“The Cherry Orchard” is the pinnacle of Russian drama of the early 20th century, a lyrical comedy, a play that marked the beginning new era development of Russian theater.
The main theme of the play is autobiographical - a bankrupt family of nobles sells their family estate at auction. The author, as a person who has gone through a similar life situation, describes with subtle psychologism state of mind people who will soon be forced to leave their homes. The innovation of the play is the absence of division of heroes into positive and negative, into main and secondary ones. They are all divided into three categories:
- people of the past - noble aristocrats (Ranevskaya, Gaev and their lackey Firs);
- people of the present - their bright representative, the merchant-entrepreneur Lopakhin;
- people of the future - the progressive youth of that time (Petr Trofimov and Anya).
History of creation
Chekhov began work on the play in 1901. Due to serious health problems, the writing process was quite difficult, but nevertheless, in 1903 the work was completed. First theatrical performance 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 play
Description of the work
The action takes place on the family estate of landowner Lyubov Andreevna Ranevskaya, who returned from France with her young daughter Anya. They are met at the railway station by Gaev (Ranevskaya's brother) and Varya (her adopted daughter).
The financial situation of the Ranevsky family is nearing complete collapse. Entrepreneur Lopakhin offers his own version of a solution to the problem - to divide the land into shares and give them to summer residents for use for a certain fee. The lady is burdened by this proposal, because for this she will have to say goodbye to her beloved cherry orchard, with which many warm memories of her youth are associated. Adding to the tragedy is the fact that her beloved son Grisha died in this garden. Gaev, imbued with his sister’s feelings, 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 turns to the teacher Pyotr Trofimov who has appeared. He delivers an excited speech dedicated to 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 being imbued with his lofty ideas.
The third act begins with Ranevskaya using her last money to invite an orchestra and organize a dance evening. Gaev and Lopakhin are absent at the same time - they went to the city for an auction, where the Ranevsky estate should go under the hammer. After a tedious wait, Lyubov Andreevna learns that her estate was bought at auction by Lopakhin, who does not hide his joy at his acquisition. The Ranevsky family is in despair.
The finale is entirely dedicated to the departure of the Ranevsky family from their home. The parting scene is shown with all the deep psychologism inherent in Chekhov. The play ends with a surprisingly deep monologue by Firs, whom the owners in a hurry forgot on the estate. The final chord is the sound of an axe. They chop The Cherry Orchard.
Main characters
A sentimental person, the owner of the estate. Having lived abroad for several years, she got used to a luxurious life and, by inertia, continues to allow herself many things 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 about 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 - he combines hard work, prudence, enterprise and rudeness, a “peasant” beginning. At the end of the play, Lopakhin does not share Ranevskaya’s feelings; he is happy that, despite his peasant origins, he was able to afford to buy the estate of his late father’s owners.
Like his sister, he is very sensitive and sentimental. Being an idealist and romantic, to console 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, advocating for the development of Russia only in words. In pursuit of the “highest truth,” he denies love, considering it a petty and illusory feeling, which immensely upsets 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 Peter Trofimov. Recklessly believing in better life After the sale of her parents' estate, Anya is ready for any difficulties for the sake of shared happiness next to her lover.
An 87-year-old man, a footman in the Ranevskys' house. The type of servant of old times, surrounds his masters with fatherly care. He remained to serve his masters even after the abolition of serfdom.
A young lackey who treats Russia with contempt and dreams of going abroad. A cynical and cruel man, he is rude to old Firs and even treats his own mother with disrespect.
Structure of the work
The structure of the play is quite simple - 4 acts without dividing into separate scenes. The duration of action is several months, from late spring to mid-autumn. In the first act there is exposition and plotting, in the second there is an increase in tension, in the third there is a climax (the sale of the estate), in the fourth there is a denouement. Characteristic feature the play is the absence of genuine external conflict, dynamism, unpredictable turns storyline. The author's remarks, monologues, pauses and some understatement give the play a unique atmosphere of exquisite lyricism. Artistic realism The play is achieved through the alternation of dramatic and comic scenes.
(Scene from a modern production)
The development of the emotional and psychological plane dominates in the play; the main driver of the action is the internal experiences of the characters. The author expands art space works using input large quantity characters who never appear on stage. Also, the effect of expanding spatial boundaries is given by the symmetrically emerging theme of France, giving 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 Chekhov’s special concept of life, which is characterized by extraordinary attention to small, seemingly insignificant details, and a focus on the inner experiences of the characters.
In the play “The Cherry Orchard,” the author captured the state of critical disunity of 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.
Almost the entire land of the old noble estate, owned by Lyubov Andreevna Ranevskaya and her brother, Leonid Andreevich Gaev, is occupied by a huge cherry orchard, famous throughout the province. Once upon a time, it gave the owners a large income, but after the fall of serfdom, the economy on the estate fell apart, and the garden remained for him just a non-profitable, albeit charming decoration. Ranevskaya and Gaev, no longer young people, lead an absent-minded, carefree life typical of idle aristocrats. Preoccupied only with her feminine passions, Ranevskaya leaves for France with her lover, who soon robs her completely there. Management of the estate falls on the adopted daughter of Lyubov Andreevna, 24-year-old Varya. She tries to save on everything, but the estate is still mired in unpayable debts. [Cm. full text of “The Cherry Orchard” on our website.]
Act 1 of “The Cherry Orchard” begins with the scene of Ranevskaya, who had gone bankrupt abroad, returning to her home on a May morning. Her youngest daughter, 17-year-old Anya, who has lived with her mother in France for the last few months, also comes with her. Lyubov Andreevna is met on the estate by acquaintances and servants: the rich merchant Ermolai Lopakhin (the son of a former serf), the neighbor-landowner Simeonov-Pishchik, the elderly footman Firs, the frivolous maid Dunyasha and the “eternal student” Petya Trofimov, in love with Anya. The scene of Ranevskaya’s meeting (like all other scenes of “The Cherry Orchard”) is not particularly rich in action, but Chekhov, with extraordinary skill, reveals in her dialogues the characteristics of the characters in the play.
The businesslike merchant Lopakhin reminds Ranevskaya and Gaev that in three months, in August, their estate will be put up for auction for an outstanding debt. There is only one way to prevent its sale and the ruin of the owners: to cut down the cherry orchard and turn over the vacated land for dachas. If Ranevskaya and Gaev do not do this, the garden will almost inevitably be cut down by the new owner, so it will not be possible to save it in any case. However, the weak-willed Gaev and Ranevskaya reject Lopakhin’s plan, not wanting to lose the dear memories of their youth along with the garden. Those who like to have their head in the clouds, they shy away from destroying the garden with their own hands, hoping for some miracle that will help them out in unknown ways.
Chekhov “The Cherry Orchard”, act 1 – summary full text of act 1.
"The Cherry Orchard". Performance based on the play by A. P. Chekhov, 1983
Chekhov's "The Cherry Orchard", act 2 - briefly
A few weeks after Ranevskaya's return, most of the same characters gather in a field, on a bench near an old abandoned chapel. Lopakhin again reminds Ranevskaya and Gaev that the deadline for selling the estate is approaching - and again invites them to cut down the cherry orchard, giving the land for dachas.
However, Gaev and Ranevskaya answer him inappropriately and absent-mindedly. Lyubov Andreevna says that “dacha owners are vulgar,” and Leonid Andreevich relies on a rich aunt in Yaroslavl, from whom he can ask for money - but hardly more than a tenth of what is needed to pay off his debts. Ranevskaya's thoughts are all in France, from where the scammer-lover sends her telegrams every day. Shocked by the words of Gaev and Ranevskaya, Lopakhin in his hearts calls them “frivolous and strange” people who do not want to save themselves.
After everyone else has left, Petya Trofimov and Anya remain at the bench. Untidy Petya, who is constantly expelled from the university, so that he cannot complete the course for many years, crumbles in front of Anya in pompous tirades about the need to rise above everything material, above even love itself, and through tireless work to go towards some (incomprehensible) ideal. The existence and appearance of commoner Trofimov is very different from the lifestyle and habits of the nobles Ranevskaya and Gaev. However, in Chekhov's portrayal, Petya appears to be just as impractical a dreamer, just as worthless a person as those two. Petya's sermon is enthusiastically listened to by Anya, who is very reminiscent of her mother in her tendency to get carried away by any emptiness in a beautiful wrapper.
For more details, see the separate article Chekhov “The Cherry Orchard”, act 2 – summary. You can read the full text of Act 2 on our website.
Chekhov's "The Cherry Orchard", act 3 - briefly
In August, on the very day of bidding for the estate with the cherry orchard, Ranevskaya, on a strange whim, hosts a noisy party with an invited Jewish orchestra. Everyone is tensely awaiting news from the auction, where Lopakhin and Gaev have gone, but, wanting to hide their excitement, they try to dance cheerfully and joke. Petya Trofimov venomously criticizes Varya for wanting to become the wife of the predatory rich man Lopakhin, and Ranevskaya for having a love affair with an obvious swindler and unwillingness to face the truth. Ranevskaya accuses Petya of the fact that all his bold, idealistic theories are based only on a lack of experience and ignorance of life. At 27 years old, he does not have a mistress, preaches work, and he himself cannot even graduate from university. Frustrated, Trofimov runs away almost in hysterics.
Pre-revolutionary poster for the play based on Chekhov’s “The Cherry Orchard”
Lopakhin and Gaev return from the auction. Gaev walks away, wiping away his tears. Lopakhin, at first trying to restrain himself, and then with increasing triumph, says that he bought the estate and the cherry orchard - the son of a former serf, who was previously not even allowed into the kitchen here. The dancing stops. Ranevskaya cries, sitting down on a chair. Anya tries to console her with the words that they have beautiful souls instead of a garden, and now they will begin a new, pure life.
For more details, see the separate article Chekhov “The Cherry Orchard”, act 3 – summary. You can read the full text of Act 3 on our website.
Chekhov's "The Cherry Orchard", act 4 - briefly
In October, the old owners leave their former estate, where the tactless Lopakhin, without waiting for their departure, already orders the cutting down of the cherry orchard.
A rich Yaroslavl aunt sent Gaev and Ranevskaya some money. Ranevskaya takes them all for herself and again goes to France to visit her old lover, leaving her daughters in Russia without funds. Varya, whom Lopakhin never marries, has to go as a housekeeper to another estate, and Anya will take the exam for the gymnasium course and look for work.
Gaev was offered a place at the bank, but everyone doubts that, due to his laziness, he will sit there for a long time. Petya Trofimov returns to Moscow to study late. Imagining himself as a “strong and proud” person, he intends in the future to “reach the ideal or show others the way to it.” Petya, however, is greatly concerned about the loss of his old galoshes: without them, he has nothing to set off on. Lopakhin goes to Kharkov to immerse himself in work.
Having said goodbye, everyone leaves the house and locks it. The 87-year-old footman Firs, forgotten by his owners, finally appears on the stage. Muttering something about his past life, this sick old man lies down on the sofa and falls silent into motionlessness. In the distance there is a sad, dying sound, similar to the breaking of a string - as if something in life has gone away without return. The ensuing silence is broken only by the knocking of an ax on a cherry tree in the garden.
For more details, see the separate article Chekhov “The Cherry Orchard”, act 4 – summary. On our website you can read and
The action takes place in the spring on the estate of Lyubov Andreevna Ranevskaya, who, after several years of living in France returns with his seventeen-year-old daughter Anya to Russia.
Ranevskaya has practically no money left, and the estate with its beautiful cherry orchard may soon be sold for debts. A merchant friend, Lopakhin, tells the landowner his solution to the problem: he proposes dividing the land into plots and renting them out to summer residents. Lyubov Andreevna is very surprised by this proposal: she cannot imagine how it is possible to cut down the cherry orchard and give her estate, where she grew up, where she spent her young life and where her son Grisha died, to rent to summer residents.
The final act is dedicated to the departure of Ranevskaya, her brother, daughters and servants from the estate. They leave the place that meant so much to them and begin new life. Lopakhin’s plan came true: now, as he wanted, he will cut down the garden and lease the land to summer residents. Everyone is leaving, and only the old one footmanFirs, abandoned by everyone, pronounces the finalmonologue, after which the sound of an ax hitting wood is heard. (c) KAWAIIKA (ANIME BAG) especially for LibreBook.ru
Cherry. April blooming nature and the question of the correct spelling and sound of the definition. Chekhov wrote: “The play is not called “The Cherry Orchard,” but “The Cherry ...” - a symbol of purity, beauty and spirituality. “CHERRY” - everything is for sale. Next - options and pictures
In Chekhov's memoirs there is an indication that at first he pronounced it in Cherry - this was a transition period associated with the use of the letter E, which began to be written after soft consonants, but the old intellectuals, to whom Chekhov belongs, avoided it, “cherry” was secondary and was perceived only in the meaning of “color”, as figurative (like cherry) - hence the qualitative and relative adjectives. Those who have a keen sense of language still see the difference, but later a habit arose of a new pronunciation without a difference in meaning. We have lost the original meaning of many words; in the 19th century it was still preserved.
Another option from the network: “Stanislavsky: “The Cherry Orchard” is a business, commercial orchard that generates income. Such a garden is still needed now. But “The Cherry Orchard” does not bring in any income; it preserves within itself and in its blooming whiteness the poetry of the former lordly life. Such a garden grows and blooms for whim, for the eyes of spoiled aesthetes. It’s a pity to destroy it, but it is necessary, since the process of economic development of the country requires it.”
CHERRY - emphasis on the tree, a relative adjective, cherry - qualitative, denotes color, and in Chekhov - flowering trees, their color is white-cherry-pink, very beautiful. Chekhov's cherry orchard is a beautiful creation of nature and human hands. The blooming cherry orchard is mentioned in the description of the setting of the first act. His beauty is mentioned already at the beginning of the play. Gaev immediately reports that their garden is mentioned in the Encyclopedic Dictionary. “If there is anything interesting in the whole province,” says Lyubov Andreevna, “even wonderful, it is our cherry orchard.” Opening the windows to the garden, Lyubov Andreevna exclaims: “What an amazing garden! White masses of flowers, blue sky..."
However, the garden in the play is also a symbol, and a very multi-valued one. For Lyubov Andreevna, it is inextricably linked with the memory of her childhood, of her untimely lost purity and youth, of the time when she was so carefree and happy. She was like her daughter Anya is today. It’s not for nothing that Gaev says to Anya immediately upon meeting: “How similar you are to your mother! You, Lyuba, were exactly like that at her age.”
It is this wonderful past that Ranevskaya recalls, looking through the open window of the children’s room at the blooming garden: “Oh, my childhood, my purity! I slept in this nursery, looked at the garden from there, happiness woke up with me every morning, and then it was exactly the same, nothing has changed. All, all white! Oh my garden! After a dark stormy autumn and cold winter again you are young, full of happiness, the heavenly angels have not abandoned you..."
But the cherry orchard is not only a symbol of purity and youth. This is the economic basis of the estate in its past, inextricably linked with serfdom. “Think, Anya,” says Petya, “your grandfather, great-grandfather and all your ancestors were serf owners who owned living souls, and don’t human beings look at you from every branch in the garden, from every trunk, don’t you really hear their voices... »What voices? For readers and viewers of Chekhov, there was no doubt that the speech here was about the voices of tortured serf slaves, marked in this garden.
Thus, thoughts about the social structure of Russian life are connected with the image of the cherry orchard. First of all, about her past life. But then – and about the present. An estate in debt, how to save it, how to save a beautiful garden? And it turns out that this is impossible to do without destroying its beauty. Lopakhin made a choice in accordance with the idea: the time of the former owners has passed, the real owner is a business man, but does not care about beauty, time belongs to the future owners, who care about both income and beauty.”
Scientific adviser: Barnashova Elena Vyacheslavovna, Ph.D. Philol. Sciences, Department of Theory and History of Culture, National Research Tomsk State University, Russia, Tomsk
Annotation.
This article is devoted to the study of the attitude and inner world of a person at a turning point late XIX- beginning of the 20th century. To explore this topic, the author uses an analysis of the work of A.P. Chekhov's "The Cherry Orchard". This play was not chosen by chance; it is in it that the writer most fully reveals the mood of a person in a crisis era, and also gives an assessment of the general atmosphere of that time.
Key words: A.P. Chekhov, “The Cherry Orchard”, human perception of the world, the era of the late 19th – early 20th centuries, crisis worldview.
This topic is relevant for the 21st century, since the consonance of eras can now be traced. Modern man is in a similar condition. The surrounding reality shows its instability, values quickly become outdated, new ideas, opinions, preferences appear, the world around is rapidly changing every second. Confidence in a stable future disappears. As at the end of the 19th century, a person cannot find support, unshakable ideals on which he could rely. The 21st century is embraced by a special atmosphere of languor, expectation of change, and weariness of life. In this regard, the author of the article considers it advisable to study the work of A.P. Chekhov’s “The Cherry Orchard” to identify the special mood of this crisis era and human worldview. And an understanding of the atmosphere of the late 19th and early 20th centuries. will provide an opportunity to understand the processes occurring in inner world modern man.
Anton Pavlovich writes the play “The Cherry Orchard” in 1903, a year before his death. He shares his idea for a new work in a letter with his wife O.L. Knipper March 7, 1901: “The next play I write will certainly be funny, very funny, at least in concept.” And already in the summer of 1902, the writer clearly defined the contours of the plot and came up with a title for his new play. However, the writing of the play was postponed due to Anton Pavlovich’s illness, but already in June 1903, while at a dacha in Naro-Fominsk near Moscow, the writer began writing a full-fledged plot of the play. And on September 26, 1903, the play was completed.
The play is being created at a difficult time for the country. The era of the late 19th and early 20th centuries was marked by rapid changes in all spheres of society. Society was torn apart by contradictions, revolutionary sentiments grew, especially among workers. The socio-political situation in the country worsened. Old values are losing authority among the common people. Revolutionary movements, speaking out against the old, cannot yet offer anything concrete in return. A man finds himself at a crossroads.
And it is precisely in this “troubled” time that this play is created. This last work written by Chekhov reflects the whole essence of the cultural era of that time and how people felt in it.
This is one of his most interesting and most discussed plays. Until now, researchers have not come to a consensus on the interpretation of this work; with each reading it reveals new meanings and gives rise to new interpretations.
The plot of this play is quite everyday and ordinary. However, the value of Chekhov's work is not at all in the plot, but in the subtle human psychologism with which the writer shows a person, his experiences and spiritual quests. A special atmosphere of the work is also created; it becomes more depressing compared to other plays. Here we will no longer see dreams of a happy life, or any feeling of dissatisfaction. There is now a sense of doom in the air. It is in this that Chekhov’s work especially accurately and subtly shows a turning point era and a person living in it, who is trying to find support, but cannot do it. The characters cannot understand exactly what is tormenting them and cannot express their feelings. They are in an endless search for answers to the questions that torment them.
There is a special relationship between the characters themselves. The misunderstanding between them is clearly shown. The characters seem to speak different languages, as a result of which so-called “parallel dialogues” appear, when, for example, Ranevskaya and Lopakhin are talking about the sale of an estate, the landowner does not seem to hear what her interlocutor is talking about (or does not want to hear), she speaks about her wonderful childhood, plunging into memories, she does not notice anything around her.
Chekhov, moving away from class, portrays people from the point of view of their perception of the surrounding reality. And we see Lopakhin, who was able to adapt and survive in this changed world, but on the other hand, the image of Ranevskaya, a person who does not want and cannot change, she is not ready for changes in her life, and therefore continues to live as before. In her image one can read a special fear of the future; she looks defenseless and desperate. It should be noted that this aspect cannot be tied to the social aspects of the characters, since then their status would be emphasized, however, in the play, attention is instead focused on emotional experiences.
The image of the Garden occupies a special place in the play; on the one hand, it appears as a kind of metaphor for life, an ideal where everyone strives to get to. It is symbolic that the heroes look at the garden only from afar. But on the other hand, the Garden is an image of the past, that happy, carefree past where everything was clear. Where certain authorities and unshakable values remained, where life flowed smoothly and measuredly and everyone knew what awaited tomorrow. Therefore, Firs says: “In the old days, about forty to fifty years ago, cherries were dried... And the dried cherries then were soft, juicy... They knew the method then...”. This special method, the secret of life, which allowed the cherry orchard to bloom, has been lost and now must be cut down and destroyed. Time moves forward, the world around us changes, which means the Garden must become a thing of the past. It is very difficult to part with it, but this will be the main impetus for the development of the present, and with it the future.
At the same time, the problem of human self-determination in a new, constantly changing world can be traced. Some find their occupation (like Lopakhin), others (Ranevskaya) still live in the past and are afraid to face the future. At first she is really afraid to part with the orchard, but after selling it, Gaev says: “Before the sale of the cherry orchard, we were all worried, suffering, and then, when the issue was resolved finally, irrevocably, everyone calmed down, even became cheerful,” thereby proving the need for change.
Another important factor is “random” sounds. Like, for example, the sound of an arrow bursting at the end. In my opinion, these are assumptions about the future of the author himself. Throughout the play, tension grew, an internal conflict occurred between the person and himself with his old habits and prejudices, inevitable changes were felt that put pressure on the person, forcing him to make his “right” decision. The heroes rushed about in search of the truth and did not want to change anything, but changes slowly took over their lives. And at the end the garden is sold, everyone has left, and we see an empty stage, we hear the sound of a broken string, there is nothing and no one left except Firs. The tension is resolved, leaving a void that invites the reader to see something of themselves in it. Chekhov didn’t know exactly what this “future” would look like, he didn’t know what would happen there, but he definitely foresaw the inevitable changes that were already very close, so close that we can already hear the sound of an axe.
Thus, the writer sought to show the character’s inner life, his feelings and emotions; external everyday aspects were not so important. And therefore Chekhov is trying to get away from the usual social characteristics of the characters; he is trying to more fully describe their extra-class features. For example, personal characteristics, individualization of speech, special gestures. Another feature of “The Cherry Orchard” is that the reader does not see a pronounced social conflict, there are no contradictions or clashes. The speech of the characters also becomes new: they often say “random” phrases, and at the same time do not listen to each other, they conduct parallel conversations. The whole meaning of the work is manifested in the totality of these small touches, unsaid words.
The characters appear before the readers as realistically as in life; the writer shows that there is no single true truth that can be accepted by everyone. Everyone has their own truth, their own meaning and way of life in which they sincerely believe. Anton Pavlovich showed the tragedy of the situation at the end XIX beginning XX century, when man stood at a crossroads. Old values and guidelines were collapsing, but new ones had not yet been found and adopted. The life to which everyone was accustomed was changing, and the person felt the inevitable approach of these changes.
Bibliography:
1. Chekhov A.P. Complete collection of works and letters: in 30 volumes / chapter. ed. N.F. Belchikov. – M.: Nauka, 1980. – T. 9: Letters 1900-March 1901. – 614 p.
2. Chekhov A.P. Stories and plays / A.P. Chekhov. – M.: Pravda, 1987. – 464 p.