However, he does not leave the story devoid of love and affections and portrays unrequited, unsolicited love through the character of Masha, who in the very beginning of the play states the reason of her wearing black all the time is constant mourning. A Love-triangle is formed here too, with Masha, who is apparently in love with Konstantin, who does not respond well to her affections. She marries a man of much lower stature, Medvedenko, in a sense uses his love and emotions, only to give him a despicable future. He is a flat character and throughout the play does not develop and just like in Act I, he is ranting, about the lack of resources, in Act III too. Masha marries him in order to divert her love and affection from Konstantin, who, she is convinced will not reciprocate to her love, which happens later in the play too. Even though she is the victim in terms of love, she still has the power to control Medvedenko, and in Act IV, ends up miserable and lonely. Masha disrespects him and he is eventually …show more content…
All women characters are clearly defined and plotted, and are much more stronger than men. For instance, Andrey’s character is so absent-minded and passive that while he meaninglessly pushes the baby in carriage, his wife is openly indulging in an affair. Natasha is a cruel, impatient woman, whose moral standards can be seen in stark contrast with the sisters, especially Irina, whose wish is to make a meaningful contribution to world. Neither of the sisters’ wishes are fulfilled nor are their dreams achieved, instead, they are shocked to find out that the house has been mortgaged by their brother, leading them to decide on moving to Moscow. The three of them react to this in different manners. Masha, who desired to marry Virshinin, on learning he has left is shocked, and almost feels devastated. She tells Irina