The Problem of Emptiness and Loneliness of the Modern Individual in Chekhov’s Dramaturgy
Philology and History Faculty
Department of Native Language and Literature: Russian Language Specialization, Group 242
Annotation: this article analyzes the theme of existential emptiness and loneliness of the modern individual in Anton Pavlovich Chekhov’s dramaturgy. The author examines Chekhov’s plays such as “Uncle Vanya,” “Three Sisters,” “The Seagull,” and “The Cherry Orchard,” focusing on the characters’ inner emptiness, instability, and alienation from society. The paper draws parallels between literary characters and the philosophical-psychological views of J.-P. Sartre, E. Fromm, and V. Frankl. It demonstrates how Chekhov artistically portrays the loss of human vitality, inner suffering, communicative incapacity, and the search for meaning in modern life.
Аннотация: в данной статье анализируется тема экзистенциальной пустоты и одиночества современного человека в драматургии Антона Павловича Чехова. Автор рассматривает пьесы Чехова, такие как «Дядя Ваня», «Три сестры», «Чайка» и «Вишнёвый сад», сосредотачивая внимание на внутренней пустоте, нестабильности и отчуждённости персонажей от общества. В статье проводится параллель между литературными образами и философско-психологическими взглядами Ж.-П. Сартра, Э. Фромма и В. Франкла. Показано, как Чехов художественно отражает утрату жизненной энергии человека, его внутренние страдания, неспособность к коммуникации и поиск смысла жизни в условиях современной реальности.
Keywords: Chekhov’s dramaturgy, emptiness, loneliness, existentialism, modern individual, psychological crisis, communication, search for meaning.
Ключевые слова: драматургия Чехова, пустота, одиночество, экзистенциализм, современный человек, психологический кризис, коммуникация, поиск смысла.
The transformations of the late 19th and early 20th centuries left a profound imprint on human consciousness. Scientific progress, the crisis of spiritual values, and the contradiction between personal freedom and social restrictions raised new questions in the minds of individuals. It was precisely during this period that Anton Pavlovich Chekhov’s dramaturgy offered a deep expression of the modern individual’s spiritual state, inner emptiness, and loneliness. Through the characters’ inner torments, unfulfilled dreams, instability, and difficulty in establishing human connection, Chekhov reveals the universal problems of his time [1]. In plays such as Three Sisters, Uncle Vanya, The Seagull, and The Cherry Orchard, the absurdity of life, the lack of purpose, and the inevitability of loneliness become central themes. Chekhov’s characters seem to act, but they fail to achieve real change [2]. Their passivity, inner contradictions, and inaction align closely with modern existentialist philosophy [3].
In Chekhov’s work, the emptiness and loneliness of the modern individual are portrayed not only as personal but also as social problems, analyzed from psychological perspectives as well. Erich Fromm emphasized that loneliness and the lack of meaning in modern society are consequences that emerge alongside the acquisition of freedom [4]. Viktor Frankl showed that when a person loses meaning in life, emptiness and inner suffering arise [5]. Chekhov’s characters face precisely this kind of meaninglessness. This article examines how Chekhov’s dramaturgy portrays the emptiness and loneliness of the modern individual, analyzing the artistic representation and philosophical foundations of these states. Through the inner world of his characters, Chekhov addresses the most pressing issues of our time.
Chekhov’s dramaturgy is distinguished by its psychological depth and subtle artistic expression of socio-philosophical issues. One of the central problems in his plays is the emptiness and loneliness of the modern human being. This theme acquires a unique aesthetic and philosophical layer in plays such as Three Sisters, Uncle Vanya, The Seagull, and The Cherry Orchard.
The Psychological State of Chekhov’s Characters and the Sense of Emptiness
In Uncle Vanya, the protagonist comes to realize that his life has been wasted. Vanya experiences anger, despair, and deep inner torment upon realizing that he has spent his life serving others, only to be left with nothing. He declares, “I have squandered my life…” – thus transforming loneliness from a mere social condition into a deeply personal tragedy [6].
This state of inner emptiness resembles Jean-Paul Sartre’s concept of “freedom without ownership.” Sartre argues that although man is free, he is alone in the face of choices [7]. This very loneliness underlies the inaction and internal imbalance of Chekhov’s characters.
The Crisis of Communication and Futile Aspirations
In Three Sisters, the protagonists are dissatisfied with their current lives and dream of returning to Moscow. However, their longing never turns into real action. Their dialogues are filled with melancholy, loneliness, and emptiness. Often, their conversations fail to connect — a clear sign of the communication crisis [8].
Vladimir Kataev notes that behind their dreams, Chekhov presents the individual as a “mysterious being in the world.” According to him, for Chekhov’s characters, “a dream is not an action, but a desire for salvation” [9].
The Seagull and the Tragedy of Non-recognition
In The Seagull, Treplev’s artistic aspirations and attempts to assert himself end in rejection and failure. His life loses meaning, leading to one of Chekhov’s first clear depictions of suicide. Treplev finds no meaning in life and recognizes the absurdity of existence [10].Albert Camus, in The Myth of Sisyphus, declares life absurd – meaningless but still to be continued. Treplev, however, rejects this struggle and puts an end to his life [11]. This deepens the psychological realism found in Chekhov’s plays.
The Cherry Orchard and Clinging to the Past
In The Cherry Orchard, the characters are unprepared for change. Ranevskaya and her family cannot accept the changing world. They are emotionally attached to the past and live in memories, refusing to confront real problems. This reflects the condition of a modern person detached from reality, searching for meaning but unable to find it [12].
Boris Tomashevsky described the characters of The Cherry Orchard as “a collection of individuals who failed to find their place in life.” According to him, Chekhov explores the problem of modernity not through action, but through inaction [13].
Psychological Foundations: From the Perspective of Fromm and Frankl
According to Erich Fromm, modern man’s loneliness stems from his alienation from society, abandonment of close relationships, and inability to understand himself. Chekhov’s characters experience precisely this: they speak, they dream, but they are unable to connect [14].Viktor Frankl argues that when a person cannot find meaning in life, inner emptiness and psychological stagnation follow. For Chekhov’s characters, this void leads to the loss of vitality — they live, but they do not feel alive [15].
Anton Chekhov’s dramaturgy reveals the inner world of the modern individual, especially their sense of emptiness and loneliness, through unique and unconventional artistic forms. Chekhov’s characters are those who do not act, who dream but do not strive for real change, who attempt to communicate but fail to establish connections. They are alienated from society, unable to find their place in life. These conditions align closely with modern psychological and philosophical perspectives: Sartre’s concept of loneliness within freedom, Fromm’s notion of alienation, and Frankl’s idea of lost meaning are vividly embodied in Chekhov’s literary figures.
In Uncle Vanya, suffering and inertia; in Three Sisters, passive dreams; in The Seagull, lack of recognition and lost meaning; and in The Cherry Orchard, the inability to let go of the past — all serve as artistic representations of spiritual crisis. Chekhov depicts psychological stagnation, hopelessness, and isolation against the backdrop of social upheaval. This makes his dramaturgy intimately connected to the existential concerns of the modern era.
Thus, through Chekhov’s works, we gain a profound understanding of one of the most crucial inner problems of the modern individual — the feeling of emptiness and loneliness. He is not merely a writer of his time, but a modern thinker who compels even 21st-century readers to reflect deeply. Chekhov’s characters suffer not from life itself, but from themselves — from their inaction and alienated emotions. This makes him an eternally relevant author.
References
1.Rayfield, D. (1997). Anton Chekhov: A Life. London: HarperCollins, p. 302.
2.Magarshack, D. (1960). Chekhov the Dramatist. New York: Hill and Wang, pp. 110–115.
3.Etkind, A. (1985). Chekhov’s World: A Study of His Drama. Cambridge University Press, p. 87.
4.Fromm, E. (1941). Escape from Freedom. New York: Farrar & Rinehart, p. 36.
5.Frankl, V. (1959). Man’s Search for Meaning. Boston: Beacon Press, p. 106.
6.Chekhov, A.P. Uncle Vanya (1899) // Chekhov, A.P. M.: Nauka, 1980. Vol. 12, p. 104.
7.Sartre, J.-P. Existentialism is a Humanism. New Haven: Yale University Press, 2007, p. 29.
8.Chekhov, A.P. Three Sisters (1901) // Ibid. Vol. 13, p. 220.
9.Kataev, V. If Only We Could Know: An Interpretation of Chekhov. Chicago: Ivan R. Dee, 2002, p. 88.
10.Chekhov, A.P. The Seagull (1896) // Ibid. Vol. 11, p. 150.
11.Camus, A. The Myth of Sisyphus. New York: Vintage Books, 1955, pp. 11–12.
12.Chekhov, A.P. The Cherry Orchard (1903) // Ibid. Vol. 14, p. 73.
13.Tomashevsky, B. “Thematics and Style in Chekhov’s Plays” // Russian Literature Triquarterly, No. 4, 1972, p. 97.
14.Fromm, E. Escape from Freedom. New York: Farrar & Rinehart, 1941, p. 121.
15.Frankl, V. Man’s Search for Meaning. Boston: Beacon Press, 1959, p. 106.