Play by A.P. Chekhov's "The Cherry Orchard" as a reflection of the spiritual quest of man in the late 19th and early 20th centuries
The end of Chekhov's life came at the beginning of a new century, a new era, new moods, aspirations and ideas. Such is the inexorable law of life: what was once young and full of strength becomes old and decrepit, giving way to a new - young and strong life ... Death and dying are followed by the birth of a new one, disappointment in life is replaced by hopes, the expectation of changes ... Chekhov's play "The Cherry Orchard" reflects just such a turning point - a time when the old has already died, and the new has not yet been born, and now life has stopped for a moment, has subsided ... Who knows, maybe this is the calm before the storm ? No one knows the answer, but everyone is waiting for something ... He waited in the same way, peering into the unknown, and Chekhov, anticipating the end of his life, waited for the entire Russian society, suffering from uncertainty and being at a loss.
One thing was clear: the old life was irrevocably gone, and another was coming to replace it ... What would it be, this new life? The characters in the play belong to two generations. The kingdom of cherry orchards ends with the poetry of sad memories of a past brilliant life, forever silenced. An era of action and change will soon begin. All the heroes of the play anticipate the onset of a new life, but some await it with apprehension and uncertainty, while others - with faith and hope. Chekhov's heroes do not live in the present; the meaning of their life lies for them either in their idealized past, or in an equally idealized bright future.
What happens “here and now” does not seem to bother them, and the tragedy of their situation is that everyone sees the purpose of their being outside of life, outside of the “cherry orchard” that personifies life itself. The Cherry Orchard is the eternal Present that ties together the past and the future in the eternal movement of life. The ancestors of the Ranevskys worked in this garden, whose faces look at Petya and Anya "from every leaf, from every branch in the garden."
The garden is something that has always existed, even before the birth of Firs, Lopakhin, Ranevskaya, it embodies the highest truth of life, which Chekhov's heroes cannot find. The garden blooms in spring, bears fruit by autumn; dead branches give new fresh shoots, the garden is filled with the smell of herbs and flowers, birdsong, life is in full swing here! On the contrary, the life of its owners stands still, nothing happens to them. There is no action in the play, and the characters only do that they spend precious time of their lives in conversations that do not change anything in it ... "The Eternal Student" Petya Trofimov mercilessly attacks human vices - idleness, laziness, passivity - and encourages to activity, to work, preaching "the highest truth."
He claims that he will certainly find for himself and show others “the way how to reach” it, to this highest truth. But in life he does not go further than words and in fact turns out to be a "fool" who cannot complete the course and who everyone makes fun of because of his absent-mindedness. Anya, whose soul has sincerely opened up to Petya's free aspirations, exclaims enthusiastically: "We will plant a new garden, more luxurious than this." She easily renounces the past and happily leaves her home, for she has a “bright future” ahead of her.
But this new life, which Petya and Anya are so awaiting for, is too illusory and uncertain, and they themselves, without realizing it, pay a dear price for it! Ranevskaya is also full of vague and vague hopes.
She cries at the sight of the nursery, utters pompous monologues about her love for her homeland, but nevertheless sells the garden and leaves for Paris to the man who, according to her, robbed and abandoned her. The garden is, of course, dear to her, but only as a symbol of her faded youth and beauty. She, like all the other characters in the play, cannot understand that no myth that a person creates for himself in order to overcome the fear of emptiness and chaos - no myth will fill life with true meaning. The sale of the garden is only a visible solution to the problems, and there is no doubt that the rushing soul of Ranevskaya will not find peace in Paris, and the dreams of Petit and Anya will not come true. “All of Russia is“ our garden, ”says Petya Trofimov, but if he so easily refuses that which connects him with the past, if he is not able to see the beauty and meaning in the present and does not fulfill his bright dream here and now, in this garden, then and then, in the future, he is unlikely to find meaning and happiness.He dreams of the end of "awkward unhappy life" and Lo-pakhin, who lives by the laws of practicality and profit.
He sees a way out of the situation in buying a garden, but when he acquires it, he appreciates in it “only that it is big” and is going to cut it down in order to build summer cottages on this place. The Cherry Orchard is the semantic and spiritual center of the play, it is the only stable and unchanging living organism true to itself, in which everything is subject to the strict order of nature and life. Cutting down the garden, the ax falls on the most sacred that remained of the Chekhovian heroes, on their only support, on what connected them with each other. For Chekhov, the most terrible thing in life was to lose this connection - the connection with ancestors and descendants, with humanity, with Truth.
Who knows, maybe the Garden of Eden served as a prototype for the cherry orchard, which was also abandoned by a person who was flattered by deceptive promises and dreams? Studying the work of Chekhov "The Cherry Orchard", I would like to note one feature of his characters: they are all ordinary people, and none of them can be called a hero of their time, although almost each of them is a symbol of the time. The landowner Ranevskaya and her brother Gaev, Simeonov-Pishchik and Firs can be called a symbol of the past. They are burdened by the legacy of serfdom, under which they grew up and were brought up, these are the types of leaving Russia. They do not imagine a different life, like Firs, who cannot imagine life without masters. Firs considers the emancipation of the peasants a misfortune - "the peasants are with the gentlemen, the gentlemen are with the peasants, and now everything is in disarray, you will not understand anything."
The symbol of the present is associated with the image of Lopakhin, in which two principles are fighting. On the one hand, he is a man of action, his ideal is to make the earth rich and happy. On the other hand, there is no spiritual principle in it, and in the end the thirst for profit takes over. Anya, the daughter of Ranevskaya and the eternal student Trofimov, was a symbol of the future. They are young and the future belongs to them. They are obsessed with the idea of creative work and liberation from slavery.
Petya urges you to drop everything and be free like the wind. So who is the future? For Petya?
For Anya? For Lopakhin? This question might have been rhetorical if history had not provided Russia with a second attempt at solving it.
The end of the play is very symbolic - the old owners leave and forget the dying Firs. So, the logical ending: inactive consumers in the social sense, a servant - a lackey who served them all his life, and a cherry orchard - all this irrevocably goes into the past, to which there is no turning back.
History cannot be returned. I would like to note the cherry orchard as the main symbol in the play. Trofimov's monologue reveals the symbolism of the garden in the play: “All Russia is our garden. The land of the giant is beautiful, there are many wonderful places on it. Think, Anya: your grandfather, great-grandfather and all your ancestors were serf owners who owned living souls, and really from every cherry in the garden, from every leaf, from every trunk, human beings do not look at you, can you really not hear voices ... living souls, because it has reborn all of you who lived before, and are now living, so your mother, you, uncle no longer notice that you are living on debt at someone else's expense, at the expense of those people whom you do not let farther than the front door .. . ”All the action takes place around the garden, the characters of the heroes and their fates are highlighted on its problems.
It is also symbolic that the ax brought over the garden caused a conflict between the heroes and in the souls of most of the heroes the conflict is not resolved, just as the problem is not solved after the cutting down of the garden. On stage "The Cherry Orchard" is about three hours. The characters live for five months during this time. And the action of the play covers a more significant period of time, which includes the past, present and future of Russia.
The image of the garden in the play "The Cherry Orchard" is ambiguous and complex. This is not just a part of the estate of Ranevskaya and Gaev, as it might seem at first glance. This is not what Chekhov wrote about. The cherry orchard is a symbolic image. It means the beauty of Russian nature and the life of the people who raised him and admired him. Together with the death of the garden, this life also perishes.
Center uniting characters
The image of the garden in the play "The Cherry Orchard" is the center around which all the heroes unite. At first it may seem that these are just old acquaintances and relatives who have gathered by chance in the estate to solve everyday problems. However, it is not. It is no coincidence that Anton Pavlovich combined characters representing various social groups and age categories. Their task is to decide the fate of not only the garden, but also their own.
Gayev and Ranevskaya's connection with the estate
Ranevskaya and Gaev are Russian landowners who own the estate and the cherry orchard. They are brother and sister, they are sensitive, intelligent, educated people. They are able to appreciate beauty, they feel it very subtly. That is why the image of the cherry orchard is so dear to them. In the perception of the heroes of the play "The Cherry Orchard", he personifies beauty. However, these characters are inert, because of which they cannot do anything to save what is dear to them. Ranevskaya and Gaev, with all their spiritual wealth and development, are deprived of responsibility, practicality and a sense of reality. Therefore, they cannot take care not only of loved ones, but also of themselves. These heroes do not want to heed Lopakhin's advice and rent out the land they own, although this would bring them a decent income. They believe that dachas and summer residents are vulgar.
Why is the estate so dear to Gaev and Ranevskaya?
Gaev and Ranevskaya cannot lease the land because of the feelings that connect them with the estate. They have a special relationship with the garden, which is like a living person to them. Much connects these heroes with their estate. The cherry orchard seems to them to be the personification of a departed youth, a past life. Ranevskaya compared her life with "cold winter" and "dark, rainy autumn." When the landowner returned to the estate, she again felt happy and young.
Lopakhin's attitude to the cherry orchard
The image of the garden in the play "The Cherry Orchard" is also revealed in relation to Lopakhin. This hero does not share the feelings of Ranevskaya and Gaev. He considers their behavior to be illogical and strange. This person wonders why they do not want to listen to seemingly obvious arguments that will help them find a way out of a difficult situation. It should be noted that Lopakhin is also capable of appreciating beauty. The cherry orchard delights this hero. He believes that there is nothing more beautiful in the world.
However, Lopakhin is a practical and active person. Unlike Ranevskaya and Gaev, he cannot just admire the cherry orchard and regret it. This hero seeks to do something to save him. Lopakhin sincerely wishes to help Ranevskaya and Gaev. He never ceases to convince them that both the land and the cherry orchard should be leased. This should be done as soon as possible, as the auction will be coming soon. However, the landlords do not want to listen to him. Leonid Andreevich can only swear that the estate will never be sold. He says he will not allow an auction.
The new owner of the garden
Nevertheless, the auction did take place. Lopakhin became the owner of the estate, who cannot believe his own happiness. After all, his father and grandfather worked here, "were slaves", they were not even allowed into the kitchen. The purchase of the estate for Lopakhin becomes a kind of symbol of his success. This is a well-deserved reward for many years of work. The hero would like his grandfather and father to rise from the grave and be able to rejoice with him, to see how their descendant has succeeded in life.
Negative qualities of Lopakhin
The cherry orchard for Lopakhin is just land. It can be bought, pledged, or sold. This hero, in his joy, did not consider himself obliged to show a sense of tact in relation to the former owners of the purchased estate. Lopakhin immediately begins to cut down the garden. He did not want to wait for the departure of the former owners of the estate. The soulless footman Yasha is somewhat similar to him. It completely lacks such qualities as attachment to the place where he was born and raised, love for his mother, kindness. In this respect, Yasha is the complete opposite of Firs, a servant who has unusually developed these feelings.
Attitude to the garden of Firs' servant
In revealing, it is necessary to say a few words about how Firs, the oldest of all in the house, treated him. For many years he devotedly served his masters. This man sincerely loves Gaev and Ranevskaya. He is ready to protect these heroes from all troubles. We can say that Firs is the only one of all the characters in The Cherry Orchard, endowed with such a quality as devotion. This is a very integral nature, which is manifested in its entirety in the attitude of the servant to the garden. For Firs, the estate of Ranevskaya and Gaev is a family nest. He seeks to protect it, as well as its inhabitants.
Representatives of the new generation
The image of the cherry orchard in the play "The Cherry Orchard" is dear only to those heroes who have important memories with it. The representative of the new generation is Petya Trofimov. The fate of the garden does not interest him at all. Petya declares: "We are higher than love." Thus, he admits that he is not capable of experiencing serious feelings. Trofimov looks at everything too superficially. He does not know real life, which he is trying to remake based on far-fetched ideas. Anya and Petya are outwardly happy. They yearn for a new life, for which they seek to break with the past. For these heroes, the garden is "all of Russia", and not a specific cherry orchard. But is it possible to love the whole world without loving your own home? Petya and Anya are losing their roots in striving for new horizons. Mutual understanding between Trofimov and Ranevskaya is impossible. For Petya, there are no memories, no past, and Ranevskaya deeply experiences the loss of the estate, since she was born here, her ancestors also lived here, and she sincerely loves the estate.
Who will save the garden?
As we have already noted, it is a symbol of beauty. It can only be saved by people who are able not only to appreciate it, but also to fight for it. Active and energetic people who replace the nobility treat beauty only as a source of profit. What will happen to her, who will save her?
The image of the cherry orchard in Chekhov's play "The Cherry Orchard" is a symbol of the home and the past, dear to the heart. Can you boldly go forward if you hear the knock of an ax behind your back, which destroys everything that was previously sacred? It should be noted that the cherry orchard is and it is no coincidence that such expressions as "hitting a tree with an ax," "trample a flower" and "chopping down the roots" sound inhuman and blasphemous.
So, we briefly examined the image of the cherry orchard as understood by the characters in the play "The Cherry Orchard". Reflecting on the actions and characters of the characters in Chekhov's work, we also reflect on the fate of Russia. After all, she is a "cherry orchard" for all of us.
The Cherry Orchard as the central image of the play
The action of the last work by A.P. Chekhov takes place on the estate of Ranevskaya Lyubov Andreevna, which in a few months will be sold at auction for debts, and it is the image of the garden in the play "The Cherry Orchard" that takes center stage. However, from the very beginning, the presence of such a huge garden is puzzling. This circumstance was rather harshly criticized by I.A. Bunin, a hereditary nobleman and landowner. He wondered how one could extol cherry trees, which are not particularly beautiful, have gnarled trunks and small flowers. Bunin also drew attention to the fact that gardens of only one direction are never found in manor estates, as a rule, they were mixed. If you count, the garden covers an area of about five hundred hectares! To care for such a garden requires a very large number of people. It is obvious that before the abolition of serfdom, the garden was kept in order, and it is quite possible that the harvest brought profit to its owners. But after 1860, the garden began to fall into disrepair, since the owners did not have the money or the desire to hire workers. And it's scary to imagine what impassable jungle the garden has turned into in 40 years, since the play takes place at the turn of the century, as evidenced by the walk of the owners and servants not through the beautiful bushes, but across the field.
All this shows that the play was not conceived of a specific everyday meaning of the image of the cherry orchard. Lopakhin singled out only its main advantage: "The only thing that is remarkable about this garden is that it is large." But it is precisely the image of the cherry orchard in Chekhov's play that is presented as a reflection of the ideal meaning of the object of artistic space, built from the words of the characters who, throughout the stage history, idealize and embellish the old garden. For the playwright, the blooming garden has become a symbol of ideal, but receding beauty. And this fleeting and destructible charm of the past, contained in thoughts, feelings and actions, is attractive both for the playwright and for the audience. Connecting the fate of the estate with the heroes, Chekhov combined nature with social significance by contrasting them, thereby revealing the thoughts and actions of his characters. He tries to remind what is the true destiny of people, for which spiritual renewal is necessary, in which lies the beauty and happiness of being.
Cherry Orchard - a means of revealing the characters of the characters
The image of the cherry orchard in the plot development of the play is of great importance. It is through the attitude towards him that the acquaintance with the worldview of the heroes occurs: their place in the historical changes that befell Russia becomes clear. The viewer's acquaintance with the garden takes place in May, at a wonderful time of flowering, and its aroma fills the surrounding space. The owner of the garden, who was absent for a long time, is returning from abroad. However, in the years she traveled, nothing in the house has changed. Even the nursery, which has not had a single child for a long time, bears the same name. What does a garden mean for Ranevskaya?
This is her childhood, she even imagines her mother, her youth and not a very successful marriage to a man like her, a frivolous spender; the love passion that arose after the death of her husband; death of the youngest son. From all this, she fled to France, abandoning everything, hoping that the escape would help her to forget. But even abroad, she did not find peace and happiness. And now she has to decide the fate of the estate. Lopakhin offers her the only way out - to cut down the garden, which does not bring any benefit and is very neglected, and give the vacated land for summer cottages. But for Ranevskaya, brought up in the best aristocratic traditions, everything that is replaced by money and is measured by it is vulgar. Rejecting Lopakhin's offer, she again and again asks his advice, hoping that it is possible to save the garden without destroying it: “What should we do? Teach what? " Lyubov Andreevna never dares to overstep her convictions, and the loss of the garden becomes a bitter loss for her. However, she admitted that she had no hands on the sale of the estate, and without much hesitation, leaving her daughters and brother, she was going to leave her homeland again.
Gaev goes over the ways to save the estate, but they are all ineffectual and too fantastic: to receive an inheritance, to marry Anya to a rich man, to ask for money from a rich aunt, or to borrow from someone else. However, he guesses about it: "... I have a lot of funds ... that means ... not a single one." He, too, is bitter from the loss of the family nest, but his feelings are not as deep as he would like to show it. After the auction, his sadness is dispelled as soon as he hears the sounds of his beloved billiards.
For Ranevskaya and Gaev, the cherry orchard is a thread into the past, where there was no room for thoughts about the financial side of life. This is a happy, carefree time when there was no need to decide something, there were no shocks, and they were the masters.
Anya loves the garden as the only bright thing in her life “I'm at home! Tomorrow morning I'll get up and run to the garden ... ". She is sincerely worried, but she cannot do anything to save the estate, relying on the decisions of her older relatives. Although in fact, she is much more reasonable than her mother and uncle. In many ways, under the influence of Petya Trofimov, the garden ceases to mean the same for Anya as it did for the older generation of the family. She outgrows this somewhat painful attachment to her native land, and later she herself wonders that she has stopped loving the garden: “Why I no longer love the cherry orchard, as before ... it seemed to me that there is no better place on earth like our garden”. And in the final scenes, she is the only one of the residents of the sold estate who looks to the future with optimism: "... We will plant a new garden, more luxurious than this, you will see it, you will understand ..."
For Petya Trofimov, the garden is a living monument to serfdom. It is Trofimov who says that the Ranevskaya family still lives in the past, in which they were the owners of "living souls", and this imprint of slavery on them: "... you ... no longer notice that you are living on debt, at someone else's expense ...", and openly declares that Ranevskaya and Gaev are simply afraid of real life.
The only person who fully understands the value of the cherry orchard is the "new Russian" Lopakhin. He sincerely admires it, calling it a place "there is nothing more beautiful in the world." He dreams rather to clear the territory of trees, but not for the purpose of destruction, but in order to transfer this land into a new hypostasis, which will be seen by “grandchildren and great-grandchildren”. He sincerely tried to help Ranevskaya save the estate and pity her, but now the garden belongs to him, and unrestrained glee is strangely mixed with compassion for Lyubov Andreevna.
The symbolic image of the cherry orchard
The play "The Cherry Orchard", written at the turn of the epochs, became a reflection of the changes taking place in the country. The old is already gone, and an unknown future is coming to replace it. For each of the participants in the play, the garden has its own, but the symbolic image of the cherry orchard is one that is leaving the past for everyone except Lopakhin and Trofimov. “The earth is great and beautiful, there are many wonderful places on it,” says Petya, thereby showing that the people of the new era, to whom he belongs, are not attached to their roots, and this is alarming. People who loved the garden easily abandoned it, and this is frightening, because if “All Russia is our garden,” as Petya Trofimov says, what will happen if everyone gives up on the future of Russia? And remembering history, we see: after just over 10 years, such upheavals began to occur in Russia that the country really became a mercilessly destroyed cherry orchard. Therefore, an unambiguous conclusion can be made: the main image of the play has become a true symbol of Russia.
The image of the garden, an analysis of its meaning in the play and a description of the attitude of the main characters towards it will help 10th grade students in preparing an essay on the topic “The image of a garden in the play“ The Cherry Orchard ”by Chekhov."
Product test
Comedy in 4 acts
Characters
Ranevskaya Lyubov Andreevna, landowner. Anya, her daughter, 17 years old. Varya, her adopted daughter, 24 years old. Gaev Leonid Andreevich, brother of Ranevskaya. Lopakhin Ermolai Alekseevich, merchant. Trofimov Petr Sergeevich, student. Simeonov-Pishchik Boris Borisovich, landowner. Charlotte Ivanovna, governess. Epikhodov Semyon Panteleevich, clerk. Dunyasha, the maid. Firs, a footman, an old man of 87 years old. Yasha, a young footman. Passer-by. Stationmaster. Postal clerk. Guests, servants.The action takes place in the estate of L. A. Ranevskaya.
Action one
The room that is still called the children's room. One of the doors leads to Ani's room. Dawn, the sun will rise soon. It's May, cherry trees are blooming, but it's cold in the garden, it's a matinee. The windows in the room are closed.
Enter DUNYASHA with a candle and LOPAKHIN with a book in his hand.
Lopakhin. The train came, thank God. What time is it now? Dunyasha. Soon two. (Extinguishes the candle.) It is already daylight. Lopakhin. How late was the train? At least two hours. (Yawns and stretches.) I'm good, what a fool I've played! I came here on purpose to meet you at the station, and suddenly overslept ... I fell asleep while sitting. A shame ... if only you woke me up. Dunyasha. I thought you were gone. (Listens.) They seem to be on their way. Lopakhin (listens)... No ... Get your baggage, this and that ...Lyubov Andreevna has lived abroad for five years, I don’t know what she has become now ... She is a good person. Lightweight, simple person. I remember when I was a boy of about fifteen, my deceased father - he was a trader here in the village at that time - hit me in the face with his fist, blood started flowing from my nose ... Then for some reason we came together into the yard, and he was drunk. Lyubov Andreevna, as I remember now, still young, so thin, took me to the washstand, in this very room, in the nursery. "Don't cry, the little man says, he will heal before the wedding ..."
A peasant ... My father, it is true, was a peasant, and here I am in a white waistcoat and yellow shoes. With a pork snout in a kalashny row ... Just now he is rich, there is a lot of money, and if you think about it and figure it out, then a man is a man ... (Flips through the book.) I read a book here and did not understand anything. I read and fell asleep.
Dunyasha. And the dogs did not sleep all night, they sense that the owners are coming. Lopakhin. What are you, Dunyasha, such ... Dunyasha. Hands are shaking. I will faint. Lopakhin. You are very gentle, Dunyasha. And you dress like a young lady, and your hair too. You can not do it this way. We must remember ourselves.Epikhodov enters with a bouquet; he is in a jacket and brightly polished boots, which squeak strongly; entering, he drops the bouquet.
Epikhodov (picks up the bouquet)... Here the Gardener sent, he says, to put it in the dining room. (Gives Dunyasha a bouquet.) Lopakhin. And bring me kvass. Dunyasha. I'm listening. (Leaves.) Epikhodov. It’s a matinee, three degrees of frost, and the cherry blossoms are in full bloom. Can't approve of our climate. (Sighs) I can't. Our climate may not help just right. Here, Yermolai Alekseich, let me add to you, I bought myself boots the day before yesterday, and they, I dare to assure you, creak so that there is no way. How to lubricate? Lopakhin. Leave me alone. I'm tired of it. Epikhodov. Every day some misfortune happens to me. And I don't grumble, I'm used to it and even smile.Dunyasha enters, serves Lopakhin kvass.
I will go. (Bumps into a chair that falls.) Here... (As if triumphant.) You see, excuse the expression, what a circumstance, by the way ... It's just wonderful! (Leaves.)
Dunyasha. And to me, Ermolai Alekseich, to admit, Epikhodov made an offer. Lopakhin. A! Dunyasha. I don’t know how ... He is a meek man, but only sometimes he starts talking, you don’t understand anything. Both good and sensitive, only incomprehensible. I seem to like him. He loves me madly. He is an unhappy person, something every day. They tease him with us: twenty-two misfortunes ... Lopakhin (listens)... They seem to be going ... Dunyasha. They're coming! What is wrong with me ... all went cold. Lopakhin. They are going, in fact. Let's go meet. Does she recognize me? We haven't seen each other for five years. DUNYASHA (agitated). I'm going to fall ... Oh, I'm going to fall!Two carriages are heard approaching the house. Lopakhin and Dunyasha quickly leave. The stage is empty. Noise starts in the adjoining rooms. Firs hurriedly walks across the stage, leaning on a wand, on his way to meet Lyubov Andreyevna; he is wearing an old livery and a high hat; says something to itself, but not a single word can be made out. The noise behind the stage is getting louder. Voice: "Let's go here ..." Lyubov Andreevna, Anya and Charlotte Ivanovna with a dog on a chain, dressed for the road. Cooking in a coat and a scarf, Gaev, Simeonov-Pishchik, Lopakhin, Dunyasha with a bundle and an umbrella, a servant with things — all walk across the room.
Anya. Let's go here. Do you, mom, remember what room this is? Lyubov Andreevna (joyfully, through tears)... Children's room! Varya . How cold my hands are numb. (To Lyubov Andreevna.) Your rooms, white and purple, are the same, Mom. Lyubov Andreevna... The nursery, my dear, beautiful room ... I slept here when I was little ... (Cries.) And now I am like a little ... (Kisses his brother, Varya, then his brother again.) And Varya is still the same, she looks like a nun. And I recognized Dunyasha ... (Kisses Dunyasha.) Gaev. The train was two hours late. How does it feel? What are the orders? CHARLOTTE (to Pischik). My dog also eats nuts. Peepy (surprised). Think about it!Everyone leaves, except for Anya and Dunyasha.
Dunyasha. We were longing ... (Takes off Anya's coat and hat.) Anya. I didn’t sleep on the road for four nights ... now I’m very cold. Dunyasha. You left in Great Lent, then there was snow, there was frost, and now? My sweetheart! (Laughs, kisses her.) I was longing for you, my joy, light ... I'll tell you now, I can't resist for one minute ... ANYA (sluggishly). Something again ... Dunyasha. After the Saint, the clerk Epikhodov proposed to me. Anya. You're all about one thing ... (Straightens her hair.) I lost all the pins ... (She is very tired, even staggering.) Dunyasha. I don’t know what to think. He loves me, loves me so! Anya (looks at her door, tenderly)... My room, my windows, as if I hadn't left. I'm at home! Tomorrow morning I'll get up and run to the garden ... Oh, if only I could sleep! I did not sleep all the way, anxiety tormented me. Dunyasha. The day before yesterday, Pyotr Sergeich arrived. ANYA (joyfully). Peter! Dunyasha. They sleep in the bath, and live there. I'm afraid, they say, to embarrass. (Glancing at his pocket watch.) We ought to wake them up, but Varvara Mikhailovna didn’t tell them to. You, he says, don't wake him up.Varya enters with a bunch of keys on her belt.
Varya . Dunyasha, coffee soon ... Mommy asks for coffee. Dunyasha. Just a minute. (Leaves.) Varya . Well, thank God, we've arrived. You're home again. (Caressing.) My darling has arrived! The beauty has arrived! Anya. I have had enough. Varya . Imagine! Anya. I left during Holy Week, it was cold then. Charlotte speaks all the way, performs magic tricks. And why did you impose Charlotte on me ... Varya . You can't go alone, darling. At seventeen! Anya. We arrive in Paris, it is cold there, snow. I speak French terribly. Mom lives on the fifth floor, I come to her, she has some French, ladies, an old father with a book, and it’s smoky, uncomfortable. I suddenly felt sorry for my mother, so sorry, I hugged her head, squeezed her hands and cannot let go. Mom then caressed everything, cried ... VARYA (through tears). Don't talk, don't talk ... Anya. She had already sold her dacha near Menton, she had nothing left, nothing. I, too, did not have a penny left, as soon as we arrived. And mom doesn't understand! We sit at the station for dinner, and she demands the most expensive things and gives the footmen a ruble each for tea. Charlotte too. Yasha also demands a portion, it's just awful. After all, mother's footman Yasha, we brought him here ... Varya . I saw the scoundrel. Anya. Well, how? Have you paid the interest? Varya . Where exactly. Anya. Oh my god, my god ... Varya . The estate will be sold in August ... Anya. My God... Lopakhin (looks in the door and hums)... Me-e-e ... (Exits.) VARYA (through tears). That's how I would give him ... (He threatens with his fist.) Anya (hugs Varya, quietly)... Varya, did he propose? (VARYA shakes her head in the negative.) After all, he loves you ... Why don't you explain yourself, what are you waiting for? Varya . I think that nothing will come of it. He has a lot to do, he has no time for me ... and pays no attention. God be with him at all, it's hard for me to see him ... Everyone talks about our wedding, everyone congratulates, but in fact there is nothing, everything is like a dream ... (In a different tone.) You have a brooch like a bee. ANYA (sadly). Mom bought it. (Goes to her room, speaks cheerfully, childishly.) And in Paris I flew in a hot air balloon! Varya . My darling has arrived! The beauty has arrived!Dunyasha has already returned with a coffee pot and is making coffee.
(Stands near the door.) I go, darling, the whole day around the house and all my dreams. I would have passed you off as a rich man, and then I would have been calmer, I would have gone to the desert, then to Kiev ... to Moscow, and so I would all go to holy places ... I would go and walk. Splendor! .. Anya. Birds are singing in the garden. What time is it now? Varya . Must be the third. It's time for you to sleep, darling. (Entering Anya's room.) Splendor!Yasha enters with a blanket and a travel bag.
Yasha (walks across the stage, delicately)... Can I get through here, sir? Dunyasha. And you don't recognize you, Yasha. What you have become abroad. Yasha. Hm ... Who are you? Dunyasha. When you left here, I was like ... (Shows off the floor.) Dunyasha, Fyodor Kozoedov's daughter. You do not remember! Yasha. Hm ... Cucumber! (Looks around and hugs her; she screams and drops the saucer. Yasha quickly leaves.) Varya (at the door, in a disgruntled voice)... What else is there? DUNYASHA (through tears). Broke the saucer ... Varya . This is good. Anya (leaving my room)... I ought to warn my mother: Petya is here ... Varya . I ordered him not to wake him up. ANYA (thoughtfully.) Six years ago my father died, a month later his brother Grisha, a pretty seven-year-old boy, drowned in the river. Mom could not bear it, she left, left, without looking back ... (Shudders.) As I understand her, if only she knew!And Petya Trofimov was Grisha's teacher, he may recall ...
Firs enters; he is in a jacket and white waistcoat.
Firs (goes to the coffee pot, worried)... The lady will eat here ... (Puts on white gloves.) Is the coffee ready? (Strictly to Dunyasha.) You! And the cream? Dunyasha. Oh my god ... (Leaves quickly.) Firs (fusses around the coffee pot)... Eh, you fool ... (Mumbles to himself.) We came from Paris ... And the master once went to Paris ... on horseback ... (Laughs.) Varya . Firs, what are you talking about? Firs. What will you please? (Joyfully.) My lady has arrived! Wait! Now, even though I'm going to die ... (Cries for joy.)Enter Lyubov Andreevna, Gaev, Lopakhin and Simeonov-Pischik; Simeonov-Pischik in a jersey made of thin cloth and trousers. Gaev, entering, makes movements with his arms and body, as if playing billiards.
Lyubov Andreevna... Like this? Let me remember ... Yellow in the corner! Doublet in the middle! Gaev. I'm cutting into the corner! Once upon a time you and I, sister, slept in this very room, and now I am fifty-one years old, oddly enough ... Lopakhin. Yes, time is ticking. Gaev. Whom? Lopakhin. Time, I say, is passing. Gaev. And here it smells of patchouli. Anya. I'll go to bed. Good night, Mom. (Kisses his mother.) Lyubov Andreevna... My darling child. (Kisses her hands.) Are you glad you're home? I won't come to my senses. Anya. Goodbye uncle. Gaev (kisses her face, hands)... The Lord is with you. How much you look like your mother! (To the sister.) You, Lyuba, were exactly like that in her years.Anya gives her hand to Lopakhin and Pischik, leaves and closes the door behind her.
Lyubov Andreevna... She was very tired. Pischik. The road must be long. Varya (To Lopakhin and Pischik)... Well, gentlemen? The third hour, it's time and honor to know. Lyubov Andreevna(laughs). You are still the same, Varya. (He draws her to him and kisses her.) I’ll have some coffee, then we’ll all leave.Fiers puts a pillow under her feet.
Thank you dear. I'm used to coffee. I drink it day and night. Thank you, my old man. (Kisses Firs.)
Varya . See if they've brought all the things ... (Exit.) Lyubov Andreevna... Is it really me sitting? (Laughs.) I want to jump, wave my arms. (Covers his face with his hands.) What if I'm dreaming! God knows, I love my homeland, I love it dearly, I could not look from the carriage, I was crying all the time. (Through tears.) However, you must drink coffee. Thank you, Firs, thank you, my old man. I'm so glad you're still alive. Firs. The day before yesterday. Gaev. He is hard of hearing. Lopakhin. Now, at five o'clock in the morning, I have to go to Kharkov. Such a shame! I wanted to look at you, talk ... You are all the same gorgeous. Pischik (breathing heavily). Even prettier ... Dressed in Parisian style ... disappear my cart, all four wheels ... Lopakhin. Your brother, here is Leonid Andreevich, says about me that I am a boor, I am a fist, but that is absolutely all the same to me. Let him speak. I only wish that you would still believe me, that your amazing, touching eyes would look at me as before. Merciful God! My father was a serf with your grandfather and father, but you, in fact, did so much for me once that I forgot everything and love you like my own ... more than my own. Lyubov Andreevna... I can’t sit, I’m not able to ... (Jumps up and walks in great excitement.) I will not survive this joy ... Laugh at me, I'm stupid ... My dear cupboard ... (Kisses the cupboard.) My table. Gaev. And without you, the nanny died here. Lyubov Andreevna (sits down and drinks coffee)... Yes, the kingdom of heaven. They wrote to me. Gaev. And Anastasius died. Petrushka Kosoy left me and now lives in the city with the bailiff. (Takes a box of candies out of his pocket and sucks.) Pischik. My daughter, Dasha ... bows to you ... Lopakhin. I would like to tell you something very pleasant and funny. (Glancing at his watch.) I’m leaving now, there’s no time to talk ... well, yes, I’m in two or three words. You already know that your cherry orchard is being sold for debts, the auction is scheduled for the twenty-second of August, but don't worry, my dear, sleep well, there is a way out ... Here is my project. Attention please! Your estate is located only twenty versts from the city, there is a railway near it, and if the cherry orchard and the land along the river are divided into summer cottages and then leased out to summer cottages, then you will have at least twenty-five thousand a year of income. Gaev. Sorry, what nonsense! Lyubov Andreevna... I don't quite understand you, Ermolai Alekseich. Lopakhin. You will take from the summer residents at least twenty-five rubles a year for a tithe, and if you announce it now, then I can guarantee you anything, you will not have a single piece of free space until the fall, they will take everything apart. In short, congratulations, you are saved. The location is wonderful, the river is deep. Only, of course, you need to tidy up, clean ... for example, let's say, demolish all the old buildings, this house, which is no longer good for anything, cut down the old cherry orchard ... Lyubov Andreevna... Cut it out? My dear, forgive me, you do not understand anything. If there is anything interesting, even wonderful, in the whole province, it is only our cherry orchard. Lopakhin. The only wonderful thing about this garden is that it is very large. Cherries are born every two years, and there is nowhere to go, no one buys. Gaev. And in the "Encyclopedic Dictionary" it is mentioned about this garden. Lopakhin (glancing at the clock)... If we don't think of anything and come to nothing, then on August 22, both the cherry orchard and the entire estate will be auctioned. Make up your mind! There is no other choice, I swear to you. No and no. Firs. In the old days, forty or fifty years ago, cherries were dried, soaked, pickled, jam was cooked, and it used to be ... Gaev. Shut up, Fiers. Firs. And it used to be that dried cherries were sent by carts to Moscow and Kharkov. There was money! And then dried cherries were soft, juicy, sweet, fragrant ... The method was then known ... Lyubov Andreevna... Where is this method now? Firs. Forgot. Nobody remembers. Peep (Lyubov Andreevna)... What's in Paris? How? Did you eat frogs? Lyubov Andreevna... I ate crocodiles. Pischik. Think ... Lopakhin. Until now, there were only gentlemen and peasants in the village, and now there are also summer residents. All cities, even the smallest, are now surrounded by dachas. And we can say that the summer resident in twenty years will multiply to extraordinary. Now he only drinks tea on the balcony, but it may happen that on his one tithe he will take care of the household, and then your cherry orchard will become happy, rich, luxurious ... GAYEV (indignantly). What nonsense!Enter VARYA and YASHA.
Varya . Here, mommy, you have two telegrams. (She selects a key and unlocks an antique cabinet with a clang.) Here they are. Lyubov Andreevna... This is from Paris. (Tears the telegrams without reading them.) It's over with Paris ... Gaev. Do you know, Lyuba, how old this cabinet is? A week ago, I opened the bottom drawer, I look, and there are numbers burned out. The cabinet was made exactly one hundred years ago. How does it feel? A? It would be possible to celebrate the anniversary. The object is inanimate, but still, after all, a bookcase. Peepy (surprised). One hundred years ... Think about it! .. Gaev. Yes ... This is a thing ... (Feeling the wardrobe.) Dear, dear wardrobe! I greet your existence, which for over a hundred years has been directed towards the bright ideals of goodness and justice; your silent call for fruitful work has not weakened for a hundred years, maintaining (through tears) in generations of our kind courage, faith in a better future and instilling in us the ideals of goodness and social consciousness. Lopakhin. Yes... Lyubov Andreevna... You are still the same, Lepya. Gaev (a little confused)... From the ball to the right into the corner! I cut into the middle! Lopakhin (looking at the clock)... Well, I have to go. Yasha (gives medicines to Lyubov Andreevna)... Maybe take the pills now ... Pischik. No need to take medicines, dear ... they do not harm or benefit ... Give me here ... dear. (He takes the pills, pours them into his palm, blows on them, puts them in his mouth, and drinks down kvass.) Here! Lyubov Andreevna(scared). You're out of your mind! Pischik. I took all the pills. Lopakhin. What a breakthrough.Everyone laughs.
Firs. They were with us in the Holy, ate half a bucket of cucumbers ... (Mumbles.) Lyubov Andreevna... What is he talking about? Varya. For three years he has been muttering like that. We are used to it. Yasha. Advanced age.Charlotte Ivanovna in a white dress, very thin, pulled together, with a lorgnette on her belt, passes through the stage.
Lopakhin. Excuse me, Charlotte Ivanovna, I haven't had time to say hello to you yet. (He wants to kiss her hand.) CHARLOTTE (removing her hand). If you allow you to kiss your hand, then you will then wish on the elbow, then on the shoulder ... Lopakhin. I have no luck today.Everyone laughs.
Charlotte Ivanovna, show your trick!
Lyubov Andreevna... Charlotte, show the trick! Charlotte. Do not. I want to sleep. (Leaves.) Lopakhin. See you in three weeks. (Kisses Lyubov Andreyevna's hand.) Goodbye for now. It's time. (To GAYEV) Goodbye. (Kisses Pischik.) Goodbye. (He gives his hand to Varya, then to Firs and Yasha.) I don't want to leave. (To Lyubov Andreevna.) If you think about dachas and decide, then let me know, I'll borrow fifty thousand. Think seriously. VARYA (angrily). Yes, leave at last! Lopakhin. I'm leaving, I'm leaving ... (Leaves.) Gaev. Ham. However, sorry ... Varya is marrying him, this is Varin's fiancé. Varya . Don't say too much, uncle. Lyubov Andreevna... Well, Varya, I will be very glad. He's a good man. Pischik. Man, you have to tell the truth ... most worthy ... And my Dasha ... also says that ... she speaks different words. (Snores, but wakes up immediately.) And yet, dear, lend me ... borrow two hundred and forty rubles ... pay interest on the mortgage tomorrow ... VARYA (scared). No, no! Lyubov Andreevna... I really have nothing. Pischik. There will be. (Laughs.) I never lose hope. So, I think, everything is gone, lost, lo and behold - the railway passed through my land, and ... I was paid. And there, look, something else will happen not today or tomorrow ... Dasha will win two hundred thousand ... she has a ticket. Lyubov Andreevna... I have drunk coffee, you can retire. Firs (brushes Gaev, instructively)... They wore the wrong trousers again. And what am I to do with you! VARYA (quietly). Anya is sleeping. (He quietly opens the window.) The sun has already risen, it is not cold. Take a look, Mommy: what wonderful trees! My God, the air! The starlings are singing! Gaev (opens another window)... The garden is all white. Have you forgotten, Lyuba? This long alley goes straight, like a stretched belt, it shines on moonlit nights. Do you remember? Didn't you forget? Lyubov Andreevna (looks out the window at the garden)... Oh, my childhood, my purity! I slept in this nursery, looked out at the garden from here, happiness woke up with me every morning, and then he was exactly the same, nothing changed. (Laughs with joy.) All, all white! Oh, my garden! After a dark, stormy autumn and cold winter, you are young again, full of happiness, the heavenly angels have not left you ... If only a heavy stone could be removed from my chest and shoulders, if I could forget my past! Gaev. Yes, and the garden will be sold for debts, oddly enough ... Lyubov Andreevna... Look, the late mother walks through the garden ... in a white dress! (Laughs with joy.) That's her. Gaev. Where? Varya . The Lord is with you, mommy. Lyubov Andreevna... There is no one, it seemed to me. To the right, at the turn to the gazebo, the white tree bent down, like a woman ...Trofimov enters, wearing a shabby student's uniform and glasses.
What an amazing garden! White masses of flowers, blue sky ...
Trofimov. Lyubov Andreevna!She looked back at him.
I will only bow to you and leave at once. (She kisses her hand warmly.) I was ordered to wait until morning, but I didn't have the patience ...
Lyubov Andreevna looks with bewilderment.
VARYA (through tears). This is Petya Trofimov ... Trofimov. Petya Trofimov, your Grisha's former teacher ... Have I really changed so much?Lyubov Andreevna hugs him and cries quietly.
GAYEV (embarrassed). Full, full, Lyuba. VARYA (crying). I told you, Petya, to wait until tomorrow. Lyubov Andreevna... My Grisha ... my boy ... Grisha ... my son ... Varya . What to do, Mom. God's will. Trofimov (softly, through tears)... Will be, will be ... Lyubov Andreevna(cries quietly). The boy died, drowned ... For what? For what, my friend? (Hush.) Anya is sleeping there, and I am speaking loudly ... making a noise ... Well, Petya? Why are you so ugly? Why did you get old? Trofimov. One woman called me in the carriage like this: shabby gentleman. Lyubov Andreevna... You were then just a boy, a lovely student, and now your hair is not thick, glasses. Are you still a student? (Goes to the door.) Trofimov. I must be an eternal student. Lyubov Andreevna (kisses his brother, then Varya)... Well, go to sleep ... You too have grown old, Leonid. Pischik (goes after her). So now sleep ... Oh, my gout. I'll stay with you ... I would, Lyubov Andreyevna, my soul, tomorrow morning ... two hundred and forty rubles ... Gaev. And this one is all his own. Pischik. Two hundred and forty rubles ... to pay interest on the mortgage. Lyubov Andreevna... I have no money, my dear. Pischik. I'll give it back, dear ... The amount is trifling ... Lyubov Andreevna... Well, okay, Leonid will ... Give it to me, Leonid. Gaev. I'll give him, keep your pocket. Lyubov Andreevna... What to do, give ... He needs ... He will give.Lyubov Andreevna, Trofimov, Pischik and Firs leave. Gayev, Varya and Yasha remain.
Gaev. My sister has not yet gotten out of the habit of wasting money. (To Yasha) Move away, my dear, you smell like chicken. Yasha (with a grin). And you, Leonid Andreevich, are still the same as you were. Gaev. Whom? (To Varya) What did he say? Varya (to Yasha). Your mother came from the village, she has been sitting in the room since yesterday, wants to see ... Yasha. God be with her at all! Varya . Ah, shameless! Yasha. Very necessary. I could have come tomorrow too. (Leaves.) Varya . Mom is the same as she was, has not changed at all. If she had the will, she would give everything away. Gaev. Yes...If a lot of remedies are offered against any disease, it means that the disease is incurable. I think, I strain my brains, I have a lot of funds, a lot and, therefore, in essence, not a single one. It would be nice to receive an inheritance from someone, it would be nice to marry our Anya off as a very rich person, it would be nice to go to Yaroslavl and try her luck with the aunt-countess. My aunt is very, very rich.
VARYA (crying). If God would help. Gaev. Do not Cry. My aunt is very rich, but she doesn't like us. The sister, firstly, married a sworn attorney, not a nobleman ...Anya shows up at the door.
She married not a nobleman and behaved one cannot say that it was very virtuous. She is good, kind, glorious, I love her very much, but no matter how you come up with extenuating circumstances, nevertheless, I must confess, she is vicious. You can feel it in her slightest movement.
VARYA (in a whisper). Anya stands in the doorway. Gaev. Whom?Surprisingly, something got into my right eye ... I began to see poorly. And on Thursday when I was at circuit court ...
Anya enters.
Varya . Why aren't you sleeping, Anya? Anya. Can't sleep. I can not. Gaev. My baby. (Kisses Anya's face and hands.) My child ... (Through tears.) You are not my niece, you are my angel, you are everything to me. Trust me, trust ... Anya. I believe you, uncle. Everyone loves you, respects you ... but, dear uncle, you need to be silent, just be silent. What did you just say about my mother, about your sister? Why did you say that? Gaev. Yes Yes... (She covers her face with her hand.) Indeed, it is awful! My God! God save me! And today I spoke in front of the closet ... so stupid! And only when I finished, I realized that it was stupid. Varya . True, uncle, you ought to be silent. Be silent to yourself, that's all. Anya. If you remain silent, then you yourself will be at peace. Gaev. I am silent. (Kisses Anya and Varya's hands.) I am silent. Only about the case. On Thursday I was in the district court, well, the company got together, the conversation began about this and that, the fifth or tenth, and it seems that now it will be possible to arrange a loan against promissory notes in order to pay interest to the bank. Varya . If the Lord would help! Gaev. On Tuesday I'll go and talk again. (To Varya) Don't cry. (Not.) Your mom will talk to Lopakhin; he, of course, will not refuse her ... And when you have rest, you will go to Yaroslavl to see the countess, your grandmother. This is how we will act from three ends - and our business is in the bag. We will pay the interest, I am convinced ... (Puts a lollipop in his mouth.) By my honor, whatever you want, I swear the estate will not be sold! (Excitedly.) I swear by my happiness! Here is my hand for you, call me then a trashy, dishonest person, if I admit it to the auction! I swear with all my being! Anya (calm mood returned to her, she is happy)... How good you are, uncle, how smart! (Embraces his uncle.) I am calm now! I am dead! I'm happy!Firs enters.
Firs (reproachfully). Leonid Andreevich, you are not afraid of God! When to sleep? Gaev. Now. You go away, Fiers. So be it, I'll undress myself. Well, kids, bye-bye ... Details tomorrow, now go to bed. (Kisses Anya and Varya.) I am a man of the eighties ... This time is not praised, but still I can say that for my convictions I got a lot in my life. No wonder the man loves me. You need to know the guy! You need to know with what ... Anya. You again, uncle! Varya . You, uncle, keep quiet. Firs (angrily). Leonid Andreevich! Gaev. I'm going, I'm going ... Lie down. From two sides to the middle! I put it clean ... (He leaves, Firs trotting after him.) Anya. I am at peace now. I don’t want to go to Yaroslavl, I don’t like my grandmother, but still I’m at peace. Thanks uncle. (Sits down.) Varya . Need to sleep. I’ll go. And here without you there was displeasure. In the old man's room, as you know, only old servants live: Efimyushka, Polya, Evstigney, and Karp. They began to let some crooks stay overnight - I said nothing. Only now, I hear, they spread the rumor that I ordered to feed them with only one peas. From stinginess, you see ... And this is all Evstigney ... Okay, I think. If so, I think, then wait. I call Evstigney ... (Yawns.) Comes ... How are you, I say, Evstigney ... you are such a fool ... (Looking at Anya.) Anya! ..I fell asleep! .. (Takes Anya by the arm.) Let's go to bed ... Let's go! .. (Leads her.) My darling has fallen asleep! Let's go to...
The Cherry Orchard is the pinnacle of Russian drama at the beginning of the 20th century, a lyrical comedy, a play that marked the beginning of a new era in the development of Russian theater.
The main theme of the play is autobiographical - a bankrupt family of nobles is auctioning off their family estate. The author, as a person who has gone through a similar life situation, with a subtle psychologism describes the state of mind of people who are soon forced to leave their home. The novelty of the play is the lack of division of heroes into positive and negative, major and minor. They all fall into three categories:
- people of the past - noble aristocrats (Ranevskaya, Gaev and their lackey Firs);
- people of the present - their bright representative merchant-entrepreneur Lopakhin;
- people of the future - progressive youth of that time (Peter Trofimov and Anya).
History of creation
Chekhov began work on the play in 1901. Due to serious health problems, the writing process was rather difficult, but nevertheless, in 1903 the work was completed. The first theatrical production of the play took place a year later on the stage of the Moscow Art Theater, becoming the pinnacle of Chekhov's work as a playwright and a textbook classic of the theatrical repertoire.
Analysis of the piece
Description of the work
The action takes place in the family estate of the landowner Lyubov Andreevna Ranevskaya, who returned from France with her young daughter Anya. At the railway station they are met by Gaev (Ranevskaya's brother) and Varya (her adopted daughter).
The financial situation of the Ranevsky family is approaching complete collapse. The entrepreneur Lopakhin offers his own version of the solution to the problem - to divide the land plot into shares and give them to summer residents for a certain fee. The lady is burdened by this offer, because for this she will have to say goodbye to her beloved cherry orchard, which is associated with many warm memories of her youth. Adding to the tragedy is the fact that her beloved son Grisha died in this garden. Gayev, imbued with the feelings of his sister, reassures her with a promise that their family estate will not be put up for sale.
The action of the second part takes place on the street, in the courtyard of the estate. Lopakhin, with his characteristic pragmatism, continues to insist on his plan to save the estate, but no one pays attention to him. Everyone switches to the appeared teacher Pyotr Trofimov. He delivers an excited speech on the fate of Russia, its future and touches on the topic of happiness in a philosophical context. The materialist Lopakhin is skeptical about the young teacher, and it turns out that only Anya is capable of imbuing with his lofty ideas.
The third act begins with Ranevskaya's last money inviting the orchestra and arranging a dance evening. At the same time, Gaev and Lopakhin are absent - they left for the city for the auction, where the Ranevskys' estate should go under the hammer. After anxious waiting, Lyubov Andreevna learns that her estate was bought at auction by Lopakhin, who does not hide the joy of his acquisition. The Ranevsky family is in despair.
The final is entirely devoted to the departure of the Ranevsky family from their home. The parting scene is shown with all the deep psychologicalism inherent in Chekhov. The play ends with a remarkably deep monologue by Firs, which the owners in a hurry forgot in the estate. The final chord is the sound of an ax. The cherry orchard is being cut.
main characters
Sentimental person, owner of the estate. Having lived for several years abroad, she is accustomed to a luxurious life and, by inertia, continues to allow herself a lot that, given the deplorable state of her finances, according to the logic of common sense, should be inaccessible to her. Being a frivolous person, very helpless in everyday matters, Ranevskaya does not want to change anything in herself, while she is fully aware of her weaknesses and shortcomings.
A successful merchant, he owes a lot to the Ranevsky family. His image is ambiguous - it combines diligence, prudence, enterprise and rudeness, a "peasant" beginning. In the finale of the play, Lopakhin does not share the feelings of Ranevskaya, he is happy that, despite his peasant origin, he was able to afford to buy the estate of the owners of his late father.
Like his sister, he is very sensitive and sentimental. Being an idealist and a romantic, to comfort Ranevskaya, he comes up with fantastic plans to save the family estate. He is emotional, verbose, but at the same time completely inactive.
Petya Trofimov
An eternal student, a nihilist, an eloquent representative of the Russian intelligentsia, who stands up for the development of Russia only in words. In pursuit of the "higher truth", he denies love, considering it a shallow and ghostly feeling, which immensely grieves Ranevskaya's daughter Anya, who is in love with him.
A romantic 17-year-old young lady who fell under the influence of the populist Pyotr Trofimov. Recklessly believing in a better life after the sale of her parental estate, Anya is ready for any difficulties for the sake of joint happiness next to her lover.
An 87-year-old man, a footman in the Ranevskys' house. A type of servant of the old times, he surrounds his masters with paternal care. He remained to serve his masters even after the abolition of serfdom.
A young lackey, with contempt for Russia, dreaming of going abroad. A cynical and cruel man, rude to old Firs, even disrespectful to his own mother.
The structure of the work
The structure of the piece is quite simple - 4 acts without dividing into separate scenes. The duration is several months, from late spring to mid-autumn. In the first act, there is an exposition and set-up, in the second - an increase in tension, in the third - the culmination (sale of the estate), in the fourth - the denouement. A characteristic feature of the play is the absence of genuine external conflict, dynamism, and unpredictable twists in the storyline. Author's remarks, monologues, pauses and some understatement give the play a unique atmosphere of exquisite lyricism. The artistic realism of the play is achieved through the alternation of dramatic and comic scenes.
(Scene from a modern production)
The play is dominated by the development of the emotional and psychological plan, the main driving force of the action is the inner experiences of the characters. The author expands the artistic space of the work by introducing a large number of characters who will never appear on the stage. The effect of expanding the spatial boundaries is also given by the symmetrically arising theme of France, which gives an arched form to the play.
Final conclusion
Chekhov's last play, one might say, is his "swan song". The novelty of her dramatic language is a direct expression of a special Chekhovian concept of life, which is characterized by an extraordinary attention to small, seemingly insignificant details, focusing on the inner experiences of the heroes.
In the play "The Cherry Orchard" the author captured the state of critical disunity in Russian society of his time, this sad factor is often present in scenes where the characters hear only themselves, creating only the appearance of interaction.