off to Yeletz, travelling third class wlth the peas-
ants. And in Yeletz I'll be fending off the local business
types who like a bit of culture. It's not a glamorous life.
Konstantin Why Yeletz?
Nina I'm booked for the winter season, I have to be thefe
tomorrow.

67
Konstantin Oh, Nina . . I've cursed you, hated you,
torn up your letters and photographs — but I knew all the
time [that] I'm yours heart and soul and for ever. I can't
stop loving you whatever I do. Ever since I lost you — all
this time I've been getting my work published — my life's
been unbearable — I've felt so wretched, I felt as if my
youth had suddenly been snatched away, I felt about
ninety. I
speak your name — I kiss the ground where you walked —
I see your face wherever I go, that sweet face that smiled
on me when life would never be so good again.
Nina \bewildered l Why are you talking like this? — What
are you ...?
Konstantin I'm alone with no one's love to warm me, I
feel cold like in a dungeon - and everything I write is life-
less — stale and dreary - stay here with me, Nina, please,
please, please stay — or let me come away wlth you!
N›nn quickly pizts on her hat and cloak.
Nina — what're you? — for God's sake
Pakise.
Nina My trap is waiting at the gate. Don't come out, I'm
all right. {in tears l Can I have some water?
Konstantin gives her water.
Konstantin Where are you going?
Nina Back to town. Is your mother here?
Konstantin nods) My uncle was taken ill on Thursday,
we sent her a telegram ...
Nina What do you mean you kissed the ground I walked
on? I don't deserve to live. I'm so tired. If only I could rest
— I need rest! I'm the seagull — but I'm not really. I'm an
actress. Yes. !She hears Arkadina and Trigorin laughing.)

68
So he's here, too ... well, it doesn't matter. He never
believed in theatre — [he] always laughed at me for my
dreams of being famous ... and bit by bit I stopped
believing, too, and lost heart ... there were all the other
things to worry about — love, jealousy ... and always the
worry about the baby. I became trivial and commonplace.
My work lost all meaning. On stage I didn't know what
to do with my hands or how to stand, I couldn't control
my voice ... You can't know what it's like when you're
up there feeling you're acting so badly. The seagull. No,
that's not me ... You remember how you once shot that
seagull? A man happened to come along and see her, and
having nothing much to do, destroyed her. Idea for a
short story ... Wrong story, though. What was I talking
about? Yes, about acting. I'm not like that any more. I've
become a real actress. I love acting, when I'm on stage I
feel drunk on the sheer joy of it, and I feel beautiful.
While I've been back here I've spent a lot of time walking
and thinking — and every day I've felt my spirit getting
stronger. What I've realized, Kostya, is that, with us,
whether we're writers or actors, what really counts is not
dreaming about fame and glory ... but stamina: knowing
how to keep going despite everything, and having faith in
yourself — I've got faith in myself now and that's helped
the pain, and when I think to myself, ‘You're on the
stage!’, then I'm not afraid of anything life can do to me.
Konstantin So you've found yourself, you know where
you're going — and I'm still adrift in a chaos of dreams
and images, with no faith in myself, and no idea where
I'm going, or what I'm for.
Nina (listening) Shh ... It's time. Goodbye. When I'm a
great actress, come and see me. Promise? But now ... It's
late. I'm so tired and hungry, I can hardly stand.
Konstantin Stay while I fetch you something to eat.

69
Nina No — no. Don't see me off — I'll go alone. So she
brought him with her. Well, it makes no difference. When
you see Trigorin don't tell him you've seen me . . I love
him. I love him more than ever. I love him passionately, I
love him to despair. An idea for a short story. Oh, wasn't
it good before, Kostya! - when everything was so clear,
and life was so simple and happy — the feelings we had
. feelings as delicate as tiny flowers. Remember that
time? — ‘Mankind and monkeys, ostriches and partridges
. antlered stags, ganders and spiders ...’ And the
poor moon lighting her lantern all for nothing ... !She
embraces Konstantin impetuoasly and runs out through
the garden door.)
Konstantin I hope nobody sees her in the garden and tells
Mama. It might upset Mama.
The next two minutes he spends silently tearing up all
his manuscripts and throwing them under the table,
then he unlocks the door and goes out.
Dorn tries to open the other door.
Dorn (outside) That's odd — door's locked. (He enters and
puts the chair back in its place.) Obstacle course.
Arkadina and Polina come in, ¥akov behind them, with
bottles, and Masha followed by Shamraev and Trigorin.
Arkadina Bring in the wine and beer for Boris
Alexeyevich. We'll have a drink while we're playing. Sit
down, everyone.
Polina !to Yofior) We'll have the tea in now, too.
Shamraev leads Trigorin to the cupboard.
Shamraev Here's the thing I was telling you about . .
‹He takes the stuffed seagull out of the cupboard.) Just as
you ordered.

7O
Trigorin No memory of it. Not the faintest.
There is a shot oJ-stage. Everyone jumps.
Arkadina What was that?
Dorn Nothing — probably something going pop in my
medicine chest. Nothing to worry about. (He goes out and
returns half a minute later.) Just as I said. [A] bottle of
ether exploded ... hams) ‘Again I stand before you ...’
Arkadina Oh, I got such a shock. It reminded me of the
time ... Oh, I thought I was going to faint.
Dorn turns the pages of a magazine.
Dorn (to Trigorin) There was an article in here I saw —
couple of months ago — from our correspondent in
America, I wanted to ask you about it, just by the way ...
(He puts his arm round Trigorin's waist and leads him to
the front of the stage.) ... because it's something that inter-
ests me and I want to ask you to ... !He speaks out of the
side of his mouth.) ... get her out of here somehow —
Trigorin Juofis at him sharply. Dorn, with no pause,
drops his voice lower.
— the fact is, he's shot himself.