The system of images in the story The Cherry Orchard. Play by A.P.
A.P. Chekhov, as a Russian writer and Russian intellectual, was concerned about the fate of the Motherland on the eve of social changes felt by society. The figurative system of the play “The Cherry Orchard” reflects the writer’s view of the past, present and future of Russia.
Figurative system “The Cherry Orchard”— author's features
It is, in particular, that in his works it is practically impossible to single out one main character. is important for understanding the issues that the playwright raises in the play.
Thus, the images of the heroes in “The Cherry Orchard” represent
- on the one hand, the social strata of Russia on the eve of the turning point (nobility, merchants, common intelligentsia, partly peasantry),
- on the other hand, these groups uniquely reflect the past, present and future of the country.
Russia itself is represented by the image of a large garden, which all the heroes treat with tender love.
Images of heroes of the past
The personifications of the past are the heroes of Ranevskaya and Gaev. This is the past of noble nests leaving the historical arena. There is no selfish calculation in Gaev and Ranevskaya: the idea of selling a cherry orchard for land to summer residents is completely alien to them. They subtly sense the beauty of nature
(“To the right, at the turn of the gazebo, a white tree bent over, looking like a woman”...).
They are characterized by a certain childishness of perception: Ranevskaya has a childish attitude towards money, does not count it. But this is not only childishness, but also the habit of living without regard to expenses. Both Gaev and Ranevskaya are kind. Lopakhin remembers how in ancient times Ranevskaya took pity on him. Ranevskaya also feels sorry for Petya Trofimov with his instability, and Anya, who was left without a dowry, and the passerby.
But the time of the Gaevs and Ranevskys has passed. Their intelligence, inability to live, carelessness turn into callousness and selfishness.
Ranevskaya squanders her fortune, leaving her daughter in the care of her adopted daughter Varya, leaves for Paris with her lover, having received money from her Yaroslavl grandmother intended for Anya, she decides to return to Paris to the man who practically robbed her, while she does not think about how things will turn out Anya's life further. She shows concern for the sick Firs, asking if he was sent to the hospital, but she cannot and does not want to check this (Ranevskaya is a man of word, but not of action) - Firs remains in the boarded up house.
The result of the life of the nobles is the consequence of a life in debt, a life based on the oppression of others.
Images of the future
New Russia is Ermolai Lopakhin, merchant. In it, the author emphasizes the active principle: he gets up at five o’clock in the morning and works until the evening; work brings him not capital, but also joy. Ermolai Lopakhin is a self-made man (his grandfather was a serf, his father a shopkeeper). A practical calculation is visible in Lopakhin’s activities: he sowed the fields with poppy seeds - both profitable and beautiful. Lopakhin proposes a way to save the cherry orchard, which should bring benefits. Lopakhin appreciates and remembers goodness, such is his touching attitude towards Ranevskaya. He has a “subtle, gentle soul,” according to Petya Trofimov. But the subtlety of his feelings is combined with the benefit of the owner. Lopakhin could not resist and bought a cherry orchard at auction. He repents to Ranevskaya, consoles her and immediately declares:
“The new owner of the cherry orchard is coming!”
But there is some kind of anguish in Lopakhin, otherwise where would the longing for another life come from? At the end of the play he says:
“If only our awkward, unhappy life would change!”
Images of the future - Petya Trofimov and Anya. Petya Trofimov is an eternal student, he is full of optimism, in his speeches there is a conviction that he, he is the one who knows how to make life wonderful
(Humanity is moving towards the highest truth, towards the highest happiness that is possible on earth, and I am in the forefront! ").
It is he who says to Anya:
“All of Russia is our garden!”
But his image is ambiguous. Petya Trofimov in the play is also more likely a man of words rather than deeds. In practical life, he is a klutz, like the rest of the characters in the play. The image of Anya is perhaps the only image in the play in which there is a lot of feeling of light. Anya is similar to Turgenev’s girls who are ready to go into a new life and give it all of themselves, so Anya has no regret about the loss of the cherry orchard.
Secondary images
The secondary characters of the play highlight the fates of Gaev and Ranevskaya. Simeono-Pishchik is a landowner who is ready to adapt to life, which makes him different from Ranevskaya and Gaev. But he also lives practically on debt. The image of Charlotte emphasizes the disorder and practical homelessness of Ranevskaya.
The patriarchal peasantry is represented by images of servants. This is Firs, in whom the main feature of the old servants has been preserved - devotion to the master. How Firs looks after Gaev for a small child. His fate is tragic and symbolic: he is forgotten, in general abandoned by those who spoke so much about loving him and did so little for him. Dunyasha and Yasha are servants of the new generation. Dunyasha repeats “subtlety of feelings”, exaggerating his mistress. Yasha absorbed the egoism of the masters.
Image of a cherry orchard
As already mentioned, the role of the cherry orchard in the figurative system of the play is enormous. It is around the cherry orchard that an external conflict arises; all the characters in the play express their attitude towards the orchard. Therefore, the viewer and reader feel his fate in a humanly tragic way:
“... and you can only hear how far away in the garden an ax is being knocked on a tree.”
Chekhov and the writer are characterized by sensitive listening to the beat of everyday life, the ability to find the most important social problems in this life and build his work so that these problems become the property of his compatriots.
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Ministry of Education and Science of the Russian Federation
Federal State Budgetary Educational Institution
higher professional education
"Chechen State University"
Institute of Chechen and General Philology
DEPARTMENT OF NATIONAL AND WORLD LITERATURE
Course work
___________________on Russian literature
(discipline)
XIX
century____________________
__________The system of images in the play “The Cherry Orchard” by A.P. Chekhov._________
(subject)
_____________________________________________________________________________
4th year students of RVO_______
____________correspondence department
(full-time/correspondence)
__________________________________________________________________
_________________Sili Abdulkhamidovna Shikieva__________________
____________________________________________________________________________________
(FULL NAME)
Head: Ph.D., Associate Professor Kh.Sh. Yandarbiev___________________________
full name, position
(delivery date)
Head of department
(signature)
Grozny2014
Plan
Introduction………………………………………………………………………………….3
1. Artistic originality of the play……………………………7
2. Images of the characters in the play. Features of the image of heroes……..11
3. The image of the Cherry Orchard……………………………………………...23
Conclusion……………………………………………………………...26
List of references………………………………...28
Introduction.
The works of the great Russian writer Anton Pavlovich Chekhov
dates back to the end of the 19th century. He was born in 1860, that is, his birth
practically coincided with the reform of 1861, and the formation of personality
the writer was already in post-reform Russia, the state of which he
beautifully depicted in his works.
Chekhov strove for life to dominate in his plays.
truth, unvarnished, in all its ordinaryness, everyday life.
Showing the natural course of everyday life of ordinary people, Chekhov
bases his plots not on one, but on several organically related ones,
intertwined conflicts. At the same time, the leading and
What unites is primarily the conflict between the characters and not
with each other, but with the entire social environment around them.
In the play "The Cherry Orchard" the main conflict, reflecting deep
social contradictions of the late 19th and early 20th centuries lies in
Ranevskaya’s desire to retain the cherry orchard and in her desire
Lopakhin to turn the cherry orchard into a capitalist enterprise.
But, emphasizing the individual positive characteristics of the nobles
characters, Chekhov convincingly shows that, being representatives
lyricism, desire for beauty. Is sympathy typical for a merchant?
Ranevskaya, the desire to help the landowner save the cherry orchard from sale and
the appearance of awkwardness because it was he who acquired the cherry orchard. Isn't it
This trait of Lopakhin is typical of the merchant class, which Trofimov talks about:
"subtle, gentle soul"? But Lopakhin’s actions are not determined by these
private, individual traits, but those that reflect social
the typical essence of his character.
4
Despite his characteristic sentimentality, Lopakhin bought the estate
Ranevskaya, to whom he owes a lot, he clearly tactlessly begins
cutting down a cherry orchard.
In my opinion, Lopakhin is a man of purpose, and how he behaves with Ranevskaya and
the rest, it doesn't really matter, the main thing is that it's a person
practical, vital and you can always rely on him, because this
a man of the present.
Responsibility for tomorrow in the play falls on the young
generation its representative is Petya Trofimov.
Trofimov is a democrat by origin, habits and beliefs.
Creating images of Trofimov, Chekhov expresses in this image such leading
traits such as dedication to public service, striving for the best
future and propaganda of the fight for it, patriotism, integrity,
courage, hard work. Trofimov, despite his 26 or 27 years, has
shoulders with a lot of hard life experience. He's been expelled twice already
university. He has no confidence that he will not be expelled a third time and that
he will not remain an “eternal student.”
Trofimov opposes the selfishness of landowners and merchants with his
devotion to public cause, one's patriotism.
Trofimov is a man of precisely this worldview, and this is
the reason for his abstract ideas about the future and ways to fight for
him. Chekhov's dramaturgy, responding to the pressing issues of his
time, addressing everyday interests, experiences and
the worries of ordinary people.
5
Therefore, she has always had a huge influence on readers and viewers.
6
CHAPTER 1
Chekhov's plays seemed unusual to his contemporaries. They are sharp
differed from the usual dramatic forms. There were no seeming
necessary plotting, climax and, strictly speaking, dramatic
action as such. Chekhov himself wrote about his plays: “People only
they dine, wear jackets, and at this time their destinies are decided, their
life." There is a subtext in Chekhov's plays that takes on a special
artistic significance. How is this transmitted to the reader, the viewer?
subtext? First of all, with the help of the author's remarks. Such a gain
the meaning of the stage directions and the expectation of reading the play lead to the fact that in the plays
Chekhov brings together the epic and dramatic principles. Even
The place where the action takes place sometimes has symbolic meaning.
“The Cherry Orchard” opens with an expressive and lengthy remark, in
in which we find the following remark: “The room that is still
It’s called a nursery.” It is impossible to realize this stage direction, but it
and is not intended for stage performance and does not serve as an indication
director of the play, but in itself has artistic meaning. U
the reader, it is the reader, who immediately gets the feeling that time is in this
the house is frozen, lingering in the past. The heroes have grown up, but the room is old
the house is still a “children’s room”. On stage this can only be conveyed by
creating a special atmosphere, a special mood, an atmosphere that
would accompany the entire action, creating a kind of semantic background. This
it is all the more important that later in the play it will appear several times
dramatic motif of the passing, slipping time that leaves
heroes overboard. Ranevskaya turns to her nursery, to her garden. For
This house, this garden is her precious, pure past, it seems to her that
Her late mother is walking in the garden.
7
But it is important for Chekhov to show the impossibility of returning to a happy past,
and the action of the fourth act of the play takes place in the same nursery where now
the curtains on the windows were removed, the paintings were removed from the walls, the furniture was placed in one corner, and
There are suitcases in the middle of the room. The heroes leave and the image of the past disappears,
the present.
Not
With the help of stage directions, Chekhov conveys the semantic nuances of the dialogues
pretending
characters, even if the remark contains only one word:
"pause". Indeed, the conversations in the play are not animated, often
interrupted by pauses. These pauses give the characters' conversations
“The Cherry Orchard” is somehow chaotic, incoherent, as if the hero is not always
knows what he will say next minute. In general, the dialogues in the play are very
unusual compared to the plays of Chekhov's predecessors and
contemporaries: they rather resemble dialogues of the deaf. Everyone talks about
in his own way, as if not paying attention to what his interlocutor was saying. So,
Gaev's remark that the train was two hours late unexpectedly entails
is Charlotte's words that her dog eats nuts too. Everything is as if
developed throughout the world
contradicts the laws of dramaturgy,
dramatic realistic literature. But naturally, behind this
Chekhov has a deep artistic meaning. Conversations like this show
the originality of the relationships between the characters of the play, in general the originality of Chekhov's
images In my opinion, each character in “The Cherry Orchard” lives in his own
closed world, in its own system of values, and it is their discrepancy with each other
friend and comes to the fore in the play, the author emphasizes.
The fact that Lyubov Andreevna, who is threatened with the sale of her estate at auction,
gives out money to the first person he meets, is Chekhov only called upon to
demonstrate her extravagance as a character trait of an eccentric
ladies or testify to the moral correctness of the thrifty Varya?
8
From Varya's point of view, yes; from Ranevskaya’s point of view, no. And from the point of view
author - this is generally evidence of people’s inability to understand
each other. Lyubov Andreevna does not at all strive to be a good housewife, but
in any case, Chekhov does not portray this desire and for the absence of it
does not condemn the heroine. He generally talks about something else that lies beyond
economic practice and has nothing to do with it. So are the tips.
Lopakhina, smart and practical, are unacceptable for Ranevskaya. Is it right
Lopakhin? Undoubtedly. But Lyubov Andreevna is also right in her own way. Is Petya right?
Trofimov, when he tells Ranevskaya that her Parisian lover is
scoundrel? He’s right, but his words don’t make any sense to her. And Chekhov
does not at all set itself the goal of creating the image of a stubborn and headstrong woman,
listening to no one's advice and ruining her own home and family.
For this, the image of Ranevskaya is too poetic and charming. Apparently the reasons
disagreements between people in Chekhov's plays are not at all in the area
practical, but in some other area.
The change in conversation topics in the play could also cause confusion.
There seems to be no logical connection between successive
there are no talking groups. So, in the second act, instead of those talking about
meaning of Ranevskaya's life, Petya and Anya come to Gaev and Lopakhin, people
far from what the elders care about, worries them. Such a “mosaic” of scenes
due to the uniqueness of the system of images and dramatic conflict in
Chekhov. Strictly speaking, a dramatic conflict in the usual sense
absent from Chekhov's plays, the action was not based on confrontation
characters, and characters are no longer divided into “good” and “bad”,
“positive” and “negative”. In “The Cherry Orchard” is only Yasha
written out clearly ironically, the rest do not fit into
traditional categories of negative characters.
9
Rather, each hero is unhappy in his own way, even Simeonov Pishchik, but even those
characters whose author's sympathy is on their side still don't look
definitely “positive”. The appeal sounds genuinely sad
Ranevskaya to her children's room, rise to the truly tragic
Chekhov does not give it any sound, neutralizing the tragic beginning with the comic
Gaev's address to the closet. Gaev himself is funny in his pompous and
absurd monologues, but at the same time sincerely touching in barren
trying to save the cherry orchard. The same - “funny and touching” - you can
say about Pete Trofimov.
10
Chapter 2
The owners of the estate are Russian landowners Gaev and Ranevskaya. Both brother and
sister - educated, smart, sensitive people. They know how to appreciate beauty
they feel it subtly, but due to inertia they cannot do anything about it
salvation. With all their development and spiritual wealth, Gaev and Ranevskaya
deprived of a sense of reality, practicality and responsibility, and therefore not in
able to take care of yourself or loved ones. They can not
follow Lopakhin's advice and rent out the land, despite the fact that
would bring them a solid income: “Dachas and summer residents - it’s so vulgar,
Sorry". They are prevented from taking this measure by special feelings that bind
them with the estate. They treat the garden as a living person with whom they
connects a lot. The cherry orchard for them is the personification
a past life, a bygone youth. Looking out the window at the garden, Ranevskaya
exclaims: “Oh my childhood, my purity! In this nursery I slept, looked
from here to the garden, happiness woke up with me every morning, and then he
was exactly the same, nothing has changed.” And further: “Oh my garden! After dark
rainy autumn and cold winter, you are young again, full of happiness, angels
the heavenly ones have not abandoned you...” Ranevskaya speaks not only about the garden, but also about herself.
She seems to compare her life with a “dark stormy autumn” and
"cold winter" Returning to her native estate, she again felt
yourself young and happy.
Lopakhin does not share the feelings of Gaev and Ranevskaya. Their behavior seems to him
strange and illogical. He wonders why they are not so affected
obvious to him arguments for a prudent way out of a difficult situation
situations. Lopakhin knows how to appreciate beauty: he is delighted by the garden, “more beautiful
which there is nothing in the world.” But he is an active and practical person.
He can't just admire the garden and regret it without trying anything.
undertake to save him.
11
He sincerely tries to help Gaev and Ranevskaya, constantly convincing them: “And
cherry orchard, and the land needs to be rented out for dachas, do this
Now, hurry up - the auction is just around the corner! Understand!” But they don't want it
listen. Gaev is only capable of empty oaths: “With my honor, whatever you want,
I swear, the estate will not be sold!... I swear on my happiness!... call me
then a crappy, dishonest person if I allow it to go to auction! Everyone
I swear by my being!”
However, the auction took place, and Lopakhin bought the estate. This is an event for him
has a special meaning: “I bought an estate where my grandfather and father were slaves, where there were no
They were even allowed into the kitchen. I'm dreaming, it's only imagining it, it's only
it seems...” Thus, for Lopakhin, the purchase of an estate becomes a kind of
a symbol of his success, a reward for many years of work. He would like
so that his father and grandfather would rise from the grave and rejoice at how their son and
grandson has succeeded in life. For Lopakhin, the cherry orchard is just land,
which can be sold, mortgaged or purchased. In his joy he doesn't even
considers it necessary to show an elementary sense of tact towards
to the former owners of the estate. He starts cutting down the garden without even waiting for them
departure. In some ways he is akin to the soulless lackey Yasha, in whom
there are no feelings such as kindness, love for mother, affection for
the place where he was born and raised. In this he is the direct opposite of Firs,
whom these qualities are unusually developed. Firs is the oldest person in
home. He has faithfully served his masters for many years and sincerely loves
I am ready to protect them from all troubles like a father. Perhaps Firs -
the only character in the play endowed with this quality - devotion.
Firs is a very integral nature, and this integrity is fully manifested
in his relation to the garden. For an old footman, a garden is a family nest, which
he strives to protect in the same way,
Petya Trofimov is a representative of the new generation.
as well as their masters.
12
He doesn't care about the fate of the cherry orchard at all. “We are above love,” declares
he, thereby admitting his inability to have serious feelings. Peter
looks at everything too superficially: not knowing true life, he tries
reorganize it based on far-fetched ideas. Outwardly, Petya and Anya are happy.
They want to move towards a new life, making a decisive break with the past. A garden for them -
“all of Russia,” and not just this cherry orchard. But is it possible without loving
home, to love the whole world? Both heroes rush to new
horizons, but lose their roots. Mutual understanding between Ranevskaya and
Trofimov is impossible. If for Petya there is no past and memories, then
Ranevskaya deeply grieves: “After all, I was born here, my father and
mother, my grandfather, I love this house, without the cherry orchard I don’t understand my
life..."
The image of Ranevskaya in the play "The Cherry Orchard"
Let's consider one of the main images of the play - the image of Ranevskaya. Cherry
the garden appears in the play as a symbolic image. It brings together very different
heroes, each of whom has their own idea of him. But the cherry orchard
will separate all the characters at the end of the play.
The Cherry Orchard as a wonderful home for Ranevskaya exists only in her
wonderful past. The memory of childhood and youth is associated with it.
Ranevskaya appears in her house, where she has not been for five years. And this is hers
last, farewell visit to the Motherland. The heroine comes from abroad,
from the man who stole from her, but whom she still loves very much.
At home, Ranevskaya thought to find peace.
13
Nature itself in the play seems to remind her of the need for spirituality.
renewal, about beauty, about the happiness of human life.
Ranevskaya, devastated by love, returns to her estate in the spring. IN
cherry orchard - “white masses of flowers”, starlings sing, glitters above the garden
sky. Nature is preparing for renewal - and Ranevskaya’s soul is awakening
hopes for a new, clean, bright life: “All, all white! O my garden!
After a dark, unhappy autumn and a cold winter, you are young again, full
happiness, the heavenly angels have not abandoned you. If removed from the chest and shoulders
my heavy stone, if only I could forget my past!
But the past does not allow itself to be forgotten, since Ranevskaya herself lives with a feeling
of the past. She is the creation of a noble culture, which is disappearing before our eyes.
the present remains only in memories. A new one takes its place
class, new people - emerging bourgeois, businessmen, ready to do anything for
money. Both Ranevskaya and the garden are defenseless against the threat of death and ruin.
When Lopakhin offers her the only real way to save the house,
Ranevskaya replies: “Dachas and summer residents - it’s so vulgar, I’m sorry.”
It turns out that, on the one hand, Ranevskaya does not want to cut down the garden, so
how this is a symbol of her happy youth, her aspirations, hopes. Yes, besides
the garden in the spring is simply magnificent in its bloom - it would be a pity to cut down such beauty
because of some dachas. But, on the other hand, the author shows us indifference
Ranevskaya and to the fate of the cherry orchard, and to the fate of loved ones. All of her
mental strength, energy was absorbed by love passion, which enslaved
gradually the will of this woman drowned out her natural responsiveness to
the joys and sorrows of the people around you.
14
Emphasizing Ranevskaya's sense of indifference, Chekhov shows us
the heroine’s attitude towards telegrams from Paris.
This ratio is directly dependent on the degree of threat looming
over the garden. In the first action, while they only talk about the possibility of sale,
Ranevskaya “tears up the telegram without reading it.” In the second act it is already known
buyer - Ranevskaya reads and tears up the telegram. In the third act
auction took place - she admits that she decided to go to Paris to the man
who robbed her and abandoned her. In Paris, Ranevskaya is going to live on
the money that my grandmother sent to buy the estate.
The heroine completely forgot all the insults caused to her by her ex.
beloved. In Russia, she leaves everyone to their fate. Varya,
Ranevskaya's adopted daughter is forced to become a housekeeper for the Ragulins. Love
Andreevna does not care at all about her fate, although she made an attempt
marry Varya to Lopakhin. But this attempt was unsuccessful.
Ranevskaya is impractical, selfish, careless. She forgets about Firs,
servant who worked for them all his life. She is not happy with her daughters' lives
- neither Ani nor Varya, forgetting about them in the heat of her passion. It is unknown for what
whim, Ranevskaya throws a ball while auctions are going on in the city, although
she herself understands the inappropriateness of what is happening: “And the musicians came
inopportunely, and we started the ball inopportunely... Well, nothing... (Sits down and quietly
crying)."
But, at the same time, the heroine is kind, responsive, and her feeling does not fade
beauty. She is ready to help everyone, ready to give her last money.
15
So, Ranevskaya gives the last gold piece to the drunkard. But hers is also visible in this
impracticality. She knows that at home Varya feeds everyone milk soup, and
servants - peas. But this is the nature of this heroine.
Ranevskaya Lyubov Andreevna, as mentioned above, is bright
representative of the passing century. Landowner. Once accustomed to living on
wide leg, she is not able to realize and accept the fact that for her
there are no longer a couple of hundred serfs who were there before, and who
covered her expenses. During the years of living abroad, she never learned
practicality and rationality. Naive and kind, allows herself
to deceive everyone who is not too lazy, starting from her lover and ending with the lackey
Yasha. Sensitive and sentimental, she is completely unprepared for blows
fate, every time trying to run away from problems and troubles. When six years ago
her son drowned in the river, she could not recover from grief, and, leaving everything, left
abroad. The second time she will run away to Paris when her estate is bought up
Lopakhin.
The image of Ranevskaya is very contradictory, it is impossible to say whether she is good or
bad. In the play, this image is not assessed unambiguously, since it is alive,
complex and contradictory in nature.
Anya is one of the main characters of the play
Anya, Lyubov Andreevna’s own daughter, is still naive and stupid
A girl who can easily get her head turned. Still almost a child, she is now
crossroads. Brought up on romantic books surrounded by those who love her
people, Anya looks at the world through rose-colored glasses. Kind and sensitive, she
tries as best he can to take care of his mother, protects her from attacks
Gaeva. Everyone in the house loves this girl for the purity of her soul and spontaneity.
actions.
16
After the sale of the garden and the departure of her mother, an opening opens up before her.
the need to take care of yourself. In the final scene, Anya shares
with my plans to graduate from high school and go to work. Everyone in the house understands
that the money that the Yaroslavl aunt gave to Ranevskaya will not last long. But
Anya is excited about the prospects opening up to her.
Petya's image
Petya Trofimov is perhaps the only person in the play for whom
the future exists as a conscious reality, as what he lives for.
This hero realizes the beauty of the cherry orchard, apparently more deeply than anyone else in
play. But he also understands better than others that the garden bears the imprint
slave past. Trofimov sees that the garden is doomed by the present, in which
there is no place for beauty where the predation of the Lopakhins triumphs.
The future is depicted by this hero as a triumph not only of justice,
but also beauty. That's why, when Anya complains that she stops loving her
cherry orchard, Petya says: “All of Russia is our garden. The earth is big and
It’s beautiful, there are many wonderful places on it.” And after the sale of the estate,
Trying to console her mother and clearly echoing Petya, Anya says: “We will plant a new
a garden more luxurious than this, you will see it, you will understand...”
In addition, Petya Trofimov utters those words that express the whole
the truth about the cherry orchard, in the image of which the whole country is hidden. He voices
that thought, which is probably hidden in the rest of the heroes somewhere far away in
consciousness. Petya says, turning to Anya: “Think, Anya, your grandfather, great-grandfather
and all your ancestors were serf owners who owned living souls, and is it really possible
from every cherry tree in the garden, from every trunk, human beings do not look at you
creatures, don’t you hear voices..."
17
It seems to me that a “pure soul” is, of course, the most
a suitable description for Petya.
Of course, in Petya’s views, in his convictions that he and his comrades
should be “above love”, there was a lot of naivety. But it should be remembered that
Trofimov was not the only one to sin with naive maximalism. These kinds of views
were very widely represented among radical youth
that time. They also manifested themselves in their own way during the times described by I.S.
Turgenev, and in subsequent decades.
Thus, Petya’s renunciation of love is similar to his refusal of money,
which Lopakhin offers him. In one and the other case, Trofimov
comes from the conviction that he is a “free man”, since he has no control over him
not the slightest power, everything that is so highly valued by people who live like him
outdated concepts and traditions.
convinced
old,
The image of Petya Trofimov is of great importance in the play. He is not
ghostly, like Gaev or Ranevskaya, he is real and accepts life itself
really. It seems that Petya Trofimov is the only sane one, if that’s possible
say, of all the characters in the play. And then it seems that he is capable
turn things around with the cherry orchard in the other direction: help save. But
this doesn't happen.
Apparently, Chekhov did this intentionally to show the outcome of the case, the most
tragic, sad, but real. Chekhov did not come up with something miraculous
salvation to finally open people's eyes. For Petya everything
what happened to the garden is the beginning of a new life, in any case, he is very
I want to believe in it, the life for which he lives, for which he strives.
18
But why shouldn’t he grow new seeds on already prepared soil? Or
Is this soil not suitable for giving new life? Philosophical
questions in the play constantly arise before the reader. And they are not only
in the plot itself, they are in the characters themselves, who are in “The Cherry Orchard”
great semantic load. The image of Petya Trofimov is among them,
perhaps one of the main ones.
This hero, to the best of his ability, helps those who are at the head of the movement. IN
Chekhov's play needed a representative of such a trend. Among the passive
figures in The Cherry Orchard, Petya is the only effective character,
a thinking character who makes others think. It doesn't always work out
but the essence is in that impulse, in that great mission (and in comparison with the actions
other characters she is really great!), which she performs in
work by Petya Trofimov. I think this hero can be called
a bearer of the truth of life, not afraid to admit it and try to correct it.
Image of Gaev
Gaev Leonid Andreevich, brother of Ranevskaya, is also a typical representative
of a passing era. And not only because he is categorically against cutting down the garden.
Their sentimentality is understandable. My whole life was lived next to this
garden Both Leonid Andreevich and his sister are used to having everything decided for them
others: estate managers, peasants who paid rent. Therefore, they don't
they can offer nothing reasonable in the current situation, again
trying to shift their problems to Lopakhin, to the Yaroslavl aunt, to
anyone, but not themselves. Gaev is a player. He even thinks
card categories while away from the card table. After
sale of the estate, Leonid Andreevich was offered a place in a bank with a good
annual salary. But whether he will serve remains an open question.
19
Lopakhin as an image of the future drawn by Chekhov
Lopakhin Ermolai Alekseevich, a peasant son, and now, young and
successful merchant. He himself admits that he was and remains a man.
Of course, he has business acumen. But the educational and cultural
the level leaves much to be desired. He is well aware of this and it’s as if
is ashamed, admitting that he writes like a chicken with its paw. Lopakhin's proposal
cutting down a garden and handing over plots of land for the development of dachas is, in fact, not so
stupid in the light of new changes, but representatives of the outgoing century
they take him with hostility. Lopakhin is decisive and assertive. Can
achieve the goal. Can Lopakhin be called a predator?
The question is controversial. The predator would not offer his own option for obtaining
profit and saving the estate, but on the contrary, would do everything to get it
As soon as possible. But he patiently and persistently inspired Ranevskaya and Gaeva
way out of the current situation. And if the landowner's family accepted him
proposal, at best, Lopakhin would become a manager, and the main
Brother and sister would receive profits from the lands. Lopakhin, too, in his own way
tied to the estate. His ancestors lived on this land, this is his homeland, and
so he did everything possible to buy it, since the estate was all the same
was put up for sale. Don’t give up your homeland to Deriganov. His joy
can be understood. He, “that same Ermolai bought an estate, more beautiful than which
there is nothing in the world." He knows how to appreciate beauty. “And when my poppy bloomed, what
what a picture it was!” He also knows how to create this beauty.
Many literary critics believe that Petya Trofimov personifies
new Russia. I cannot agree with this point of view. It is Ermolai
Lopakhin is a peasant son and a merchant, working from morning till night, not this one
an eternal student, personifies the new Russia. Because when Petya
reasoned, criticizing others and calling on everyone to work, Lopakhin worked.
20
When Petya was talking about men whose lives were bad, Lopakhin gave
the opportunity for these men to earn their own bread when they planted poppies. AND
with a feeling of fulfillment, he can allow himself to admire the blooming
a field that gave him 40 thousand net profit. Exactly for such
people like Lopakhin are the future of Russia.
Features of the hero. The concept of “hero” does not apply to Chekhov’s characters.
in the traditional sense of the word (nothing “heroic” about them, of course,
no), that’s why in Chekhov studies they often use the term “Chekhovian”
character".
Memoirists testify that Chekhov was alien to pathos, external
manifestation of feelings, all sorts of theatrical effects. And his heroes are
"ordinary people. “Chekhov brought the ordinary to virtuosity, to genius
depiction of ordinary life. “Without a hero” - that’s how you can title everything
his writings and add to myself, not without sadness: “without heroism”” (V.V.
Rozanov).
In Chekhov's stories there is no division of heroes into positive and
negative. The author, as a rule, does not give preference to any of the
them. What is important for a writer is not to judge the characters, but to find out the reasons
misunderstandings between people.
Chekhov is a realistic author, and in the stories the character of the hero
is revealed in his relationships with other characters, in his
rootedness in everyday life circumstances, trifles, in his
depending on time. The heroes of Chekhov's stories are peasants, merchants,
landowners, high school students, doctors, officials... Moreover, the writer is not interested in
so much the social status of the characters as their behavior, psychology, their
human essence.
21
The formation of the so-called Chekhov hero (in contrast, for example, to
heroes N.V. Gogol, F.M. Dostoevsky, L.N. Tolstoy) ended at the beginning
1890s. This is an ordinary intellectual, an average person, educated,
often a talented, great worker who does his job without any
pathos (teaching, healing people, etc.), passed over during life
universal recognition, its value is more often recognized by others after
his death.
Chekhov's hero is most often lonely. He yearns for the lost meaning
life, about the lack of harmony, but believes in a wonderful life, in a free and
creative person.
22
Chapter 3
The image of the cherry orchard is the central image in Chekhov's comedy,
it is represented by the leitmotif of various time plans, involuntarily
connecting the past with the present. But the cherry orchard is not just a background
events taking place, he is a symbol of estate life. The fate of the estate
organizes the play plot-wise. Already in the first act, immediately after the meeting
Ranevskaya, a discussion begins on saving the mortgaged estate from auction. IN
in the third act the estate is sold, in the fourth - farewell to the estate and
past life.
The Cherry Orchard represents not only the estate: it is a beautiful creation
nature that man must preserve.
The author pays great attention to this image, which is confirmed
detailed remarks and replicas of the characters. The whole atmosphere that
connected in the play with the image of the cherry orchard, serves to confirm it
enduring aesthetic value, the loss of which cannot but impoverish
spiritual life of people. That is why the image of the garden is included in the title.
The Cherry Orchard acts as a kind of moral criterion, according to
Not only the characters in the play, but also us, are determined in relation to it.
“The Cherry Orchard” is a comedy about careless Russian people,” wrote Yu,
Sobolev. In this play it turns into sadness and turns into anxiety. Big
number of comic scenes - Charlotte's tricks, Epikhodov's mistakes, stupid ones
Gaev’s speeches only intensify sadness, “longing for the ideal.” In classical
In comedy, vice is usually punished, virtue triumphs.
23
There are no clearly negative characters in Chekhov's play, and positive
are missing. The conflict of the work is also unclear at first glance. The thing is,
that the subject of the image in the playwright’s plays is not actually
action, their reluctance and inability to perform an act. This is exactly what
ridiculed in the comedies of Chekhov K.S. Stanislavsky noted a special
the nature of the conflict in the play “The Cherry Orchard”
The comedy of The Cherry Orchard is rooted in situations that reflect the comedy
the meaning of life itself. Chekhov interpreted this genre in a unique way. In his
comedy is a drama that, with subtle irony, ridicules
vulgarity. Traditional accusatory pathos, “laughter through tears”, according to
according to the apt remark of the writer Teffi, in Chekhov’s poetics it is replaced
"laughter instead of tears."
The play “The Cherry Orchard” was written by A.P. Chekhov in 1903, on
turn of the era. At this time, the author is full of the feeling that Russia is in
on the eve of huge changes. Like any person, Chekhov dreamed of the future,
about a new life that will bring people something bright, pure and beautiful.
It is this motive of waiting for a better life that sounds in the play “The Cherry Orchard.”
Chekhov feels that the old life is gradually leaving, and the new one is only just
is emerging.
How did Chekhov see the future? What kind of future did he dream of?
The title of the play is symbolic. “All of Russia is our garden,” Chekhov said.
Thinking about the death of the cherry orchard, about the fate of the inhabitants of the ruined estate,
he mentally imagined “all of Russia” at the turn of the era.
The Cherry Orchard is a complex and ambiguous image. It's not only
a specific garden, which is part of the estate of Gaev and Ranevskaya, but also the image
symbol.
It symbolizes not only the beauty of Russian nature, but, most importantly, the beauty
the lives of the people who grew this garden and admired it, the life that
24
garden
dies
The image of the cherry orchard unites all the characters in the play. On
death
With
together
at first glance, it seems that these are only relatives and old acquaintances,
by chance, those who gathered at the estate to solve their everyday problems
Problems. But that's not true. The writer connects characters of different ages and
social groups, and they will have to decide the fate of the garden one way or another, and
that means your destiny.
The cherry orchard is a symbol of beauty. But who will save beauty if people
who are able to appreciate it, are unable to fight for it, but people who are energetic and
do active people look at it only as a source of profit and profit?
The Cherry Orchard is a symbol of a past and home that is dear to the heart. But
Is it possible to move forward when the sound of an ax is heard behind you,
destroying everything that was previously sacred? The cherry orchard is a symbol of goodness, and
therefore, expressions such as “cut off the roots”, “trample the flower” or
“hitting a tree with an ax” sounds blasphemous and inhumane.
Reflecting on the characters and actions of the characters in the play, we think
over the fate of Russia, which is the “cherry orchard” for us.
25
Conclusion
A.P. Chekhov, as a Russian writer and Russian intellectual, was concerned
the fate of the Motherland on the eve of social changes felt by society.
The system of images of the play “The Cherry Orchard” reflects the writer’s view of
past, present and future of Russia.
The images of the play represent, on the one hand, the social strata of Russia
on the eve of the turning point (nobility, merchants, common intelligentsia,
partly also the peasantry). On the other hand, these groups peculiarly reflect
past, present and future of the country.
Russia itself is represented by the image of the Cherry Orchard, to which with tender
All the heroes are treated with love.
The personification of the past is the images of Ranevskaya and Gaev. This past,
leaving the historical arena of noble nests. In Gaev and Ranevskaya
there is no selfish calculation: the idea of selling is completely alien to them
underground cherry orchard for summer residents. They subtly sense the beauty of nature
(“To the right, at the turn of the gazebo, a white tree bent, looking like
woman "...). They are characterized by a certain childishness of perception: Ranevskaya
has a childish attitude towards money and does not count it. But this is not only childishness,
but also the habit of living regardless of expenses. Both Gaev and Ranevskaya are kind.
Lopakhin remembers how long ago Ranevskaya took pity on him. Regrets
Ranevskaya and Petya Trofimova with his disorder, and Anya, who
she was left without a dowry and a passerby.
But the time of the Gaevs and Ranevskys has passed. Their intelligence, inability to live,
carelessness turns into callousness and selfishness.
26
Ranevskaya squanders her fortune, leaving her daughter in the care of a foster child
daughter Varya, leaves for Paris with her lover, having received money from
Yaroslavl grandmother intended for Anya, she decides to return to
Paris to the man who practically robbed her, but she doesn’t think
How will Anya’s life turn out next? She takes care of the sick Firs,
asking if he was sent to the hospital, but she cannot check this and
doesn't want to. Ranevskaya is a man of words, but not of deeds. Firs remains in
boarded up house.
The result of the life of the nobles is the consequence of a life in debt, a life based on oppression
others.
As already mentioned, the role of the Cherry Orchard in the figurative system of the play is enormous.
It is around the cherry orchard that the external conflict begins, its
All the characters in the play express their attitude towards the garden. Therefore, humanly
the viewer and reader feel his fate tragically6 “... and you can only hear how
Far away in the garden they are knocking on a tree with an ax.”
Chekhov, both a writer and a playwright, is characterized by sensitive listening to
the beat of everyday life, the ability to find the most important social
problems and build your work so that these problems become
property of compatriots.
27
List of used literature
Chekhov A.P. The Cherry Orchard: Play/Preface. V. A. Bogdanova; Rice. V.P.
Panova.M.: Det. lit., 1980
Chekhov A.P. Collected works in 20 volumes. M., 1951
Bogdanov V. A. Premonition of the future Preface. K Cherry Orchard, M.:
Det. lit., 1980
Gromov M.P. Chekhov. M.. 1993
Ermilov V.V. Hello, new life! Introductory article to Chekhov
A.P. Cherry Orchard, M, Detgiz, 1963
Zakharkin D.F. Anton Pavlovich Chekhov Essay on life and work
M., Soviet Russia, 1961
Kapshev V.B. Chekhov's literary connections. M.. 1989
Kataev V.B. The complexity of simplicity: Stories and plays by Chekhov. 2nd ed.
M.: Publishing House of Moscow State University, 1999
Paperiy Z.S. “Contrary to all the rules...” (Chekhov’s plays and vaudevilles).
M..1982.
Polotskikh E.A. The paths of Chekhov's heroes. M,. 1983.
Skaftymov A.P. On the unity of form and content in “Cherry Lard”
A.P. Chekhov. On the question of the principles of constructing plays by A.P. Chekhov //
Skaftymov A.P. Moral quests of Russian writers. M.. 1972.
Chekhov in the memoirs of his contemporaries. M., Goslitizdat, 1952
Chekhov and the theater. Letters. Feuilletons. Contemporaries about the playwright Chekhoved.
M.. 1961.
Chudikov A.P. Chekhov's poetics. M.. 1971
Chukovsky K.I. About Chekhov. M., 1967.
28
The genre of the play "The Cherry Orchard" is defined in different ways. A.P. Chekhov called his work a comedy, Stanislavsky called it a tragedy, and contemporaries spoke of the immortal work as a drama.
There are good reasons for all three assumptions in the text of Chekhov’s work.
Comedy. There are many comic situations in The Cherry Orchard: the love idyll of Yasha and Dunyasha, the magic tricks and speech of Charlotte Ivanovna, the failures of Spikhodov. Also, there is a lot of humor in the characters, who cannot be called completely comic. For example, Lopakhin is often funny with his jokes - like “goodbye” or “Okhmelia, go to the monastery,” although he is a rich person respected by everyone. And Petya Trofimov - “an eternal student”, “a funny person”, “a shabby gentleman” - often finds himself in ridiculous situations, for example, falling down the stairs.
Tragedy. At the same time, there is a lot of tragedy in the characters of the play. So, Charlotte Ivanovna, on the one hand, is considered a funny and absurd woman, and, on the other hand, a lonely person, without a homeland and without relatives. Firs is funny with his deafness, and at the same time the fate of the “forgotten” man is very tragic. There is not a single happy person in the play: Varya experiences unrequited love, Lopakhin, despite his wealth, looks unhappy, Petya remains an inactive dreamer and philosopher.
Drama. The main source of the drama of the work is not the conflict, which consists in the struggle for the cherry orchard, but subjective dissatisfaction with human life. This dissatisfaction is equally experienced by all the heroes of A.P. Chekhov’s work, without exception. The life and fate of the characters proceed awkwardly, not as we would like, bringing no joy, no positive emotions, or a feeling of serene happiness to anyone.
“The Cherry Orchard” is a lyrical play in four acts by Anton Pavlovich Chekhov, the genre of which the author himself defined as a comedy. The play was written in 1903 and first staged on January 17, 1904 at the Moscow Art Theater. One of Chekhov's most famous works and one of the most famous Russian plays written at that time. “The Cherry Orchard” is Chekhov’s last play, completed on the threshold of the first Russian revolution, a year before his early death. The idea for the play arose from Chekhov at the beginning of 1901. The play was completed on September 26, 1903.
To understand the main conflict in the play “The Cherry Orchard,” it is necessary to take into account the time when this work was written and the circumstances of its creation.
Chekhov wrote “The Cherry Orchard” at the beginning of the twentieth century, when Russia was at the crossroads of eras, when revolution was inevitably approaching, and many felt the impending enormous changes in the entire habitual and established way of life of Russian society. Many writers of that time tried to comprehend and understand the changes taking place in the country, and Anton Pavlovich was no exception. The play “The Cherry Orchard” was presented to the public in 1904, becoming the final play in the work and life of the great writer, and in it Chekhov reflected his thoughts about the fate of his country.
The decline of the nobility, caused by changes in the social structure and the inability to adapt to new conditions; separation from their roots not only of landowners, but also of peasants who began to move to the city; the emergence of a new bourgeois class that came to replace the merchants; the appearance of intellectuals who came from the common people - and all this against the backdrop of the emerging general discontent of life - this is, perhaps, the main source of the conflict in the comedy “The Cherry Orchard”. The destruction of dominant ideas and spiritual purity affected society, and the playwright grasped this on a subconscious level.
Sensing the impending changes, Chekhov tried to convey his feelings to the viewer through the originality of the conflict in the play “The Cherry Orchard,” which became a new type, characteristic of all his drama. This conflict does not arise between people or social forces, it manifests itself in the discrepancy and repulsion of real life, its denial and replacement. And this could not be played, this conflict could only be felt. By the beginning of the twentieth century, society was not yet able to accept this, and it was necessary to rebuild not only the theater, but also the audience, and for a theater that knew and was able to reveal open confrontations, it was practically impossible to convey the features of the conflict in the play “The Cherry Orchard.”
That's why Chekhov was disappointed with the premiere show. After all, out of habit, conflict was designated as a clash between the past, represented by impoverished landowners, and the future. However, the future is closely connected with Petya Trofimov and Anya does not fit into Chekhov’s logic. It is unlikely that Anton Pavlovich connected the future with the “shabby gentleman” and “eternal student” Petya, who was unable to even monitor the safety of his old galoshes, or Anya, when explaining whose role, Chekhov placed the main emphasis on her youth, and this was the main requirement for performer.
Why did Chekhov focus on the role of Lopakhin, saying that if his image fails, then the whole play will fail? At first glance, it is Lopakhin’s confrontation with the frivolous and passive owners of the garden that is a conflict in its classical interpretation, and Lopakhin’s triumph after the purchase is its resolution. However, this is precisely the interpretation that the author feared. The playwright said many times, fearing the roughening of the role, that Lopakhin is a merchant, but not in his traditional sense, that he is a soft man, and in no case can one trust his image to a “screamer”. After all, it is through the correct disclosure of the image of Lopakhin that it becomes possible to understand the entire conflict of the play.
So what is the main conflict of the play? Lopakhin is trying to tell the owners of the estate how to save their property, offering the only real option, but they do not heed his advice. To show the sincerity of his desire to help, Chekhov makes it clear about Lopakhin’s tender feelings for Lyubov Andreevna. But despite all attempts to reason with and influence the owners, Ermolai Alekseevich, “man by man,” becomes the new owner of a beautiful cherry orchard. And he is happy, but this is joy through tears. Yes, he bought it. He knows what to do with his acquisition in order to make a profit. But why does Lopakhin exclaim: “If only all this would pass, if only our awkward, unhappy life would somehow change!” And it is these words that serve as a pointer to the conflict of the play, which turns out to be more philosophical - the discrepancy between the needs of spiritual harmony with the world and reality in a transitional era and, as a result, the discrepancy between a person and himself and with historical time. In many ways, this is why it is almost impossible to identify the stages of development of the main conflict of the play “The Cherry Orchard”. After all, it arose even before the beginning of the actions described by Chekhov, and never found its resolution.
Traditionally, the system of images in the play “The Cherry Orchard” is divided into three groups, symbolizing the present, future and past, which include all the characters. In the process of staging the play, Chekhov gave the actors precise instructions and recommendations on how to play each character; it was very important for him to convey to the viewer the characters of the characters, because it was through their images that Chekhov tried to show the comedy of what was happening. In addition, each character is assigned a certain socio-historical role. The author seems to be saying that it is possible to adjust their personality, relationships with the outside world and people around them, but they cannot change their place in general history.
The heroes of the past include Ranevskaya and her brother and the old servant Firs: they are so mired in their memories that they are unable to adequately assess either the present or the future. Lopakhin is a bright representative of today, a man of action. Well, Petya is an idealist, an eternal student, thinking about the common good that undoubtedly awaits in the future.
It is clear that Chekhov built the characters in The Cherry Orchard according to his favorite principle of “bad good people.” And in fact, it is impossible to single out any of the heroes as a villain, a victim, or absolutely ideal. Everyone has their own truth, and the viewer just needs to decide which of them is closer to him.
One of the features of Chekhov's images is the combination of positive and negative properties. Thus, Ranevskaya is characterized by impracticality and selfishness, but at the same time she is capable of sincere love, has a broad soul and generosity, she is beautiful both externally and internally. Gaev, despite his infantilism and sentimentality, is very kind. Brother and sister are characterized by those moral and cultural principles of hereditary nobility, which have already become an echo of the past. “Eternal student” Petya Trofimov argues very correctly and beautifully, but, like the old owners of the garden, he is absolutely divorced from reality and is not adapted to life. With his speeches, he also captivates Anya, who embodies the symbol of youth and hope for a better future, but is absolutely helpless in independent life. Her opposite is Varya, whose earthiness may interfere with her happiness.
Undoubtedly, in the play “The Cherry Orchard” the system of images is headed by Lopakhin. Chekhov insisted that Stanislavsky himself play him, and the playwright tried to convey to the performer the psychology of this character. Perhaps he is the only one whose internal beliefs are as close as possible to actions. Another striking feature of all the characters in this play is their inability and unwillingness to hear each other; everyone is so busy with themselves and their personal experiences that they are simply unable to understand others’. And instead of going through the ongoing test together - deprivation of home - they live with ideas about their future, in which everyone will be on their own.
The symbol of the garden in the play “The Cherry Orchard” occupies one of the central places. This work drew a line under the entire work of A.P. Chekhov. It is with a garden that the author compares Russia, putting this comparison into the mouth of Petya Trofimov: “All of Russia is our garden.” But why is it a cherry orchard, and not an apple orchard, for example? It is noteworthy that Chekhov placed special emphasis on the pronunciation of the name of the garden precisely through the letter “E”, and for Stanislavsky, with whom this play was discussed, the difference between the “cherry” and “cherry” orchard did not immediately become clear. And the difference, according to him, was that the cherry tree is an orchard capable of making a profit, and it is always needed, and the cherry tree is the keeper of the passing lordly life, blooming and growing to delight the aesthetic tastes of its owners.
Chekhov's dramaturgy tends to involve not only the characters in the action, but also the environment around them: he believed that only through the description of daily life and routine affairs is it possible to fully reveal the characters' characters.
It was in Chekhov's plays that “undercurrents” appeared that gave movement to everything that happened. Another feature of Chekhov's plays was the use of symbols. Moreover, these symbols had two directions - one side was real and had a very objective outline, and the second side was elusive, it can only be felt at the subconscious level. This happened in The Cherry Orchard. The symbolism of the play lies in the garden, and in the sounds heard behind the stage, and even in Epikhodov’s broken billiard cue, and in Petya Trofimov’s fall from the stairs. But symbols of nature, which include manifestations of the surrounding world, are of particular importance in Chekhov’s dramaturgy.
The meaning of the cherry orchard symbol in the play is by no means accidental. For many peoples, flowering cherry trees symbolize purity and youth. For example, in China, spring blossoms, in addition to the listed meanings, are associated with courage and feminine beauty, and the tree itself is a symbol of good luck and spring. In Japan, the cherry blossom is the emblem of the country and the samurai, and means prosperity and wealth. And for Ukraine, cherry is the second symbol after viburnum, denoting the feminine principle. Cherry is associated with a beautiful young girl, and the cherry orchard in songwriting is a favorite place for walks. The symbolism of the cherry orchard near a house in Ukraine is enormous; it is it that drives away evil forces from the house, acting as a talisman. There was even a belief: if there is no garden near the hut, then devils gather around it. During the move, the garden remained untouched, as a reminder of the origins of its family. For Ukraine, cherry is a divine tree. But at the end of the play, the beautiful cherry orchard goes under the ax. Isn't this a warning that great trials await not only the heroes, but the entire Russian Empire? It’s not for nothing that Russia is compared to this garden.
For each character, the symbol of the garden in the comedy “The Cherry Orchard” has its own meaning. The action of the play begins in May, when the cherry orchard, the fate of which is to be decided by the owners, blooms, and ends in late autumn, when all nature freezes. The flowering reminds Ranevskaya and Gaev of their childhood and youth; this garden has been next to them all their lives, and they simply cannot imagine how it could disappear. They love it, they admire it and are proud of it, telling them that their garden is included in the book of landmarks of the area. They understand that they are capable of losing their estate, but they cannot wrap their heads around how it is possible to cut down a beautiful garden and build some kind of dachas in its place. And Lopakhin sees the profit that he can bring, but this is only a superficial attitude towards the garden. After all, having bought it for a huge amount of money, leaving no chance for competitors at the auction to take possession of it, he admits that this cherry orchard is the best he has ever seen. The triumph of the purchase is connected, first of all, with his pride, because the illiterate man that Lopakhin considered himself to be became the master where his grandfather and father “were slaves.”
Petya Trofimov is most indifferent to the garden. He admits that the garden is beautiful, it pleases the eye, gives some importance to the life of its owners, but every twig and leaf tells him about hundreds of serfs who worked to make the garden flourish and that this garden is a relic of serfdom that must be ended . He tries to convey this to Anya, who loves the garden, but not as much as her parent, who is ready to hold onto it to the last. And Anya understands that it is impossible to start a new life while preserving this garden. It is she who calls on her mother to leave in order to start a new garden, implying that it is necessary to start a different life that will allow her to fit into the realities of the time.
Firs, who served there all his life, is closely connected with the fate of the estate and garden. He is too old to start something anew, and he had such an opportunity when serfdom was abolished and they wanted to marry him, but gaining freedom would be a misfortune for him, and he speaks about it directly. He is deeply attached to the garden, to the house, to the owners. He is not even offended when he discovers that he has been forgotten in an empty house, either because he no longer has the strength and is indifferent to him, or because he understands: the old existence is over, and there is nothing for him in the future. And how symbolic the death of Firs looks to the sounds of the garden being cut down, this is due to the fact that in the final scene the role of symbols is intertwined - the sound of a breaking string drowns in the sounds of ax blows, showing that the past is irretrievably gone.
Throughout the entire play, it is clear that the characters are connected with the cherry orchard, some more, some less, but it is through their relationship to it that the author tried to reveal their meaning in the time space of the past, present and future. The symbol of the cherry orchard in Chekhov's play is a symbol of Russia, which is at a crossroads in its development, when ideologies, social strata are mixed and many people simply cannot imagine what will happen next. But this is shown so unobtrusively in the play that even M. Gorky, who did not highly appreciate the production, admitted that it awakened in him a deep and inexplicable melancholy.
A.P. Chekhov in his play “The Cherry Orchard” creates a complex system of images. The writer in the “new drama” refuses the established division of characters into positive and negative. He divides them in his own way, putting a special meaning into each image.
The play features characters representing three generations. Lyubov Andreevna Ranevskaya, Leonid Andreevich Gaev, Ranevskaya's adopted daughter, Varya and the old footman Firs are representatives of a bygone era.
They are impractical people, unadapted to life, they are drawn headlong into memories of the past, so much so that they are unable to solve the serious problem facing them. Ranevskaya and Gaev do not want to lose the estate with the precious cherry orchard, but they do nothing to preserve it.
This attitude towards the family home causes misunderstanding and even some anger among the representative of the present, Ermolai Alekseevich Lopakhin. As a true hero-activist, Lopakhin looks for ways to solve the problem, offers them to the owners of the estate, but receives only silence in response. Being a realist by nature, he understands what such sluggish behavior will lead to, so he decides to take the initiative into his own hands. The hero buys the estate to turn it into summer cottages, and orders the cherry orchard, which means so much to Ranevskaya, to be cut down. This act allows us to see another side of Yermolai. He is not able to understand what the value of the garden is, and therefore his act seems heartless, like a mockery of the overly sentimental Ranevskaya.
In addition to representatives of the past and present, Chekhov introduces characters who personify the future and express their position on the cherry orchard, a symbol of a bygone era. Such heroes include the “eternal student,” Petya Trofimov and Ranevskaya’s seventeen-year-old daughter, Anya. Petya expresses his position quite clearly when he says that we need to put an end to the past in order to start living in the present. This thought greatly influences Anya, and she admits that she does not feel as strong a love for the cherry orchard as before. It would seem that such heroes, personifying a bright future, should be positive and ideal. However, the author does not completely sympathize with any of his characters. Petya cannot apply his common sense thoughts and ideas in practice, and Anya, in love with the “eternal student,” does nothing. The heroes do nothing but rant about how great it would be to replace the “old” garden with a “new” one.
So why can’t we identify that there is no “ideal” hero in Chekhov’s play? Because every character has a weak point. None of them are able to think in different directions. Everyone is obsessed with their problems, dreams or memories. This hinders the development of heroes.
Pәn
Subject: Russian literature
Takyryp
Subject: Play "The Cherry Orchard". Character image system. Symbolism in the play. (2 hours)
About the procedure:
Lesson objectives:
Bilimdik
educational:
- expand the understanding of the work of A.P. Chekhov through an analysis of the play “The Cherry Orchard”;
Consolidate theoretical knowledge: types of drama, symbol;
Damytushylyk
developing:
Develop associative, imaginative thinking, the ability to analyze, generalize, draw conclusions, develop monologue speech;
Tarbielik
educational:
To promote the spiritual development of students and the formation of moral values.
Sabaktyn turi
Lesson type : a lesson in gaining new knowledge
Adisi
Method: partial-search
Please keep in mind
Form : group.
Kural-zhabdyktar
Equipment: text of the play by A.P. Chekhov's "The Cherry Orchard", presentation for the lesson.
Kornekti kuraldar
visual material: illustrations for the play by A.P. Chekhov's "The Cherry Orchard", handout.
Dog Barysy:
During the classes:
Org moment.
Target setting .
Hello guys! I'm glad to see you. Take a close look at how the office is decorated today. Why is it the way you think? What is the topic of the lesson, please?
What problems do you think we will solve in today's lesson? (children's answers: we will find out how Chekhov's play was created, we will determine the genre of the play, we will get to know the characters, we will learn to speak correctly and beautifully.)
Write down the date in your notebooks, the topic of the lesson as the lesson progresses, make the necessary notes in your notebook.
Main part.
Today you are divided into groups that will help you better understand the meaning of the play “The Cherry Orchard”: the image of the cherry orchard, past, present, future. And in this regard, you and I will have to answer the main question:
What kind of “unconditional and honest truth” could Chekhov see in the end? XIX centuries?
Messages
1. Features of the dramatic method of Chekhov the innovator
Genre: “new drama”.
Principles of the “new drama”
Mood Theater
There are no villains or angels
Dialogue drives action and reveals characters
Subtext
The significance of each replica
Key characters
The history of the creation of the play “The Cherry Orchard”
On March 7, 1901, to his wife O. Knipper, he confessed: “The next play I will write will certainly be funny, very funny, at least in concept.” “He imagined,” Stanislavsky recalls, “an open window with a branch of white cherry blossoms climbing from the garden into the room. Artyom had already become a footman, and then, out of the blue, a manager. His master, and sometimes it seemed to him that it was his mistress, is always without money, and in critical moments she turns for help to her lackey or manager, who has quite a lot of money saved up from somewhere." This is the writer’s last play, so it contains his most intimate thoughts about life, about the fate of his homeland.
The meaning of the play's title:
Listen, not BAnd shnevy, and Vishne “Nice garden,” he announced and burst out laughing. At the first minute I didn’t even understand what they were talking about, but Anton Pavlovich continued to savor the title of the play, emphasizing the gentle sound “e” in the word “Cherry”, as if trying with its help to caress the former beautiful, but now unnecessary life that he destroyed with tears in his play. This time I understood the subtlety: “The Cherry Orchard” is a business, commercial garden that generates income. We need such a garden
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 would be a pity to destroy it, but it is necessary, since the process of economic development of the country requires
this.
K. S. Stanislavsky: A. P. Chekhov at the Art Theater. In the book "A. P. Chekhov in the memoirs of his contemporaries" .
So, our goal is to understand what is behind the cherry orchard, how the characters relate to it, and what the cherry orchard is a symbol of.
Now let’s imagine for a moment that each of you in your group already has the main images of the play, and we ourselves are already the heroes of our play.
Introduce yourself - group business cards
Groups introduce themselves: decorating tables, coloring for their names.
Now let’s see how the characters in the play relate to the cherry orchard - performance by the group “Image of the Cherry Orchard”.
Let's try to create a cluster “The Cherry Orchard Through the Eyes of the Heroes”
Ranevskaya - childhood
Anya - childhood, house Lopakhin - present, peasant (slave), dachas
Firs - lordly well-being
Pyotr Trofimov - serfdom Gaev - childhood
“If there is anything interesting, even wonderful, in the entire province, it is only our cherry orchard.”
The garden is the past, childhood, but also a sign of prosperity, pride, a memory of happiness.
“And the Encyclopedic Dictionary mentions this garden.”
A garden is a symbol of childhood, a garden-home, but childhood has to be parted with.
“Why don’t I love the cherry orchard as much as I used to?”
Garden - hopes for the future.
“We will plant a new garden, more luxurious than this.”
The garden is a memory of the past: grandfather and father were serfs; hopes for the future - cut down, divide into plots, rent out. A garden is a source of wealth, a source of pride.
Lopakhin: “If the cherry orchard... is then rented out for dachas, then you will have at least twenty-five thousand a year in income.”
“Cherry trees are born once every two years, and no one buys even that.”
How do Firs and Petya Trofimov feel about the cherry orchard?
( For Firs garden - lordly well-being.
“In the old days, about forty to fifty years ago, cherries were dried, soaked, pickled, jam was made... There was money!”
For Trofimov : The cherry orchard symbolizes the serfdom past.
“Aren’t human beings looking at you from every leaf, from every trunk?”
“All Russia is our garden” is his dream of a transformed homeland, but it is not clear by whose strength this will be done)
Question:
What is the symbol of the cherry orchard in A.P. Chekhov’s play?
(Garden is a symbol of home, a symbol of beauty, a symbol of the past, a symbol of the present, a symbol of the future, Russia).
For the author, the garden embodies love for his native nature; bitterness because they cannot preserve its beauty and wealth; the author’s idea about a person who can change lives is important; the garden is a symbol of a lyrical, poetic attitude towards the Motherland. In the author's remarks: “beautiful garden”, “wide open space”, the sound of a broken string, the sound of an ax.
Chekhov: “In the second act you will give me a real green field and a road, and a distance unusual for the stage.” "The sound...should be shorter and felt from afar" .
Now let's find out everything about cherries and their properties? Is it useful?
3. Message about cherries.
Fizminutka
System of images - characteristics of heroes by groups
Past tense (Ranevskaya, Gaev)
Present tense (Lopakhin)
Future tense (Trofimov, Anya)
What heroes symbolize what?
Describe the characters - the past:
Ranevskaya Lyubov Andreevna
Lack of will, inability to adapt, romantic enthusiasm, unstable psyche, inability to live
She is outwardly charming, loves nature, music, sweet, kind, simple, trusting and sincere to the point of enthusiasm, but there is no depth in her emotional experiences: her moods are fleeting, she easily moves from tears to laughter
It’s as if she’s sensitive and attentive to people, but what indifference to everything that goes beyond her well-being
Gaev Leonid Andreevich
Weak-willed, worthless, lived his whole life on the estate, doing nothing
Spent my fortune on lollipops
The only activity is billiards.
Ranevskaya Lyubov Andreevna – the main character of “The Cherry Orchard” is a former rich aristocrat, accustomed to living according to the dictates of her heart. Her husband died quite early, leaving a lot of debts. While she was indulging in new feelings, her little son tragically died. Considering herself guilty of this tragedy, she runs away from home, from her lover abroad, who also followed her and literally robbed her there. But her hopes of finding peace were not realized. She loves her garden and her estate, but cannot save it. It is unthinkable for her to accept Lopakhin’s proposal, because then the centuries-old order in which the title of “landowner” is passed down from generation to generation will be violated, carrying with it the cultural and historical heritage, inviolability and confidence in the worldview.
Lyubov Andreevna and herbrother Gaev
All the best features of the nobility are characteristic: responsiveness, generosity, education, a sense of beauty, the ability to sympathize.
However, in modern times, all their positive qualities are not needed and are turned in the opposite direction. Generosity becomes irrepressible spending, responsiveness and the ability to sympathize turn into slobbering, education turns into idle talk.
According to Chekhov, these two heroes do not deserve sympathy and their experiences are not as deep as they might seem.
The present:
Lopakhin
Enormous energy, enterprise, wide scope of work
Becomes the owner of the estate created by the hands of his great-grandfather
Petya Trofimov: “Just as in terms of metabolism we need a predatory beast that eats everything that gets in its way, so we need you.”
In the play “The Cherry Orchard” the main characters talk more than they do, and the only person is the action.Lopakhin Ermolai Alekseevich , the central character, according to the author. Chekhov was sure that if his image failed, then the whole play would fail. Lopakhin is designated a merchant, but the modern word “businessman” would be more suitable for him. The son and grandson of serfs became a millionaire thanks to his instincts, determination and intelligence, because if he were stupid and uneducated, how could he have achieved such success in his business? And it is no coincidence that Petya Trofimov talks about his subtle soul. After all, only Ermolai Alekseevich realizes the value of the old garden and its true beauty. But his commercial spirit goes too far, and he is forced to destroy the garden.
Who is the symbol of the future?
Trofimov Petya - an eternal student and a “shabby gentleman.” Apparently, he also belongs to a noble family, but has essentially become a homeless vagabond, dreaming of the common good and happiness. He talks a lot, but does nothing for the speedy onset of a bright future. He also lacks deep feelings for the people around him and attachment to a place. He lives only in dreams. However, he managed to captivate Anya with his ideas.
Anya, daughter of Ranevskaya . Her mother left her in the care of her brother at age 12. That is, in adolescence, which is so important for the formation of personality, Anya was left to her own devices. She inherited the best qualities that are characteristic of the aristocracy. She is youthfully naive, which is perhaps why she was so easily carried away by Petya’s ideas.
So who is the future? For Petya? For Anya? For Lopakhin?
This question could have been rhetorical if history had not provided Russia with a second attempt to resolve 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 who served them all his life, and a cherry orchard - all this is irrevocably a thing of the past, to which there is no way 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 of Russia is our garden. The earth is great and 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 don’t human beings look at you from every cherry tree in the garden, from every leaf, from every trunk, don’t you really hear voices... Own living souls, because this has reborn all of you who lived before and are now living, so that your mother, you, and uncle no longer notice that you are living in debt at someone else’s expense, at the expense of those people whom you do not allow beyond the front hall.. “All the action takes place around the garden; its problems highlight the characters’ characters and their destinies. It is also symbolic that the ax raised over the garden caused a conflict between the heroes and in the souls of most of the heroes the conflict is never resolved, just as the problem is not resolved after cutting down the garden.
And in order to answer the question that stood before us at the beginning of the lesson, what truth did Chekhov see at the end?XIX
century, you will have to do creative work.
Creative work. Try to imagine what the cherry orchard would think in October, when the cold weather is already approaching, and sees people with axes coming towards it - your task is to compose a “Monologue of the soul of the cherry orchard.” (5-7 minutes)
While composing a creative work, a sound recording is played: vocalise No. 5 Tenderness. Garden of Eden S.V. Rachmaninov
Try to summarize all of the above. How do you understand the image of the cherry orchard?
The image of cherry unites all the characters in the play around itself. At first glance, it seems that these are only relatives and old acquaintances who, by chance, have gathered at the estate to solve their everyday problems. But that's not true. The writer brings together characters of different ages and social groups, and they must one way or another decide the fate of the garden, and therefore their own fate.
How does the author feel about the cherry orchard? What is the symbol of the cherry orchard for A.P. Chekhov?
For the author, the garden embodies love for his native nature; bitterness because they cannot preserve its beauty and wealth; the author’s idea about a person who can change lives is important; the garden is a symbol of a lyrical, poetic attitude towards the Motherland.
Have you noticed which color is most often repeated in the play?
Of all the variety of colors in the play “The Cherry Orchard,” Chekhov uses only one – white, using it in different ways throughout the first act.
“Gaev (opens another window). The garden is all white."
At the same time, the garden in the play is only named, shown only outside the windows, as the potential possibility of its destruction is outlined, but not specified.
White color is a premonition of a visual image. The heroes of the work repeatedly talk about him: “Lyubov Andreevna. All, all white! O my garden! To the right, at the turn to the gazebo, a white tree bent over, looking like a woman... What an amazing garden! White masses of flowers."
White color– a symbol of purity, light, wisdom.
Bottom line
Chekhov in the play “The Cherry Orchard” used almost the entire range of symbolic expressive means: sound, real, verbal symbolism. This helps him create a voluminous artistic canvas, bright and scenic, with its own “undercurrent”, depicting the death of noble nests.
Conclusion
So what truth did Chekhov see?
Chekhov saw the truth about the future of Russia, that everything is in the hands of man: In a troubled era, it will either perish or be reborn.
Chekhov in the play “The Cherry Orchard” used almost the entire range of symbolic expressive means: sound, real, verbal symbolism. This helps him create a voluminous artistic canvas, bright and scenic, with its own “undercurrent”, depicting the death of noble nests and the death of old Russia.
Reflection. Lesson summary.
Sinkwine.
At the end of the lesson - write a syncwine to cherry orchard
1st line – one keyword defining the content of the syncwine;
2nd line – two adjectives characterizing this concept;
3rd line – three verbs denoting an action within a given topic;
4th line – a short sentence revealing the essence of the topic or attitude towards it;
The 5th line is a synonym for the keyword (noun).
First example:
The Cherry Orchard.
Bright, deep.
Written, directed, completed.
Comedy in four acts.
Chekhov.
Lesson grades.
Homework: make a cluster based on biographyI.A. Bunina, read the story "Mr. from San Francisco."