Page:Emma Goldman - The Social Significance of the Modern Drama - 1914.djvu/294

 Constantine realizes that Nina is slipping away from him. The situation is aggravated by the constant friction with his mother and his despair at the lack of encouragement for his art. In a fit of despondency he attempts suicide, but without success. His mother, although nursing him back to health, is infuriated at her son's "foolishness," his inability to adapt himself to conditions, his impractical ideas. She decides to leave, accompanied by Trigorin. On the day of their departure Nina and Trigorin  meet once more. The girl tells him of her, ambition to become an actress, and, encouraged by him, follows him to the city.

Two years later Mme. Arcadina, still full of her idle triumphs, returns to her estate. Trigorin is, again with her still haunted by the need of copy.

Constantine has in the interim matured considerably. Although he has made himself heard as a writer, he nevertheless feels that life to-day has no place for such as he: that sincerity in art is not wanted. His mother is with him, but she only serves to emphasize the flatness of his surroundings. He loves her, but her ways jar him and drive him into seclusion.

Nina, too, has returned to her native place, broken in body and spirit. Partly because of the memory of her past affection for Constantine, and mainly because she learns of Trigorin's presence, she is drawn to the place where two years before