Anton Pavlovich Chekhov Vladimir Vladimirovich Ermilov
"Hello, new life!"
"Hello, new life!"
« The Cherry Orchard", Chekhov's dying brilliant creation, is a bold combination of comedy - "in places even a farce," as Anton Pavlovich wrote about the play - with gentle and subtle lyrics.
Laughter, free and merry, permeates every aspect of the play. But no less significant in it is the lyrical beginning. Chekhov is the creator of the most original, innovative genre of lyrical comedy, social vaudeville.
Marx has a deep idea that humanity is “laughing” saying goodbye to its past, to obsolete forms of life.
Farewell to the new, young, tomorrow's Russia with the past, obsolete, doomed to an imminent end, the aspiration to tomorrow for the motherland - this is the content of The Cherry Orchard.
The end of the old life is so ripe that it already seems vaudeville-absurd, "ghostly", unreal. Here is the mood of the play.
"Ghostly" and obsolete "types" of this outgoing life. These are the main characters of the play - Ranevskaya and her brother Gaev. FROM with good reason could they say about themselves: "We do not exist ... we do not exist, but only seem to exist."
Autograph of A.P. Chekhov. "The Cherry Orchard"
Ranevskaya and Gaev are the owners of the estate, “there is nothing more beautiful in the world,” as one of the heroes of the play, Lopakhin, says, a delightful estate, the beauty of which lies in a poetic cherry orchard. The "owners" brought the estate with their frivolity, complete misunderstanding real life to a pitiful state; the estate is to be sold at auction. The rich peasant son, the merchant Lopakhin, a friend of the family, warns the owners of the impending catastrophe, offers them his projects of salvation, urges them to think about the impending disaster. But Ranevskaya and Gaev live in illusory representations. Gaev rushes about with fantastic projects. Both of them shed many tears over the loss of their cherry orchard, which they are sure they cannot live without. But things go on as usual, auctions take place, and Lopakhin buys the estate himself. When the trouble happened, it turns out that there is no special drama for Ranevskaya and Gaev. Ranevskaya returns to Paris, to her ridiculous "love", to which she would have returned anyway, despite all her words that she cannot live without a homeland and without a cherry orchard. Gaev also comes to terms with what happened. A "terrible drama", which for its heroes, however, does not turn out to be a drama at all for the simple reason that they cannot have anything serious, nothing dramatic at all - such is the vaudeville basis of the play.
A.P. Chekhov in Yalta (1900)
The image of the cherry orchard plays a large, many-sided role in the play. First of all, it symbolizes the poetry of the old life, that poetry " moonlit nights”, “white figures with thin waists”, “noble nests”, exhaustion, the obsoleteness of which was expressed with such sharpness in the story “At Friends”. This poetry has already degenerated into farce, vaudeville. The culture of the nobility, once alive and fruitful, has long since become dead, turned into a “respected shkap”, to which the vaudeville uncle Gaev, who suffers from pathological talkativeness, addresses with one of his usual buffoon speeches on the occasion of the shkap’s centennial anniversary. And the legitimate heiress of the obsolete poetry of the "noble nests", the young Anya, daughter of Ranevskaya, successor of Lisa Kalitina, Tatyana Larina, cheerfully, sonorously, irrevocably says goodbye to all this outdated, dead content that has lost its living content, dead "beauty". She is helped in her spiritual development, in determining the attitude to the past, present and future of the motherland by student Petya Trofimov. He opens Anya's eyes to the dark, terrible that lurked behind the poetry of noble culture.
“Think, Anya,” he says to the girl eagerly listening to him: “your grandfather, great-grandfather and all your ancestors were feudal lords who owned living souls, and are human beings looking at you from every cherry in the garden, from every leaf, from every trunk , don’t you really hear voices ... To own living souls - after all, it has reborn all of you who lived before and now live, so that your mother, you, uncle no longer notice that you live in debt, at someone else’s expense, at the expense of those people, whom you do not let go further than the front ... It's so clear that in order to start living in the present, you must first redeem our past, put an end to it ... "
End of the past! This is the pathos of the play.
Trofimov calls Anya to the beauty of the future.
“I foresee happiness, Anya, I already see it ... Here it is, happiness, here it comes, it comes closer and closer, I can already hear its steps. And if we don't see it, don't recognize it, then what's the trouble? Others will see it!"
Petya Trofimov himself hardly belongs to the number of advanced, skillful, strong fighters for the future happiness. In all his appearance, we also feel a certain contradiction between the strength, scope of the dream and the weakness of the dreamer, which is characteristic of Vershinin, Tuzenbach and other Chekhov's heroes. "Eternal student", "shabby gentleman", Petya Trofimov is clean, sweet, but eccentric and not serious enough for a great struggle. It has the features of "non-warmth" that are characteristic of almost all the characters in this play. But everything that he says to Anya is dear and close to Chekhov.
Again we meet with the familiar Chekhovian motif of the proximity of happiness. But is it possible that the businessman Lopakhin is carrying him with him? This is how the theme of the play was presented by various interpreters from among those who enrolled Chekhov in the department of the "radical" and other bourgeoisie. There is nothing more absurd than this most vulgar interpretation.
What kind of beauty can be associated with Lopakhin? Here he will cut down a beautiful garden and let summer residents in. The vulgar bourgeois prose of life will burst in here with him—prose that destroys all beauty, cuts it to the ground! Lopakhin, as Petya Trofimov characterizes his function, is "a predatory beast that eats everything that comes in its way." So he "eats" the beauty of the cherry orchard. Lopakhin is needed for "metabolism", as Petya Trofimov says: to perform a short social role- to help destroy, "devour" what has already become obsolete.
No, the future is not with Lopakhin!
"The Cherry Orchard" is a play about the past, present and future of the motherland. The future rises before us in the form of an unprecedentedly beautiful garden.
“All of Russia is our garden,” Trofimov says in the second act, and Anya echoes him in the final act: “We will plant a new garden, more luxurious than this ...”
The image of the beauty of the motherland itself appears before us.
The Gaevs-Ranevskys are not worthy of the beauty of the future, or even the beauty of the dying past. They are completely crushed, degenerate descendants, not even epigones past culture but just funny ghosts.
People will come who will be worthy of all the beauty of their native land. They will cleanse, redeem all her past and turn her entire homeland into a magical, flowering garden. We feel that Anya will be with these people.
Such is the poetic content of Chekhov's wise and brightest optimistic work.
Chekhov wanted the performance Art Theater sounded in the optimistic tone in which he wrote the play. He wanted the hall to have uncontrollable laughter over the insignificant, “ghostly” world of the Gaevs and Ranevskys, he demanded that Ranevskaya must be played by a “comic old woman”, he wanted the viewer to clearly feel the vaudeville of all the suffering of tearful heroes, all the tears shed by them . When V. I. Nemirovich-Danchenko wrote to him that there were “many crying people” in the play, Anton Pavlovich was sincerely surprised by this impression. “Why,” he asks V.I. Nemirovich-Danchenko, “you say in a telegram that there are a lot of crying people in the play? Where are they? Only one Varya, but this is because Varya is a crybaby by nature, and her tears should not arouse a dull feeling in the viewer. Often I have “through tears”, but this only shows the mood of faces, not tears.
And indeed, how can the viewer sympathize with the empty, insignificant sufferings of empty, insignificant, although very good-natured, in their own way sweet people, such as Ranevskaya and Gaev? Everything about them is ridiculous and absurd - even the fact that Ranevskaya's husband "died of champagne." Here, death itself becomes vaudeville, clownish, - the death of a man who, as Ranevskaya says about her late husband, "did" only one thing in his life - debts.
Very interesting is the way in which Chekhov emphasizes the jester's "ghostliness", the frivolity of the whole world of the Gaev-Ranevskys. - surrounds these central characters of his comedy with side characters, already frankly farcical, completely grotesque, reflecting the comic worthlessness of the main figures.
Even in his youthful play "Fatherless" Chekhov groped for this artistic technique reflections. Lakeyskaya inner essence“gentlemen” was emphasized by their similarity with their lackeys: the gentlemen were reflected in the servants, according to the proverb: “what is the master, such is the servant”, or: “what is the priest, such is the parish”. One of the heroes of "Fatherlessness" is amazed at how similar lackeys are to gentlemen. “They are in tailcoats! Ah, damn it! You look awful like gentlemen!” he repeats.
In The Cherry Orchard, this reflection motif develops in many variations, ranging from simple to complex, encrypted.
The maid Dunyasha says to her lover, the footman Yasha: “I have become anxious, I keep worrying. I was taken to the masters as a girl, now I have lost the habit of a simple life, and now my hands are white, white, like a young lady's. She became tender, so delicate, noble, I'm afraid of everything. So scary. And if you, Yasha, deceive me, then I don’t know what will happen to my nerves.
Dunyasha is a parody of "white figures with thin waists" and "thin", "noble", fragile nerves - figures that have long outlived their time. She raves about the same thing that they once raved about - moonlight dates, tender romances.
The figures of the magician-eccentric Charlotte, the clerk Epikhodov, and the footman Yasha have the same parodic-reflecting significance in the play. It is in these images - caricatures of the "masters" - that the complete illusoryness, the buffoonish frivolity of the entire life of the Gaevs and Ranevskys is reflected with perfect clarity.
In the lonely, absurd, unnecessary fate of Charlotte Ivanovna's hanger-on, there is a resemblance to the absurd, unnecessary fate of Ranevskaya. Both of them refer to themselves as to something incomprehensible, unnecessary, strange, and both life seems foggy, unclear, some kind of “ghostly”. Here is what Charlotte says about herself:
Charlotte (thinking). I don't have a real passport, I don't know how old I am, and it still seems to me that I'm young. When I was a little girl, my father and mother went to fairs and gave performances, very good ones. And I jumped salto-mortale and various things. And when my father and mother died, a German lady took me to her and began to teach me. Okay. I grew up. Then she went to the governess. And where I am and who I am - I do not know. Who are my parents, maybe they didn't get married... I don't know. (Takes a cucumber out of his pocket and eats it.) I don't know anything. (Pause.) I so want to talk, but not with anyone ... I have no one ... and who I am, why I am, is unknown ... "
These are sad statements, but the performer of this role would be mistaken if she painted the whole image of Charlotte Ivanovna with sadness. The main thing about her is that she is fond of tricks and eccentricity to self-forgetfulness. From the "ghostly" life, in which everything is incomprehensible, in which "it only seems that we exist", Charlotte goes into an even more ghostly world of eccentrics, mocking logic. In this departure from reality and her consolation and her whole life.
Ranevskaya also "does not understand her life," like Charlotte, and she, too, "has no one to talk to." She complains to Petya Trofimov with Charlotte’s words: “You see where the truth is and where it’s not true, but I’ve definitely lost my sight ... I’m scared alone in the silence ...”
Like Charlotte, Ranevskaya also "everything seems to be that she is young," and Ranevskaya lives like an eccentric accustomer during her lifetime, not understanding anything about her.
The buffoon figure of Epikhodov is remarkable. With his "twenty-two misfortunes" he is also a caricature - both of Gaev, and of the landowner Simeonov-Pishchik, and partly even of Petya Trofimov (remember Vershinin with the pettiness of his misfortunes). Epikhodov is a "clunker", using the favorite saying of old Firs, lackey Gaev. One of Chekhov's contemporary critics correctly pointed out that "The Cherry Orchard" is "a play of klutzes." Epikhodov concentrates this theme of the play in himself. He is the soul of all "nonsense".
After all, Gaev and Simeonov-Pishchik also have constant "twenty-two misfortunes"; like Epikhodov, nothing comes out of all their intentions, they are haunted by comical failures at every step. The figure of Epikhodov emphasizes the frivolity, lack of drama of these misfortunes, their farcical nature.
There are many purely grotesque moments in the image of Gaev. His tendency to gaerstvo, buffoonery, incontinence of speech, organic laziness, inability to do any kind of work is emphasized; all this is also emphasized in Epikhodov. As with Epikhodov, everyone around Gaev is not serious. Both of them are very fond of the "beautiful" phrase.
Simeonov-Pishchik, who is constantly on the verge of complete bankruptcy and, out of breath, running around all his acquaintances asking for a loan, also represents a solid "twenty-two misfortunes." Simeonov-Pishchik is a person who "lives on credit," as Petya Trofimov says about Gaev and Ranevskaya: these people live at someone else's expense - at the expense of the people. And soon, soon their ghostly, absurd life must end.
But where does the lyrical beginning of The Cherry Orchard originate?
In the play, Chekhov's constant sadness about beauty wasted in vain sounds. Here it is the sadness of a poetic cherry orchard, the elegiac sadness of parting.
But this is light, Pushkin's sadness. The whole play is imbued with the mood of a bright farewell to the outgoing life, with everything good and bad that was in it, the mood of joyful greetings to the new, young.
The sadness of The Cherry Orchard can in no way be connected with the frivolous "sufferings" of the Gaevs and Ranevskys. One has only to identify for a moment the lyrical beginning of the play - the image of the "cherry orchard" - with these vaudeville figures, one has only to count Gaev and Ranevskaya as some kind of "representatives" of dying poetry and beauty, and all their experiences and all their tears will have to be taken seriously. . And then something will happen that Chekhov was so afraid of: The Cherry Orchard will cease to be a lyrical comedy, “in some places even a farce”, but will turn into a “heavy drama”, in which an abundance of tears will not only characterize the “mood of faces”, but also cause a dull the viewer's mood. And the viewer, especially the modern, Soviet viewer, will experience an extremely awkward feeling: he will have to seriously “experience” the suffering of people who themselves are not capable of any serious experience. Chekhov will appear in in a strange way. As if he was capable of suffering the “sufferings” of useless, “ghostly” people!
There is only one image in the play that does not contradict the beauty of the cherry orchard, but could merge harmoniously with it. This is Ann. But Anya is an image of spring, an image of the future. She says goodbye to everything old life. This younger sister of Olga, Masha and Irina differs from them in that she found her "Moscow", just as Nadia, the heroine of the story "The Bride" found her "Moscow" - last story Anton Pavlovich.
The image of Anya can be fully understood only when compared with the image of Nadia. The story "The Bride" was written in the same 1903 as "The Cherry Orchard"; it is partly a variant of The Cherry Orchard in its theme and motifs. The couple that we meet in The Cherry Orchard: Anya and Petya Trofimov corresponds to the couple we meet in The Bride: Nadia and Sasha. Between Nadia and Sasha - the same relationship as between Anya and Petya. An "eternal student", who spent almost fifteen years in his school of painting, an eccentric and a loser, Sasha is only a temporary, "passing" figure in Nadia's life. He helped her understand herself, under his influence Nadya broke up with the layman-groom, left from under the crown, ran away to the capital from her family, from the military stuffiness of vulgarity, from insignificant "happiness" - to the struggle for a wonderful future. And then, when she had already plunged into this struggle, into real life, Sasha presented herself to her as sweet, honest, clean, but far from being as smart and advanced as she seemed to be before. After they had not seen each other for a long time, Sasha seemed to her “gray, provincial”, and then all “acquaintance with Sasha seemed to her a sweet, but distant, distant past!” Anya's acquaintance with Petya will seem the same.
Such people as Petya Trofimov, Sasha and other heroes of Chekhov's creativity related to them are distinguished by the fact that they bear the imprint of something eccentric, "not cool"; their significance in life is temporary, not independent. Not they, but some other people will realize a wonderful dream of a just life...
The inner closeness of "The Bride" and "The Cherry Orchard" is reflected primarily in the fact that both works are colored by the dream of the imminent flowering of the motherland. The heroes of The Bride, like the heroes of The Cherry Orchard, foresee the nearness of the time when there will be no gray “provincial” cities left in their native land, “everything will fly upside down, everything will change as if by magic. And then there will be huge, most magnificent houses, wonderful gardens, extraordinary fountains, wonderful people.
And what a spring, bravura motif the "Bride" ends with!
After a long separation, Nadya comes to her hometown for a few days. She “walked through the garden, down the street, looked at the houses, at the gray fences, and it seemed to her that everything in the city had long grown old, outdated, and everything was just waiting for something else. end, not the beginning of something young, fresh. Oh, if this new one came soon, clear life when it will be possible to directly and boldly look into the eyes of one's fate, to recognize oneself as right, to be cheerful, free! And such a life will come sooner or later ... and ahead of her a new, wide, spacious life was drawn, and this life, still unclear, full of secrets, carried away and beckoned her.
How different are the bright ends of The Cherry Orchard and The Bride from the ends of Uncle Vanya and The Three Sisters! Both Anya and Nadya found the path to which Chekhov called his heroes to search, and the joyful music of the affirmation of life and struggle colors both The Bride and The Cherry Orchard - these dying works of Chekhov, most deeply imbued with light and youth.
It was quite clear to the reader and viewer what Anton Pavlovich could not say under the censorship conditions: that both Anya and Nadya were going into a revolutionary struggle for the freedom and happiness of their homeland. V.V. Veresaev recalls that when Gorky read The Bride, there was even a small controversy: to Veresaev’s remark that “this is not how girls go into the revolution,” Chekhov replied: “There are different ways there.”
The reader could not but understand that before him was a wonderful image of a Russian girl who had embarked on the path of struggle to turn her life around, to turn her whole homeland into a blooming garden. “The main thing is to turn life around, and everything else is not needed,” says Sasha.
It seemed to Anton Pavlovich himself, along with his characters, that "everything has long since grown old, outlived" and everything is just waiting for "the beginning of something young, fresh." And with youthful joy he said goodbye to his hated past. “Goodbye, old life!” - the young voice of Anya, the voice of young Russia, the voice of Chekhov, rings in the finale of The Cherry Orchard.
The images of Anya and Nadia merge into a charming image of the bride - the image of the youth of the motherland. "Hello, new life!" - these words, sounded in The Cherry Orchard, were the last words of Chekhov - the words of Pushkin's joyful greetings to the new day of the motherland - the day of her freedom, glory and happiness.
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Present, past and future in the play by A.P. Chekhov "The Cherry Orchard"
Chekhov's play "The Cherry Orchard" was written during the period of public upheaval of the masses in 1903. The writer vividly shows deep psychological conflicts, helps the reader to see the reflection of events in the souls of the characters, makes us think about the meaning of true love and true happiness. Chekhov easily takes us from our present to the distant past. Together with his characters, we live near the cherry orchard, we see its beauty, we clearly feel the problems of that time, we try to find answers to difficult questions. The Cherry Orchard is a play about the past, present and future of not only its characters, but the country as a whole. The author shows the clash of representatives of the past, present and future, their disputes, discussions, actions, relationships. Lopakhin denies the world of Ranevskaya and Gaev, Trofimov - Lopakhin. I think that Chekhov succeeded in showing the justice of the inevitable disappearance into the past of such seemingly harmless persons as the owners of the cherry orchard. Chekhov tries to show the connection between the life of his characters and the existence of the cherry orchard.
Ranevskaya is the mistress of the cherry orchard. The cherry orchard itself serves for her" noble nest". Without him, life is unthinkable for Ranevskaya, her whole fate is connected with him. Lyubov Andreevna says: “After all, I was born here, my father and mother, my grandfather lived here. I love this house, I don’t understand my life without a cherry orchard, and if it’s necessary to sell it like that, then sell me along with the garden.” She suffers sincerely, but soon one can understand that she really thinks not about the cherry orchard, but about her Parisian lover, to whom she decided to go again. She leaves with the money sent to Anna by her Yaroslavl grandmother, leaves without thinking about the fact that she appropriates other people's funds. To us, in my opinion, this is a selfish act. After all, it is Ranevskaya who cares most about the fate of Firs, agrees to lend money to Pishchik, it is her Lopakhin loves for her once kind attitude towards him.
Gaev, Ranevskaya's brother, is also a representative of the past. He, as it were, complements Ranevskaya. Gaev abstractly talks about the public good, about progress, philosophizes. But all these arguments are empty and absurd. Trying to console Anya, he says: “We will pay the interest, I am convinced. By my honor, whatever you want, I swear, the estate will not be sold! I swear by my happiness!” Gaev himself does not believe in what he says. I cannot but mention the lackey Yasha, in whom I notice a reflection of cynicism. He is outraged by the “ignorance” of those around him, speaks of his impossibility to live in Russia: “Nothing can be done. It’s not for me here, I can’t live ... I’ve seen enough of ignorance - it will be with me. Yasha is a satirical reflection of his masters, their shadow.
The loss of the Gaevs and the Ranevskaya estate, at first glance, can be explained by their carelessness, but soon we are dissuaded by the activities of the landowner Pishchik, who is trying his best to maintain his position. He is used to the fact that the money itself regularly goes into his hands. And suddenly everything is broken. He is desperately trying to get out of this situation, but his attempts are passive, like those of Gaev and Ranevskaya. Thanks to Pishchik, one can understand that neither Ranevskaya nor Gaev are capable of any kind of activity. Using this example, Chekhov convincingly proved to the reader the inevitability of the disappearance of noble estates into the past.
Gaev is replaced by the clever businessman Lopakhin. We learn that he is not from the noble class: "My father, however, was a peasant, but here I am in a white vest, in yellow shoes." Realizing the complexity of Ranevskaya's position, he offers her a garden reconstruction project. In Lopakhin, one can clearly feel that active streak of new life, which will gradually and inevitably push a meaningless and worthless life into the background. However, the author makes it clear that Lopakhin is not a representative of the future; he exhausts himself in the present. Why? It is obvious that Lopakhin is driven by the desire for personal enrichment. An exhaustive description of him is given by Petya Trofimov: “You are a rich man, you will soon be a millionaire. That's how in the sense of metabolism you need a predatory beast that eats everything that comes in its way, so you are needed! Lopakhin, the buyer of the garden, says: “We will set up dachas, and our grandchildren and great-grandchildren will see a new life here.” This new life seems to him almost the same as the life of Ranevskaya and Gaev. In the image of Lopakhin, Chekhov shows us that capitalist entrepreneurship is inherently inhumane. All this involuntarily leads us to the idea that the country needs completely different people who will do other great things. And these other people are Petya and Anya.
With one phrase, Chekhov makes it clear what Petya is. He is a perpetual student. I think that says it all. The author reflected in the play the rise of the student movement. That is why, I believe, the image of Petya appeared. Everything in him: both thin hair and an untidy look - it would seem, should cause disgust. But that doesn't happen. On the contrary, his speeches and actions cause even some sympathy. It is felt how the characters of the play are attached to him. Some refer to Petya with light irony others with undisguised love. After all, he is the personification of the future in the play. In his speeches one can hear a direct condemnation of a dying life, a call for a new one: “I will come. I will reach or show others the way how to reach. And points. He points it out to Anya, whom he loves passionately, although he skillfully hides this, realizing that another path is destined for him. He tells her: “If you have the keys to the household, then throw them into the well and leave. Be free as the wind." Petya causes deep reflections in Lopakhin, who in his heart envies the conviction of this "shabby gentleman", which he himself lacks so much.
At the end of the play, Anya and Petya leave exclaiming: “Goodbye, old life. Hello new life. Everyone can understand these words of Chekhov in their own way. What kind of new life did the writer dream of, as he imagined it? For everyone, it remains a mystery. But one thing is always true and right: Chekhov dreamed of new Russia, about a new cherry orchard, about a proud and free personality. Years go by, generations change, but Chekhov's thought continues to be relevant.
The play "The Cherry Orchard", written by Chekhov in 1904, can rightfully be considered the creative testament of the writer. In it, the author raises a number of problems characteristic of Russian literature: the problem of the figure, fathers and children, love, suffering, and others. All these problems are united in the theme of the past, present and future of Russia.
In Chekhov's last play, there is one central image that determines the whole life of the characters. This is a cherry orchard. Ranevskaya has memories of his whole life associated with him: both bright and tragic. For her and her brother Gaev, this is a family nest. Or rather, even to say that she is not the owner of the garden, but he is its owner. “After all, I was born here,” she says, “my father and mother lived here, my grandfather, I love this house, I don’t understand my life without a cherry orchard, and if you really need to sell it, then sell me along with the garden ... "But for Ranevskaya and Gaev, the cherry orchard is a symbol of the past.
Another hero, Yermolai Lopakhin, looks at the garden from the point of view of the "circulation of business." He busily suggests that Ranevskaya and Gaev divide the estate into summer cottages and cut down the garden. We can say that Ranevskaya is a garden in the past, Lopakhin is a garden in the present.
The garden in the future personifies the younger generation of the play: Petya Trofimov and Anya, Ranevskaya's daughter. Petya Trofimov is the son of a pharmacist. Now he is a raznochinets student, honestly working his way through life. He lives hard. He himself says that if it is winter, then he is hungry, anxious, poor. Varya calls Trofimov an eternal student, who has already been fired from the university twice. Like many progressive people of Russia, Petya is smart, proud, and honest. He knows the plight of the people. Trofimov thinks that this situation can be corrected only by continuous work. He lives by faith in the bright future of the Motherland. With delight, Trofimov exclaims: "Forward! We are moving irresistibly towards the bright star that burns there in the distance! Forward! Keep up, friends!" His speech is oratory, especially where he talks about the bright future of Russia. "All Russia is our garden!" he exclaims.
Anya is a seventeen-year-old girl, the daughter of Ranevskaya. Anya received the usual noble education. Trofimov had a great influence on the formation of Ani's worldview. Ani's spiritual appearance is characterized by spontaneity, sincerity and beauty of feelings and moods. There is a lot of semi-childish spontaneity in Anya's character, she says with childish joy: "And I flew in a balloon in Paris!" Trofimov excites Anya in her soul beautiful dream about the new wonderful life. The girl breaks ties with the past.
The girl breaks ties with the past. Anya decides to pass the exams for the gymnasium course and start living in a new way. Anya's speech is tender, sincere, filled with faith in the future.
The images of Anya and Trofimov evoke my sympathy. I really like spontaneity, sincerity, beauty of feelings and moods, faith in the bright future of my Motherland.
It is with their lives that Chekhov connects the future of Russia, it is in their mouths that he puts words of hope, his own thoughts. Therefore, these heroes can also be perceived as reasoners - spokesmen for the ideas and thoughts of the author himself.
So, Anya says goodbye to the garden, that is, to her past life, easily, joyfully. She is sure that, despite the fact that the knock of an ax is heard, that the estate will be sold for summer cottages, despite this, new people will come and plant new gardens that will be more beautiful than the previous ones. Together with her, Chekhov himself believes in this.
>Compositions based on The Cherry Orchard
hello new life
The play "The Cherry Orchard" was written by A.P. Chekhov during a period of significant changes in the social life of Russian society, namely at the very beginning of the twentieth century. There was hope in the air for the new life promised by the revolutionaries. This is the idea that the author wanted to convey to the readers. Not the last place in the theme of the work is the cherry orchard and its significance in the life of the nobles, who lived an entire era in several generations in the family estate. But now a new generation is creeping up, for which ordinary garden from cherry orchards will make no difference.
As the “eternal student” Petya Trofimov says, you need to be above love, above beauty, the main thing is not this. There is in the words of Chekhov, in my opinion, a certain irony. On the one hand, he undoubtedly supports new trends, and on the other hand, he nevertheless remains on the side of those nobles who did not agree to cut down their garden even for a decent income. Indeed, at the very beginning of the play, the newly-made merchant Yermolai Lopakhin suggested that Ranevskaya break the garden into plots and rent it to summer residents in order to improve their financial situation. However, to Lyubov Andreevna, such a proposal seems at least surprising, and for the most part, insulting.
Lopakhin, in turn, from the new rich peasants, so to speak, "a man from the people." For him, the main thing is commercial interest and everything connected with money. Cherry trees do not seem interesting to him, since cherries now do not bring income, another thing is a poppy field. And such principled people as Gaev and Ranevskaya, who are ready to mortgage an entire estate for a garden, he considers frivolous and even strange. According to the plot, Lopakhin intends to propose to Varya, the adopted daughter of Ranevskaya, but he does not dare to take this step.
Another hero proclaiming a new life is Petya Trofimov, a student who, as Lyubov Andreevna notes, has noticeably grown ugly. He, in turn, blames Ranevskaya for her love for "a petty scoundrel and insignificance." Seventeen-year-old Anya is secretly in love with Petya. She listens to him in everything and catches every word. It is this hero who pronounces the phrase "all of Russia is our garden." He believes that in order to be happy in the present, one must redeem the obsessive past, even if through suffering and hard work. In people like Lopakhin, he sees the future of the country. Petya says about him, although he is a “predatory beast”, his soul is “tender, thin”.
"New Life" begins immediately after the sale of the cherry orchard. This event, albeit insignificant at first glance, radically changes the lives of all the main characters of the play. The author himself had a garden and knew what it was like to grow perennial trees. Perhaps that is why he was able to convey so subtly the full significance of an ordinary cherry orchard. As a result, Gaev became a bank employee, Ranevskaya returned to Paris, Varya, without receiving an offer from Lopakhin, got a job as a housekeeper to the Ragulins, the old
Introduction
1. Problems of the play by A.P. Chekhov "The Cherry Orchard"
2. The embodiment of the past - Ranevskaya and Gaev
3. Spokesman for the ideas of the present - Lopakhin
4. Heroes of the future - Petya and Anya
Conclusion
List of used literature
Introduction
Anton Pavlovich Chekhov is a writer of powerful creative talent and a kind of subtle skill, which manifests itself with equal brilliance, both in his stories and in stories and plays.
Chekhov's plays constituted an entire epoch in Russian dramaturgy and Russian theater and had an immeasurable influence on all their subsequent development.
Continuing and deepening best traditions dramaturgy of critical realism, Chekhov strove to ensure that his plays were dominated by the truth of life, unadorned, in all its usual, everyday life.
showing natural flow Everyday life ordinary people, Chekhov bases his plots on not one, but several organically connected, intertwined conflicts. At the same time, conflict is predominantly the leading and unifying one. actors not with each other, but with the entire social environment surrounding them.
The problems of the play by A.P. Chekhov "The Cherry Orchard"
The play "The Cherry Orchard" occupies a special place in Chekhov's work. Before her, he aroused the idea of the need to change reality by showing the hostility of living conditions to a person, highlighting those features of his characters that doomed them to the position of a victim. In The Cherry Orchard, reality is depicted in its historical development. The theme of changing social structures is being widely developed. Noble estates with their parks and cherry orchards, with their unreasonable owners, are fading into the past. They are being replaced by businesslike and practical people, they are the present of Russia, but not its future. Only the younger generation has the right to purify and change life. Hence the main idea of the play: the establishment of a new social force that opposes not only the nobility, but also the bourgeoisie and is called upon to rebuild life on the basis of genuine humanity and justice.
Chekhov's play "The Cherry Orchard" was written during the period of public upheaval of the masses in 1903. It opens to us another page of his multifaceted work, reflecting the complex phenomena of that time. The play amazes us with its poetic power, drama, and is perceived by us as a sharp denunciation of the social ulcers of society, exposing those people whose thoughts and actions are far from moral norms of behavior. The writer vividly shows deep psychological conflicts, helps the reader to see the reflection of events in the souls of the characters, makes us think about the meaning of true love and true happiness. Chekhov easily takes us from our present to the distant past. Together with his heroes, we live near the cherry orchard, we see its beauty, we clearly feel the problems of that time, together with the heroes we try to find answers to difficult questions. It seems to me that the play "The Cherry Orchard" is a play about the past, present and future not only of its heroes, but of the country as a whole. The author shows the clash of representatives of the past, the present and the future embedded in this present. I think that Chekhov succeeded in showing the justice of the inevitable departure from the historical arena of such seemingly harmless persons as the owners of the cherry orchard. So who are they, the owners of the garden? What connects their life with his existence? Why is the cherry orchard dear to them? Answering these questions, Chekhov reveals an important problem - the problem of the outgoing life, its worthlessness and conservatism.
The very name Chekhov's play tunes in a lyrical way. In our mind, there is a bright and unique image of a blooming garden, personifying beauty and striving for a better life. The main plot of the comedy is connected with the sale of this old noble estate. This event largely determines the fate of its owners and inhabitants. Thinking about the fate of the heroes, one involuntarily thinks about more, about the ways of Russia's development: its past, present and future.
The embodiment of the past - Ranevskaya and Gaev
The spokesman for the ideas of the present - Lopakhin
Heroes of the future - Petya and Anya
All this involuntarily leads us to the idea that the country needs completely different people who will do other great things. And these other people are Petya and Anya.
Trofimov is a democrat by origin, by habits and convictions. Creating the images of Trofimov, Chekhov expresses in this image such leading features as devotion public cause, striving for a better future and propaganda of the struggle for it, patriotism, adherence to principles, courage, diligence. Trofimov, despite his 26 or 27 years old, has a great and difficult life experience behind him. He has already been expelled from the university twice. He has no confidence that he will not be expelled a third time and that he will not remain a "perpetual student".
Experiencing both hunger, and need, and political persecution, he did not lose faith in a new life, which would be based on just, humane laws and creative creative work. Petya Trofimov sees the failure of the nobility, mired in idleness and inaction. He gives a largely correct assessment of the bourgeoisie, noting its progressive role in the economic development of the country, but denying it the role of creator and builder of a new life. In general, his statements are distinguished by directness and sincerity. With sympathy for Lopakhin, he nevertheless compares him with a predatory beast, "which eats everything that comes in its way." In his opinion, the Lopakhins are not able to decisively change life, building it on reasonable and fair principles. Petya causes deep reflections in Lopakhin, who in his heart envies the conviction of this "shabby gentleman", which he himself lacks so much.
Trofimov's thoughts about the future are too vague and abstract. "We are marching irresistibly towards the bright star that burns there in the distance!" he says to Anya. Yes, the goal is great. But how to achieve it? Where is the main force that can turn Russia into a blooming garden?
Some treat Petya with slight irony, others with undisguised love. In his speeches one can hear a direct condemnation of a dying life, a call for a new one: “I will come. I will reach or show others the way how to reach. And points. He points it out to Anya, whom he loves passionately, although he skillfully hides this, realizing that another path is destined for him. He tells her: “If you have the keys to the household, then throw them into the well and leave. Be free as the wind."
In the klutz and the “shabby gentleman” (as Trofimova Varya ironically calls) there is no strength and business acumen of Lopakhin. He submits to life, stoically enduring its blows, but is not able to master it and become the master of his fate. True, he captivated Anya with his democratic ideas, who expresses her readiness to follow him, firmly believing in a wonderful dream of a new flowering garden. But this young seventeen-year-old girl, who gathered information about life mainly from books, pure, naive and spontaneous, had not yet encountered reality.
Anya is full of hope, vitality, but she still has so much inexperience and childhood. In terms of character, she is in many ways close to her mother: she has love for beautiful word, to sensitive intonations. At the beginning of the play, Anya is carefree, quickly moving from concern to animation. She is practically helpless, accustomed to live carefree, not thinking about daily bread, about tomorrow. But all this does not prevent Anya from breaking with her usual views and way of life. Its evolution is taking place before our eyes. Anya's new views are still naive, but she forever says goodbye to the old house and the old world.
It is not known whether she will have enough spiritual strength, stamina and courage to go through the path of suffering, labor and deprivation to the end. Will she be able to maintain that ardent faith in the best, which makes her say goodbye to her old life without regret? Chekhov does not answer these questions. And it's natural. After all, one can only speak about the future tentatively.
Conclusion
The truth of life in all its sequence and completeness - this is what Chekhov was guided by when creating his images. That is why each character in his plays is a living human character, attracting with great meaning and deep emotionality, convincing with its naturalness, warmth of human feelings.
By the strength of his direct emotional impact, Chekhov is perhaps the most prominent playwright in art. critical realism.
Chekhov's dramaturgy, responding to the topical issues of his time, addressing the everyday interests, feelings and worries of ordinary people, awakened the spirit of protest against inertia and routine, called for social activity to improve life. Therefore, it has always had a huge impact on readers and viewers. The significance of Chekhov's dramaturgy has long gone beyond the borders of our homeland, it has become global. Chekhov's dramatic innovation is widely recognized outside our great homeland. I am proud that Anton Pavlovich is a Russian writer, and no matter how different the masters of culture are, they probably all agree that Chekhov, with his works, prepared the world for a better life more beautiful, more fair, more reasonable.
If Chekhov peered hopefully into the 20th century, which was just beginning, then we live in the new 21st century, we still dream of our cherry orchard and those who will grow it. Flowering trees cannot grow without roots. Roots are past and present. Therefore, in order for a beautiful dream to come true, the younger generation must combine high culture, education with practical knowledge of reality, will, perseverance, diligence, humane goals, that is, to embody the best features of Chekhov's heroes.
Bibliography
1. History of Russian literature second half of XIX century / ed. prof. N.I. Kravtsova. Publisher: Education - Moscow 1966.
2. Exam questions and answers. Literature. 9th and 11th grades. Tutorial. - M.: AST - PRESS, 2000.
3. A. A. Egorova. How to write an essay on "5". Tutorial. Rostov-on-Don, "Phoenix", 2001.
4. Chekhov A.P. Stories. Plays. – M.: Olimp; Firma LLC, AST Publishing House, 1998.