A klutz, shabby gentleman, an eternal student. Which of the heroes of “The Cherry Orchard” was called a “shabby gentleman”? Who has the gift of ventriloquism

Introduction

Pyotr Sergeevich Trofimov, or, as everyone calls him, Petya, appears for the first time in the play in a “worn student uniform and glasses.” And already from the hero’s first appearance on stage, two main features become visible in Trofimov’s characterization from The Cherry Orchard. The first is the students, because Petya is the so-called eternal student, who has already been expelled from the university several times. And the second feature is his amazing ability to enter inopportunely and get into trouble: everyone rejoices at Petya’s arrival, fearing, however, that the sight of him might awaken painful memories in Ranevskaya. Trofimov was once her teacher little son, who soon drowned. Since then, Petya has settled down on the estate.

Hero-commoner

The image of Petya Trofimov in the play “The Cherry Orchard” was conceived as an image positive hero. A commoner, the son of a pharmacist, he is not bound by concerns about the estate or his business and is not attached to anything. Unlike the impractical Ranevskaya and forever busy with business Petya Lopakhina has a unique chance to look at all events from the outside, assessing them impartially. According to Chekhov's original plan, it was Petya and Anya, inspired by his ideas, who should have indicated the resolution of the conflict of the play. Redemption of the past (in particular, the sin of owning living souls, which Trofimov condemns especially harshly) through “extraordinary, continuous labor” and faith in a bright future, in which all of Russia will turn into a blooming cherry orchard. This is Trofimov’s life credo. But Chekhov would not have been Chekhov if he had allowed himself to introduce such an unambiguously “correct” character into the narrative. No, life is much more complicated than any template, and the image of Trofimov in the play “The Cherry Orchard” once again testifies to this.

“Klutz”: the comic image of Petya Trofimov

It is difficult not to notice the somewhat ironic attitude towards Trofimov, both on the part of the author and on the part of the characters in the play. “Klutz” is what Ranevskaya, who is usually condescending towards people, calls Petya, and Lopakhin mockingly adds: “Passion, how smart!” Other definitions applied to this hero further aggravate the picture: “funny freak”, “clean”, “shabby gentleman”... Petya is awkward, ugly (and, according to his own statement, does not want to appear so at all), he has “thin hair ", in addition, he is absent-minded. This description stands in stark contrast to the in a romantic way, which arises after reading his speeches. But these speeches, upon careful analysis, begin to confuse with their categoricalness, moralizing and at the same time - an absolute misunderstanding of the current life situation.

Let us pay attention to the fact that Trofimov’s pathetic speeches are constantly interrupted throughout the play. Either they will knock with an ax, then Epikhodov will play the guitar, then he will call out to Anya Varya, who has listened (this, by the way, will cause genuine indignation in Petya: “This Varya again!”) ... So Chekhov gradually conveys his attitude towards what Petya says: these are not viable things afraid of the manifestations of ordinary life.

Another unpleasant feature in Trofimov is his ability to see “only dirt, vulgarity, Asianness” in everything. Surprisingly, admiration for Russia, its “immense fields and deepest horizons” comes from the lips of the seemingly limited merchant Lopakhin. But Petya talks about “moral impurity”, about bedbugs and only dreams of a bright future, not wanting to see the present. The beauty of the main image-symbol in the play also leaves him indifferent. Trofimov doesn’t like the cherry orchard. Moreover, he does not allow young Anya, whose soul still responds very reverently to beauty, to love him. But for Petya, the garden is exclusively the embodiment of serfdom, which should be gotten rid of as soon as possible. It doesn’t even occur to him that Anya spent her childhood in this garden, that it might hurt her to lose him - no, Petya is completely captivated by his ideas and, as often happens with this kind of dreamer, he doesn’t see the living people behind them.

And what about Petya’s contemptuous statement that he is “above love.” This phrase, with which he wanted to show his superiority, perfectly reveals the opposite - the moral, spiritual underdevelopment of the hero. If he had been an internally holistic, formed personality, he would have been forgiven for his awkwardness and awkwardness, just as illiteracy is forgiven for Lopakhin with a “broad soul.” But Petya’s dryness betrays his moral inconsistency. “You are not above love, but simply, as our Firs says, you are a klutz,” Ranevskaya tells him, who, due to her sensitivity, immediately figured out Petya. It is curious that Petya, who protests against the old way of life and any forms of ownership, nevertheless does not hesitate to live at Ranevskaya’s estate and partly at her expense. He will leave the estate only with its sale, although at the beginning of the play he suggests to Anya to throw the keys to the farm into the well and leave. It turns out that even by example Trofimov is not yet ready to confirm his ideas.

“I will show others the way”...

Of course, Pete also has some nice traits. He himself speaks bitterly about himself: “I’m not yet thirty, I’m young, I’m still a student, but I’ve already endured so much! And yet... I have a presentiment of happiness, Anya, I already see it...” And at this moment, through the mask of the builder of a bright future, real man, willing better life who knows how to believe and dream. His undoubted diligence also deserves respect: Petya works, receives money for translations and consistently refuses the favor offered by Lopakhin: “I free man! And everything that you all value so highly and dearly, rich and poor, does not have the slightest power over me, it’s like fluff that floats through the air.” However, the pathetic nature of this statement is somewhat disturbed by the galoshes Varya threw onto the stage: Trofimov lost them and was quite worried about them... The characterization of Petya from “The Cherry Orchard” is essentially all concentrated in these galoshes - all the pettiness and absurdity of the hero is clearly manifested here.

Trofimov is more of a comic character. He himself understands that he is not created for happiness and it will not reach him. But it was he who was entrusted important role to show others “how to get there”, and this makes him indispensable - both in the play and in life.

Work test

Pyotr Trofimov occupies a special place among the characters in the comedy “The Cherry Orchard.” He is the former teacher of Ranevskaya’s drowned seven-year-old son, a commoner. His father was a pharmacist. Trofimov is twenty-six or twenty-seven years old, he is an eternal student, wears glasses and argues that one should stop admiring oneself and “just work.”
The hero beautifully preaches faith in the inevitable advent of a better future and personal freedom, because “humanity moves forward, improving its strengths. Everything that is inaccessible to it now will someday become close and understandable, only now we must work, help with all our might to those who seeks the truth."
Trofimov denounces “dirt, vulgarity, Asianism”, criticizes Russian intelligentsia, which for the most part does not seek anything and is not capable of work. Like Gaev, he is prone to declamation, without thinking that in the categoricalness of some of his judgments he is simply ridiculous. About his relationship with Anya, Petya says that they are higher than love: “To bypass those small and illusory things that prevent us from being free and happy - this is the goal and meaning of our life. Forward! We are moving uncontrollably towards the bright star that burns there in the distance!”
Again, like Gaev, Trofimov encourages Anya to believe him, because he has a presentiment of happiness. Ranevskaya, not without reason, reproaches the hero for spiritual myopia when he, comforting her, says that it makes no difference whether the estate is sold or not. She accurately notices that Petya only talks and does nothing, he hasn’t even finished the course.
Repeating favorite word Firs, Ranevskaya calls Trofimov a klutz and a second-grade high school student. To Lopakhin's ironic question whether he will reach " higher truth“, Trofimov confidently replies: “I’ll get there or I’ll show others the way to get there.”
In the finale, the hero is looking for forgotten galoshes, which become a symbol of his failure, despite beautiful words and inspiring pathos, life.

Student Petya Trofimov helps Anya in her spiritual growth, in determining the attitude towards the past, present and future of the Motherland. He opens her eyes to the dark, terrible thing that lurked behind the poetry of noble culture.

To begin to live in the present, you must first atone for the past, put an end to it. This is the pathos of the play. Trofimov calls Anya to the beauty of the future: “I have a presentiment of happiness, Anya, I already see it... Here it is, happiness, here it comes. It’s coming closer and closer, I can already hear its steps. And if we don’t see, we won’t know him, then what's the harm? Others will see him!"

Petya Trofimov himself, by all indications, does not belong to the number of advanced, skillful, strong fighters for future happiness. In his entire appearance, we feel a certain contradiction between the strength, depth, scope of the dream and the weakness of the dreamer. “The shabby gentleman,” Petya Trofimov is sweet, pure, but eccentric, intellectually absent-minded, insufficiently vital and not very capable of a great, persistent struggle. He has traits of “clumsiness” inherent in almost all the characters in this play. But still, Petya Trofimov is a qualitatively unique image. Trofimov is involved in the revolutionary struggle - that is why he is an “eternal student.”

Chekhov endowed Trofimov with some “funny” features of a “shabby gentleman” with clearly accusatory intentions, while Anya was presented in pale tones, as the most ordinary, “average” girl. “Anya and Trofimov... seem to be floating on some kind of ice floe, barely holding on to the shore, towards the waves... without a clear program of life,” F. Batyushkov said about Chekhov’s heroes. They are average people. It is not such people who create the movement, but the movement that creates them. This circumstance is very important, since it indicates the presence of a truly strong movement capable of capturing even such average individuals into its ranks.
Trofimov’s idealism, just like Anya’s dreams, is somewhat vague: Lyubov Andreevna rightfully throws into his eyes the notorious word of Firs - “klutz”. This expression is becoming a classic. It applies to almost everyone acting persons in Chekhov's comedy and symbolizes main idea works: about the fact that Russia needs people, not simple people, but active people.

The figure of Trofimov is an indicator that revolutionary movement captured ever wider strata; even representatives of the Trofimov-type intelligentsia joined it. Just two or three years ago, Petya Trofimov was just a half-educated philosopher, a supporter of abstract dreams of a wonderful future, divorced from the struggle. Now, on the threshold of the revolution, Petya Trofimov is already participating in the cause, the struggle, in one way or another.

But Petya Trofimov, as we found him in the play, is still “unfinished,” “half-baked.” Chekhov felt this, as well as the limitations of his own ideas about people new Russia, revolutionaries. Hence his peculiar shyness in relation to Petya, the desire to reduce him, to deprive him of his claims to be a figure of heroic proportions. But everything that Petya told Anya about the past and future, about work, struggle - all this is near and dear to the author.

Petya: Yes, I’m a shabby gentleman...

Im free person.

A.P. Chekhov. The Cherry Orchard

Students have always been the leading part of society. Since, firstly, these are young people, full of strength, confidence in one’s rightness and in the possibility of transformation. Secondly, these are studying youth, that is, people who are destined to daily expand their knowledge and come into contact with new things in science, philosophy, and art. All this makes a person think, decide something, constantly move forward and fight against the obsolete and outdated. It is not without reason that students are quite widely represented in Russian literature. This is the nihilist Bazarov, who denied art, love, beauty - “emotion” and believed only in science - “ration”. These are Chernyshevsky’s “new” and “special” people: “reasonable” egoists Lopukhov, Kirsanov, Rakhmetov. This is the conscientious murderer Rodion Raskolnikov, who created his monstrous theory, as if he really responded to Herzen’s call: “Call Rus' to the axe.”

All of them are representatives of the revolutionary democratic youth of the late 50s - mid 60s. Pyotr Sergeevich Trofimov is a representative of the student body of the early 20th century. A young man in a “worn uniform, glasses,” an “eternal student,” as Varya calls him. Twice he was expelled from the university - hardly for academic debt, but rather for participation in some revolutionary circle, for propaganda activities or participation in student demonstrations. “I’m not yet thirty, I’m young, I’m still a student, but I’ve already endured so much!.. wherever fate has driven me, wherever I’ve been!” Almost all of Petya’s life remained “behind the scenes”; apparently, due to censorship reasons, Chekhov could not say much. But there is a lot of what has been written about to judge Petya’s views, opinions, and his activities. Petya is by no means a liberal idle talker, but a man of action (although we do not directly see this in the play), advocating for radical changes. Unlike Ranevskaya, Gaev and others, he knows why he lives and what he will do.

“I must be an eternal student,” says Trofimov. And this means not only that he will be expelled from the university more than once. This means that he will still have a lot to learn. This means that “student” is a kind of title for him, personifying everything that is young, progressive and struggling.

But Ranevskaya is living out the present. She has no future. Together with the garden, she loses the last thing that connects her with her past, the best part her life. She has no prospects. The only thing that remains for her is to ask Petya: “Have mercy on me, good one, a kind person", and Trofimov feels sorry for this sweet, weak-willed woman who lost her son, lost her estate, loves, in general, insignificant person. Petya sympathizes with her, which does not prevent him from telling Ranevskaya: “... there is no turning back, the path is overgrown. Calm down, dear!”

Petya's relationships with other characters are interesting. Petya is smart, understanding, sensitive to the soul of another person, always able to give an accurate assessment of events and people. He gives an apt description of Lopakhin: “... you are a rich man, you will soon be a millionaire. This is how, in terms of metabolism, you need beast of prey who eats everything that gets in his way, so you are needed."

When leaving, he advises Lopakhin to give up the habit of waving his arms. Only he feels the subtle gentle soul The merchant, falling asleep over a book, notices his delicate fingers, like those of an artist. Petya comes to Ranevskaya’s estate because of Anya. He lives in a bathhouse, afraid to embarrass the owners. Only deep affection for the girl makes him be here. Otherwise, what could he have in common with the owners of the estate put up for auction? However, Petya claims that they are “above love”, he is angry with Varya, who is watching them: “What does she care? And besides, I didn’t show it, I’m so far from vulgarity.” What is this paradox? No, of course not. In his remarks, he tries to express his protest against love as the personification of “petty,” “ghostly,” “vulgar” feelings and his conviction that a person who has taken the path of struggle must renounce personal happiness (this is already something Bazarovsky).

But still, this is just a touch of youthful maximalism and naivety. And Petya’s feelings are much stronger and deeper than he is trying to prove to himself.

Petya's influence on Anya is undeniable. It is interesting that in conversations with Anya some lecturer notes emerge (probably, he still often had to engage in lecturing activities). It's interesting that Petya is often called " funny person", "funny eccentric", "klutz". Why? It seems to me that Ranevskaya sometimes, fearing Trofimov’s judgments, seeing that he is right and trying to somehow defend himself, calls him funny, since she simply has no other arguments for the dispute. ( Here we can somewhere draw an analogy with Chatsky, who was declared crazy from fear that he was right, from powerlessness to resist him.) On the other hand, in order not to make Petya too dry, the right person, Chekhov may have specifically emphasized his certain naivety and angularity. Or maybe for censorship reasons, so as not to do it central figure. After all, he and Anya are a living bridge between the past and the future. He is the personification of this incomprehensible future, unknown to him or its author, purified from exploitation and purified by suffering and labor. Off stage, he is apparently not so lonely if he uses “we” instead of “I”. He believes in his star and in the star of his Russia: “Forward! We are moving uncontrollably towards the bright star that burns there in the distance! Forward! Don’t lag behind, friends!” He lives not so much with a real faith in the future as with a dream. And a “beautiful dream” is always unclear. Especially in Russia.

/ / / The image of Petya Trofimov in Chekhov’s play “The Cherry Orchard”

Pyotr Trofimov in the work appears before the reader in the image former teacher son The boy drowned at a young age, and after this accident Peter remained to live on the estate. He was called differently, both “an eternal student” and “a shabby gentleman” for his external and internal world.

A man loves to express his point of view, considering it the truth. In fact, his words sometimes contradict his actions. He condemns and literally hates the landowners and the old regime. However, the man leaves the estate only when it becomes “at disposal.”

Peter loves, loves to think out loud. Moreover, for a man, the only important thing is that his interlocutor listens carefully and does not interrupt. In his statements, he condemns humanity for its “uncleanliness”, moral decay, drunkenness, laziness. He doesn't know how to forgive, and literally blames young Anna, because her ancestors were once landowners. The man shames the girl because she, too, is accustomed to living on everything ready-made.

Trofimov treats today's nobles with contempt because they have stopped developing, appreciating art, and even observing etiquette. Their level of education does not correspond to their position.

In his night conversation with Anna, under the cherry blossoms, Peter calls the girl to freedom. He considers her a “slave” of the old regime, maternal prejudices and philistinism. He inspires the girl to forget everything and look around to see happiness.

Anna is in love with Peter's speech. She wants to spend more time with a man who wants to show her a different world, a different life. But does Peter himself want this?! He tells the girl that their relationship is higher than love. But then why is he fooling her? Or did the man simply find a like-minded person in life? In fact, it turns out to be a good “tandem”. Peter loves to talk a lot and listens to him with rapture.

What can he teach a girl? Speaking so vehemently and condemning laziness in others, he does not want to do anything. A man without a home, a job, or even from school, he was expelled twice. Could he become good example for imitation?

Calling for a bright future, he can’t even clearly formulate where to start?! If, for example, the cherry orchard he so hates is cut down, what will be in its place? Simply destroy, erase the entire past from the face of the earth and never remember it. For what?! How will this change society and affect its morality? Thus, Chekhov simply shows a fanatic. Moreover, a man has a program of hatred, destruction, and eradication in his head.

The author does not make Peter a “physical aggressor.” He portrays a person who, with his statements, can only “undermine” an unformed psyche, so to speak, “recruit” young people. The adult generation does not understand his thoughts, and his fiery speeches sometimes seem stupid.

Peter is essentially petty. And although the man tries to prove the opposite in words, in reality everything is different. He is terribly upset by the loss of his old galoshes, and when Varya accidentally finds them, happiness is again instilled in the character. This is the whole point of Trofimov, he talks a lot, but most importantly contradicts what was said.

1. footman Yashu

3. Trofimova

Whose words are these: “To get around those small and illusory things that prevent you from being free and happy - this is the goal and meaning of our life. Forward! We are moving uncontrollably towards a bright star that is burning there in the distance. Forward! Don't lag behind, friends!

2. Trofimova

Whose lineage does his spokesman say is descended from the horse that Caligula introduced into the Senate?

1. Simeonova-Pishchika

2. Lopakhina

Who has the gift of ventriloquism?

1. Simeonov-Pishchik

2. Charlotte Ivanovna

Who says about whom: “Just as in the sense of metabolism a predatory beast is needed that eats everything that gets in its way, so you are needed”?

1. Trofimov about Lopakhin

2. Lopakhin about Trofimov

3. Firs about Gaev

Who owns the words: “Before the disaster it was the same: the owl was screaming, and the samovar was humming incessantly”?

1. Lopakhin

Whose words are these: “Oh, my dear, my tender, beautiful garden!.. My life, my youth, my happiness, goodbye!.. Farewell!..”?

2. Ranevskaya

Who owns the words: “My dad was a man, an idiot, he didn’t understand anything, he didn’t teach me, he just beat me when he was drunk... In essence, I’m the same idiot and idiot. I haven’t studied anything, my handwriting is bad, I write in such a way that people are ashamed of me, like a pig”? 1. Lopakhin

2. Simeonov-Pishchik

1. Ranevskaya

3. Charlotte Ivanovna

Who owns the words: “I have become anxious, I keep worrying. I was taken to the masters as a girl, I was now unaccustomed to simple life, and now my hands are white, white, like a young lady’s. She has become tender, so delicate, noble, I’m afraid of everything... It’s so scary. And if you, Yasha, deceive me, then I don’t know what will happen to my nerves”?

1. Charlotte Ivanovna

Which character in the play owns the words: “And when dad and mom died, a German lady took me in and began to teach me. Fine. I grew up, then became a governess. And where I come from and who I am, I don’t know... I’m all alone, alone, I have no one and... and who I am, why I am, it’s unknown...”?

1. Charlotte Ivanovna

Who owns the words about the cherry orchard: “Oh my garden! After the dark, hateful autumn and cold winter again you are young, full of happiness, the heavenly angels have not left you... If only I could take the heavy stone off my chest and shoulders, if only I could forget my past”?

3. Ranevskoy

Which of the characters in “The Cherry Orchard” wrote the words: “Oh, if only all this would pass, if only our awkward, unhappy life would somehow change”? 1. Ranevskoy

2. Lopakhin

3. Epikhodov

Who says to whom: “You have to be a man, at your age you have to understand those who love. And you have to love yourself... “I am above love!” You are not above love, but simply, as our Firs says, you are a klutz”?

1. Ranevskaya to Trofimov

2. Varya Epikhodova

3. Charlotte Yashe

Analysis of the poem by I.A. Bunin or response to problematic issue based on the story by I.A. Bunin "Mr. from San Francisco".

I.A. Bunin

No birds are visible. Wasting away obediently

Forest, empty and sick.

The mushrooms are gone, but it smells strong

In the ravines there is mushroom dampness.

The wilderness became lower and lighter,

There was grass in the bushes,

And, in the autumn rain, smoldering,

Dark foliage turns black.

And there is wind in the field. Cold day

Moody and fresh - all day long

I wander in the free steppe,

Far from villages and towns.

And, lulled by a horse's step,

With joyful sadness I listen,

Like the wind with a monotonous ringing,

He hums and sings into the gun barrels.

I.A. Bunin

LONELINESS

And the wind, and the rain, and the darkness

Above the cold desert of water.

Here life died until spring,

The gardens were empty until spring.

I'm alone at the dacha. I'm dark

Behind the easel, and blowing out the window.

Yesterday you were with me

But you are already sad with me.

In the evening of a stormy day

You began to seem like a wife to me...

Well, goodbye! Someday until spring

I can live alone - without a wife...

Today they go on and on

The same clouds - ridge after ridge.

Your footprint in the rain by the porch

It blurred and filled with water.

And it hurts me to look alone

Into the late afternoon gray darkness.

I wanted to shout after:

“Come back, I have become close to you!”

But for a woman there is no past:

She fell out of love and became a stranger to her.

Well! I'll light the fireplace and drink...

It would be nice to buy a dog.

I.A. Bunin

You're a stranger, but you love me

You only love me.

You won't forget me

Until the last day.

You are obedient and modest

She followed him from the crown.

But you bowed your face -

He didn't see the face.

Are you with him became a woman,

But aren't you a girl?

How much in each movement

Simplicity, beauty!

There will be betrayals again...

But just one time

Shines so shyly

The tenderness of loving eyes.

You don't even know how to hide

That you are alien to him...

You won't forget me

Never ever!

I.A. Bunin

THE LAST BUMBLE

Black velvet bumblebee, golden mantle,

Mournfully humming with a melodious string,

Why are you flying into human habitation?

And it’s like you’re pining for me?

Outside the window there is light and heat, the window sills are bright,

Serene and hot last days,

Fly, sound your horn - and in a dried-up Tatar,

On a red pillow, fall asleep.

It is not given to you to know human thoughts,

That the fields have long been empty,

That soon a gloomy wind will blow into the weeds

Golden dry bumblebee!

Appendix to independent work No. 15 " Preparing for a quiz on the creativity of A.I. Kuprin and I.A. Bunin."