Moscow. The theme is, as usual, the greyness of provincial life, and the night is lit for his little group of characters by a flash of passion so intense that the darkness which succeeds it seems wellnigh intolerable.
“Uncle Vanya” followed “The Three Sisters,” and the poignant truth of the picture, together with the tender beauty of the last scene, touched his audience profoundly, both on the stage and when the play was afterward published.
“The Cherry Orchard” appeared in 1904 and was Tchekoff’s last play. At its production, just before his death, the author was fêted as one of Russia’s greatest dramatists. Here it is not only country life that Tchekhoff shows us, but Russian life and character in general, in which the old order is giving place to the new, and we see the practical, modern spirit invading the vague, aimless existence so dear to the owners of the cherry orchard. A new epoch was beginning, and at its dawn the singer of old, dim Russia was silenced.
In the year that saw the production of “The Cherry Orchard,” Tchekoff, the favourite of the Russian people, whom Tolstoi declared to be comparable as a writer of stories only to Maupassant, died suddenly in a little village of the Black Forest, whither he had gone a few weeks before in the hope of recovering his lost health.
Tchekoff, with an art peculiar to himself, in scattered scenes, in haphazard glimpses into the lives of his characters, in seemingly trivial conversations, has succeeded in so concentrating the atmosphere of the Russia of his day that we feel it in every line we read, oppressive as the mists that hang over a lake at dawn, and, like those mists, made visible to us by the light of an approaching day.
