n Irina and Treplev erupts in the third act, when they are arguing over Trigorin's status as a writer. By insulting Trigorin, Treplev indirectly offends Irina. Not only has Irina chosen Trigorin as her companion, but she is also the same type of artist. Treplev scorns the work of these artists, and Irina returns his insults. Chekhov writes:Treplev. Well I don't respect him. You want me to think he's a genius too, but I'm no good at lynig, sorry, and his books just make me sick.Irina. You're envious. Pretentious no bodies always run down really brilliant people, that's all they're good for. I only hope it makes your feel better.Treplev. [ironically]. Really brilliant people! [Angrily.] I'm more talented than all of you put together, if it comes to that ... I don't accept you! I don't accept either you or him.Although Irina and Treplev make up after the argument, neither changes their opinion about the other. Irina fails to see that Trigorin does not care for her, even when he asks to be allowed to sleep with Nina. Instead of telling Trigorin that doing so would be immoral and untrustworthy, Irina showers him with praises in order to keep him away from Nina. She says to Trigorin, "You're so brilliant, so clever, you're the best writer of our day - Russia's only hope, so sincere and natural, with your spontaneity and healthy humor" (III, P. 99). Irina blinds herself to Trigorin's egotistic exterior, and loves him based solely on his social status based on his writing. Not only does fail to consider what Treplev says to her, but she also continues to neglect him, even after the incident. She says, "Where's Constantine? Will you tell him I'm leaving? I must say good-bye. Ah well, don't think too badly of me" (III, P. 101). This scene is a major turning point in the play. Irina returns to Moscow, leaving Treplev in a state of dismay. Leaving her suicidal son on a farm in rural Russia, to go off to the city with her bo...
