The Cherry Orchard in the system of images of Chekhov's play. The system of images in the play “The Cherry Orchard”

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, for each actor assigned a certain socio-historical role. The author seems to be saying that it is possible to adjust your personality, relationships with the outside world and people around you, but change your place in general history they can't do it.

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 – bright representative of today, man is an action. Well, Petya is an idealist, eternal student, reflecting on the common good that undoubtedly awaits in the future. It is clear that Chekhov built the images 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.

Features of the play's images

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. Brothers and sisters share the same moral and cultural principles 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. This is especially evident in the first act: Ranevskaya is so immersed in her memories that she is completely detached from what is happening, Anya is also busy with her thoughts, although Varya is trying to talk about what is happening in the house in her absence.

Brief characteristics of the characters in the play “The Cherry Orchard”

Characteristics of the images of “The Cherry Orchard” show how different people collected in one place. This is especially evident from current characters. Ranevskaya Lyubov Andreevna is one of central images play, the fate of the entire estate depends on its solution; the favorite tactic for solving all problems is escape. This happened after tragic death her youngest son, which coincided with a destructive passion for an unworthy person, “and I went abroad, completely left, never to return.” After an unsuccessful suicide attempt because of the love that tormented her, “... she was suddenly drawn to Russia,” and after the sale of the estate, Lyubov Andreevna returned to Paris again, leaving her daughters to choose their own life path. Anya dreams of getting an education that will help her get a job, but her adopted daughter Varya’s prospects are less rosy. Ranevskaya’s weak attempts to marry her to Lopakhin were not crowned with success, and Ranevskaya simply did not think of allocating funds to fulfill Varina’s dream - to devote herself to God, since the interests of those around her did not really care or excite her. But meanwhile, she does not refuse financial assistance to her friend Pishchik, giving her last money to a random passer-by, although she is well aware of her plight. One more in a feminine way The play is the maid Dunyasha, a peasant girl, accustomed to life in a manor house, striving to demonstrate her “subtle” nature, but not through actions, but through constant voicing. She dreams of love and marriage, but pushes away Epikhodov, who proposed to her.

Her brother Gaev Leonid Andreevich is in many ways similar to his sister. But he is characterized by idle talk, and perhaps that is why no one takes him seriously and openly considers him unadapted to life. This is especially evident when he tells his sister that he was offered a position at the bank “Where are you!” Just sit there…”, but meanwhile everyone is waiting for him to find money to pay off his debts. He naively believes that fifteen thousand sent by his aunt will be enough to save the estate.

The only sane person in the play is Lopakhin, who suggests real way saving the estate, but it is perceived by the owners as “vulgarity.” Although Ranevskaya’s neighbor Simeonov-Pishchik, who is in the same position, constantly looking for money to pay interest on debts, at the end of the play he says that he leased his land to the British for the extraction of rare clay. Thus showing that it is not so scary to use your land to generate income. It is Lopakhin who is the representative of the new era that has come. Petya compares him to a predator: “that’s how you need beast of prey,...so you are needed.” He sincerely tries with all his might to help Ranevskaya, but her lack of understanding of obvious things angers him: “I’m babysitting you.” It is Lopakhin who inhales with his plan new life to the old estate.

But, perhaps, only the cherry orchard occupies a truly central place in the system of images of Chekhov’s play. Through the attitude towards him and his perception, the author shows the inner content of each of the main characters, reflecting their time and their historical era, and the garden itself becomes the image and symbol of all of Russia.

The article analyzed the image system Chekhov's play and given a brief description of the main characters of the comedy. The main objective of this article is to help 10th graders write an essay on the topic “The system of images in the play “The Cherry Orchard.”

Main characters: Lyubov Andreevna Ranevskaya, landowner. Anya, her daughter, 17 years old. Varya, her adopted daughter, 24 years old. Gaev Leonid Andreevich, brother of Ranevskaya. Lopakhin Ermolai...
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social relations

"The Cherry Orchard"
Comedy in four acts

Image system
Lyubov Andreevna Ranevskaya is a landowner who lived abroad for five years. 6 years ago her husband died, after which her seven-year-old son Grisha drowned in the river. Gaev speaks of her as a good, but at the same time vicious woman, hinting at her thoughtless marriage and frivolous affair. Lopakhin considers her a simple, easy person. In Paris, she was accustomed to luxury, regular guests and receptions, which affected her ability to manage money, which she did not value and littered with it wherever she could. She understands that, in essence, she lives incorrectly - she sins, spends everything to the last penny, but she is lenient with herself. He cannot and does not want to change. She created the illusion of devoted love for the man with whom she lived in France and who robbed her almost completely. However, she is ready to go to him at any time, which she does immediately after the sale of the estate.
Anya – 17-year-old daughter of Lyubov Andreevna. She is fascinated by the student Trofimov, who once taught science to her deceased brother. Anna is under undoubted influence his educated friend. She has a youthful faith in happiness, in her own strength. He sincerely rejoices at leaving the old house, anticipating the beginning of a “new life.” She is decisive, full of enthusiasm, but the reader feels a taste of possible disappointment - she believes Trofimov too easily and recklessly.
Varya – 24-year-old adopted daughter of Lyubov Andreevna. In fact, she plays the role of the Ranevskys' housekeeper. She works tirelessly and cannot imagine herself without work. He is waiting for a proposal from the merchant Lopakhin, they like each other, but Lopakhin is apparently in no hurry to get married. After the sale of the estate, without waiting for an offer from Lopakhin, she plans to work as a housekeeper for other landowners.
Gaev Leonid Andreevich - Ranevskaya's brother, landowner. He tries to hide his experiences with inappropriately used words (“who?”), and billiard terms. Combines aristocracy and sincerity. Gets carried away and talks too much. Idealist and romantic, builds different, for the most part Impracticable plans to save the estate. After selling the house, he gets a job as a bank employee, but according to the bitter remark of one of the heroes, he will not last long there due to laziness.
Lopakhin Ermolai Alekseevich - merchant. His father was a serf to his grandfather and father of Lyubov Andreevna. Now he has become rich and sincerely wants to help the Ranevskys help out their cherry orchard. Lopakhin is devoid of an aesthetic sense, and if for the Ranevskys the garden is a symbol of the former happy life, a symbol of their youth, then for Lopakhin the only remarkable thing about him is that he is big. In the end, Lopakhin buys a cherry orchard, experiencing the moment of supreme triumph: he becomes the owner of a noble estate, where his father and grandfather bent their backs on the owners, who were “not even allowed into the kitchen.” A malicious, aggressive, predatory element suddenly emerges in him: he does not restrain his own glee, the merchant’s unrestraint. His joy cannot be hidden. At this moment, he does not think about the feelings of his once beloved Ranevskaya.
Trofimov Petr Sergeevich - a student who once taught the late son of Lyubov Andreevna. Raznochinets. His father was a pharmacist. 26 or 27 years old. An eternal student, he has been studying for quite a long time, for which he repeatedly becomes the object of Varya’s ridicule. Beautifully preaches faith in the undoubted advent of a better future.
Simeonov-Pishchik Boris Borisovich - an eccentric who does funny things. He boasts about his horse’s health, constantly comparing himself to a horse: “a horse is good, a horse can be sold.” He constantly borrows from Ranevskaya or Lopakhin, but in the end, as a result of a successful deal with the British, he pays off all the debts.
Charlotte Ivanovna - governess, magician. He cannot tell anything about himself or his family. She only remembers that she went with her parents to fairs, performed various acrobatic acts and showed magic tricks. Feels lonely and complains that she has no one to talk to.
Epikhodov Semyon Panteleevich - “Twenty-two misfortunes” - either drops a bouquet of flowers or awkwardly overturns the table. He wooes Dunyasha, but is ignored by her. Clerk. His speech is florid, and he always has a revolver with him. The character is deeply unhappy.
Dunyasha - coquette maid. She is concerned about the desire to get married, but reacts vaguely to Epikhodov’s proposal. Meanwhile, he confesses his love to Yasha. From simple working life out of habit, she boasts of the tenderness of her hands, just like those of young ladies.
Firs – footman, 87 years old. A type of old-time servant, infinitely devoted to his masters and caring for them as if they were his own children. Constantly remembers the past: “men are with the gentlemen, gentlemen are with the men.” He hears poorly, which causes regret in the reader. After the sale of the estate, it is forgotten in a boarded-up house.
Yasha - Lyubov Andreevna’s young footman. Cartoon figure. A boor, extremely pleased with himself, admiring everything foreign. She is in no hurry to see her mother, who came immediately as soon as she learned that her son had returned from a many-year trip to France. Yasha does not like Russia and speaks disapprovingly of everything Slavic. There is a lot of pretense and pretense in his manners. On occasion, he asks Ranevskaya to take him back to Paris.

The polysemy of the image of the cherry orchard
The central image of the play is the cherry orchard, which unites all the characters. The Cherry Orchard is both a specific garden, common for estates, and an image-symbol of the beauty of Russian nature, Russia. In addition, the cherry orchard symbolizes the beauty of life of the people who raised it and admired it. The garden personifies the sophistication and sophistication of the life that perishes with it.
The image of the cherry orchard unites all the characters in the play. 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 connects characters of different ages and social groups, and they will have to decide one way or another the fate of the garden, and therefore their own fate.
With all their development, with all their spiritual wealth, the owners of the estate - Ranevskaya and Gaev - are deprived of a sense of reality, practicality and responsibility, and therefore are not able to take care of themselves or their loved ones. They cannot follow Lopakhin’s advice and rent out the land, despite the fact that this would bring them a substantial income: “Dachas and summer residents - it’s so vulgar, sorry.” They are prevented from taking this measure by special feelings that connect them with the estate. They treat the garden as a living person with whom they have a lot in common. The cherry orchard for them is the personification past life, lost youth. Looking out the window at the garden, Ranevskaya exclaims: “Oh my childhood, my purity! I slept in this nursery, looked at the garden from here, happiness woke up with me every morning, and then he was exactly the same, nothing has changed.” And further: “Oh my garden! After a dark stormy autumn and cold winter again you are young, full of happiness, the heavenly angels have not abandoned you...” Ranevskaya speaks not only about the garden, but also about herself. She seems to compare her life with a “dark stormy autumn” and a “cold winter.” Returning to her native estate, she again felt young and happy.
To Lopakhin, the behavior of Gaev and Ranevskaya seems illogical and he does not share their feelings. He wonders why they are not influenced by the arguments that are so obvious to him about the profitability of dividing the garden into summer cottages. Lopakhin appreciates beauty and admires the cherry orchard, more beautiful than which there is nothing in the world, but he is a practical and active person, he cannot allow the land to go to waste, he cannot allow Ranevskaya to calmly watch how her estate is sold off for debts. The purchase of an estate for Lopakhin becomes a symbol of his success: “I bought an estate where my grandfather and father were slaves, where they were not even allowed into the kitchen. I’m dreaming, it’s only imagining it, it’s only seeming...” For a merchant, a garden is just land: fertile, rich, profitable. You can sell it, mortgage it, rent it out, divide it into pieces and make a profit from it.
Lackey Yasha does not hold on to the opportunity to preserve the garden and, in fact, he is little concerned about the fate of the estate where he was born and grew up and where his mother lived, whom he, however, did not want to see. He is not prone to sentimentality, is a stranger to love and kindness, and nothing romantic or beautiful appears to him in the image of a garden. The old servant Firs had the opposite attitude towards the garden. For him, the garden is part of the family nest, which he strives to protect, just like his masters.
Petya Trofimov is a representative of the new generation. He doesn't care about the fate of the cherry orchard at all. “We are above love,” he declares, thereby admitting his inability to have serious feelings. Petya looks at everything too superficially: not knowing real life, he tries to rebuild it on the basis of far-fetched ideas. Outwardly, Petya and Anya are happy. They want to move towards a new life, making a decisive break with the past. For them, the garden is “all of Russia,” and not just this cherry orchard. But is it possible to love the whole world so blindly without attachment to home? That is why mutual understanding between Ranevskaya and the new generation is impossible. If for Petya and Anya there is no past and memories, then Ranevskaya deeply grieves: “After all, I was born here, my father and mother, my grandfather lived here, I love this house, without the cherry orchard I don’t understand my life...”
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, and energetic and 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 “hit the tree with an ax” sound blasphemous and inhumane.

Past, present and future in the play
The theme of death is revealed in Chekhov's comedy noble nest. Ranevskaya and Gaev are images of a past, already departed Russia. Gaev is a pathetic aristocrat who ate his fortune on candy and failed to realize his ideals. According to Chekhov, only people who devote themselves to work have the right to be happy. The nobility, from the writer’s point of view, is inevitably becoming a thing of the past. A particular misunderstanding in the play is between generations. It seems that three times intersect in the play: past, present and future. Older generation– Ranevskaya, Gaev. Today is represented by Lopakhin, but the younger generation is represented by the images of Trofimov and Anya. Chekhov showed Russia at a crossroads, a Russia in which the past has not yet been completely eradicated, where the present has not yet finally arrived, but the future is already visible. Petya Trofimov, this passive dreamer and idealist, appears to Chekhov as a man who will destroy power and be able to change life. His dreams of equality, brotherhood, justice are just dreams. The Ranevskys call him the “shabby gentleman” not only because of his appearance, but also because he remains a youth in his dreams. Anya believes Trofimov and agrees to go with him to Moscow. Most likely, she will enroll in courses or become a revolutionary.

Comedy "The Cherry Orchard" Character system Three ideological and compositional centers are united in the play: Ranevskaya, Gaev and Varya - Lopakhin - Petya and Anya. Please note: among them only Lopakhin is absolutely alone. The rest form stable groups.

We have already comprehended the first two “centers,” now let’s think about the third center - about Pete Trofimov and Anya. The leading role, of course, is played by Petya. This figure is contradictory, and the attitude of the author of the comedy and the inhabitants of the estate towards him is contradictory. Sustainable theatrical tradition forced to see Petya as a progressive thinker and activist: this began with Stanislavsky’s first production, where V. Kachalov played Petya as Gorky’s “petrel”.

This interpretation was also supported in most literary works, where researchers relied on Petya’s monologues and did not correlate them with the actions of the hero, with the entire structure of his role. Meanwhile, let us remember that Chekhov’s theater is a theater of intonation, not text, therefore the traditional interpretation of Trofimov’s image is fundamentally incorrect. First of all, literary roots are clearly felt in the image of Petya.

He is correlated with the hero of Turgenev's "Novi" Nezhdanov and with the hero of Ostrovsky's play "Talents and Admirers" Pyotr Meluzov. And Chekhov himself spent a long time exploring this historical and social type - the type of Protestant-enlightener.

Such are Solomon in "The Steppe", Pavel Ivanovich in "Gusev", Yartsev in the story "Three Years", Doctor Blagovo in "My Life". The image of Petya is especially closely connected with the hero of “The Bride” Sasha - researchers have repeatedly noted that these images are very close, that the roles of Petya and Sasha in the plot are similar: both of them are needed to captivate the young heroines into a new life.

But the constant, intense interest with which Chekhov peered into this type that appeared in an era of timelessness, returning to him in different works, led to the fact that from the secondary and episodic heroes he is in last play became a central hero - one of the central ones. Lonely and restless, Petya wanders around Russia. Homeless, worn out, practically a beggar... And yet he is happy in his own way: he is the freest and most optimistic of the heroes of The Cherry Orchard.

Looking at this image, we understand: Petya lives in a different world than the other characters in the comedy - he lives in a world of ideas that exists in parallel with the world of real things and relationships. Ideas, grandiose plans, social and philosophical systems - this is Petya’s world, his element. Such a happy existence in another dimension interested Chekhov and made him look more and more closely at this type of hero.

Petya's relationship with real world very tense. He does not know how to live in it, for those around him he is absurd and strange, ridiculous and pitiful: “a shabby gentleman,” “an eternal student.” He cannot complete his course at any university - he is expelled from everywhere for participating in student riots.

He is not in harmony with things - everything always breaks, gets lost, falls. Even poor Petya’s beard doesn’t grow! But in the world of ideas he soars!

There everything turns out deftly and smoothly, there he subtly grasps all the patterns, deeply understands the hidden essence of phenomena, and is ready and able to explain everything. And after all, all Petya’s thoughts about life modern Russia very correct! He truly and passionately speaks about the terrible past, which still vividly influences the present and does not let go of its convulsive embrace. Let us remember his monologue in the second act, where he convinces Anya to take a fresh look at the cherry orchard and at her life: “To own living souls - after all, this has reborn all of you, who lived before and are now living...” Petya is right!

Something similar was passionately and convincingly argued by A. I. Herzen: in the article “The Meat of Liberation” he wrote that serfdom poisoned the souls of people that no amount of decrees can cancel the most terrible thing - the habit of selling one's own kind... Petya speaks of the necessity and inevitability of redemption: “It’s so clear, in order to begin to live in the present, we must first redeem our past, put an end to it, and redeem it can only be achieved through suffering, only through extraordinary, continuous labor.” And this is absolutely true: the idea of repentance and atonement is one of the purest and most humane, the basis of the highest morality.

But then Petya begins to talk not about ideas, but about their real embodiment, and his speeches immediately begin to sound pompous and absurd, the whole system of beliefs turns into simple phrase-mongering: “All of Russia is our garden,” “humanity is going to higher truth, to the highest happiness that is possible on earth, and I am in the forefront!” Petya speaks just as shallowly about human relationships, about what is not subject to logic, what contradicts the harmonious system of the world of ideas.

Remember how tactless his conversations with Ranevskaya are about her lover, about her cherry orchard, which Andreevna longs for and cannot save, how funny and vulgar Petya’s famous words sound: “We are above love!..” For him, love is for the past, for to a person, to a home, love in general, this very feeling, its irrationality, is inaccessible. And that's why spiritual world Petit for Chekhov is flawed, inferior.

And Petya, no matter how correctly he reasoned about the horror of serfdom and the need to atone for the past through labor and suffering, is just as far from a true understanding of life as Gaev or Varya. It is no coincidence that Anya is placed next to Petya - a young girl who has nothing of her own. own opinion, who is still on the threshold of real life. Of all the inhabitants and guests of the estate, only Anya managed to captivate Petya Trofimov with his ideas; she is the only one who takes him absolutely seriously. "Anya is first and foremost a child, cheerful to the end, not knowing life and never crying...

“- Chekhov explained to the actors at rehearsals. So they walk in pairs: hostile to peace things Petya and young, "not knowledgeable about life" Anya. And Petya has a goal - clear and definite: "forward - to the star." Chekhov's irony is brilliant.

His comedy amazingly captured all the absurdity of Russian life at the end of the century, when the old was over and the new had not yet begun. Some heroes confidently, in the forefront of all humanity, step forward - towards the star, leaving the cherry orchard without regret. What to regret? After all, all of Russia is our garden! Other heroes painfully experience the loss of the garden. For them, this is the loss of a living connection with Russia and their own past, with their roots, without which they can only somehow live out the allotted years, already forever fruitless and hopeless...

The salvation of the garden lies in its radical reconstruction, but new life means, first of all, the death of the former, and the executioner turns out to be the one who sees the beauty of the dying world most clearly. Based on materials: Kataev V.B. Literary connections Chekhov. - M.: Moscow State University Publishing House, 1989.

Monakhova O. P.

Malkhazova M. V. Russian literature XIX century. Chekhov about literature. M.

1955. 5 -Each of you, of course, has encountered curious situations and linguistic absurdities in various publications and in the speech of others. A section has been opened specifically for such language incidents. Send us your finds. We are waiting for your letters

All the characters in the play are conventionally divided into the “owners” of the garden (Lopakhin, Gaev, Ranevskaya) and servants (Firs, Charlotte, Yasha, Epikhodov, Dunyasha). Each of them is deeply individual, but despite different ages, social status, all the characters have a lot in common. All of them are depicted from a tragic-comedy perspective: the situations in which they find themselves are comical, and the fates of the heroes are dramatic. Each of them is a failed personality: Ranevskaya could not find her love, Varya and Lopakhin failed to explain themselves, Gaev never matured, the future of Anya and Petya Trofimov is not determined. The sale of an estate affects the interests of absolutely everyone, but does not become a unifying idea; on the contrary, it separates people from each other. With the images of Gaev and Ranevskaya, the play includes the theme of the impoverishment of noble life, the impoverishment of the family. Continues in Lopakhino literary tradition images of the new masters of life.
Minor characters In the play, each one stands out with its theme and a bright, memorable feature. The maid Dunyasha poses as a gentle young lady, preoccupied with the desire to get married. The role of the loser is played by clerk Epikhodov, nicknamed “twenty-two misfortunes.” He is the only klutz whose behavior is enhanced by the comic element in the play (drops a bouquet, knocks over a chair). The type of “new lackey” is described in the image of the servant Yasha, to whom not only his homeland, but also his mother is completely alien.
But behind the external eccentricity of each of the episodic persons there is hidden personal suffering, causing tears through laughter. It would seem that the landowner Simeonov-Pishchik cares only about money, any conversation that leads to debts. But in his speech he certainly remembers his daughter with tenderness. Governess Charlotte chooses the role of a jester and thereby earns a piece of bread. However, in bitter moments, the suffering of a lonely and unsettled person breaks through in her. The significance of the image of Charlotte is already indicated by the fact that Chekhov saw Olga Leonardovna Knipper in her role.
In the relationship between the landowner and the servant, the former turns out to be dependent. Firs personifies the type of servant for whom the abolition of serfdom was a real misfortune. Towards the end, a scene with the forgotten Firs is given, symbolizing the shameful end of the era of feudal owners and serfs.

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LOPAKHIN AS A SYMBOL OF THE REAL RUSSIA (based on the play “The Cherry Orchard” by A.P. Chekhov) The play “The Cherry Orchard” became the swan song, the pinnacle work Anton Pavlovich Chekhov. The anticipation of big changes in the life of the country made...
CLASSICS OF A. P. CHEKHOV THE ORIGINALITY OF CONFLICT IN A. P. CHEKHOV’S PLAY “THE CHERRY ORCHARD” A. P. Chekhov was primarily interested inner world his heroes. A standard composition with the turbulent events of his...
I. The play “The Cherry Orchard” is a testament play. II. A play about the “grievous drama of Russian life” (Stanislavsky). 1. The drama of the life of the owners of the estate. 2. The theme of the sale of the garden as a leitmotif of the fate of Russia, priceless beauty. 3....
The play “The Cherry Orchard,” written by A.P. Chekhov in 1904, can rightfully be considered the writer’s creative testament. In it, the author raises a number of problems characteristic of Russian literature: the problems of the figure, the fathers...
Alexander Vampilov is known in Russian drama as the author of four large plays and three one-act plays. He died tragically at the age of 35. Vampilov's innovative plays revolutionized Russian drama and...
A.P. Chekhov himself called his play “The Cherry Orchard” a comedy. But the play is sad!.. So what’s the matter? As we know from the very beginning, the estate is doomed; heroes are doomed too...
Plan 1. Image of a cherry orchard. 2. How the death of the cherry orchard is perceived by the characters in the play. 3. Who is to blame for the death of the garden? Chekhov's play “The Cherry Orchard” is a fresh and deep look...
CLASSICS A. P. CHEKHOV INNOVATION OF CHEKHOV THE PLAYWRIGHT IN THE PLAY “THE CHERRY ORCHARD” Theater arts existed in its initial form back in the Stone Age. Life ancient man somehow connected with...
Chekhov's works clearly reflected Russian search faith, longing for the highest meaning of life, the restless anxiety of the Russian soul, its great conscience. M. A. Bulgakov The era of the greatest aggravation of social relations, stormy social...
The play “The Cherry Orchard,” written in 1904, shortly before the death of A.P. Chekhov, is to some extent the final work of the writer. In it, he expressed his thoughts about...
Yevgeny Zamyatin’s novel “We” was written in 1921 and became an attempt to capture the cyclical nature of history, to find similar things in the past and future, to see today through the reflection of thoughts about it. Author...
The main themes of A.P. Chekhov’s play “The Cherry Orchard,” written in 1904, are the death of the “noble nest,” the victory of an enterprising merchant-industrialist over the obsolete Ranevskaya and Gaev, and the theme of the future of Russia,...

System of images, theme of Chekhov’s play “The Cherry Orchard”

The system of images of The Cherry Orchard, in accordance with the ideological and thematic features of the play, is also very original. There is no place in it for one main character, just as there is no division into positive and negative characters. After all, everyone turns out to be equally far from the true understanding of life, everyone is helpless in the face of fast-flowing time, everyone wants to look into the future, but it remains unknown to anyone. Chekhov’s definition is applicable to each of them: “bad good man" These are the past owners of the cherry orchard: Ranevskaya with her imbalance and sensitivity, complete impracticality and selfishness, but at the same time she is a woman capable of loving devotedly, possessing generosity and breadth of soul, inner and external beauty; Gaev, sentimental and childish, absolutely unadapted to life, but kind and warm-hearted man. Both of them have that internal culture that has always characterized the inhabitants of “noble nests,” but has already begun to become a thing of the past. In contrast to them, Petya Trofimov, naive in his noble impulses, is focused on the future. This “eternal student,” despite all his wonderful speeches, full of socio-political and civic pathos, also turns out to be unadapted to real life, and therefore his eloquence is somewhat akin to Gaev’s talkativeness. Anya, as is often the case with Chekhov, is the embodiment of youth, hopes, faith in a wonderful future, but in practical life she is helpless, like her mother. Varya, a serious, strict, economical girl, on the contrary, turns out to be too down-to-earth and, perhaps, that is precisely why happiness eludes her.

All other characters are also individualized, but Lopakhin still occupies a special place among the heroes of the play. It is not for nothing that Chekhov was so concerned that the performer of the role correctly understood this character. This is an unconventional image of a merchant for Russian literature. A businessman, and a very lucky one, Lopakhin is “ soft man", endowed with the "soul of an artist." The irony of life is that Lopakhin, sincerely striving to save the garden for Ranevskaya, in the end “accidentally” takes possession of it himself. But having achieved success, he does not look like a winner. The paradox is that he is the only person who can truly appreciate the cherry orchard (it is he who owns the most soulful, poetic words about the cherry orchard), it is he who must destroy this beauty with his own hands - there are no other ways out of this situation. So luck turns into a mockery of him best hopes. Why this happened is something neither the hero himself nor anyone else can understand. But it is Lopakhin who owns the words that are so significant for the author about “a clumsy, unhappy life” that “you know it’s passing.” He is the only one of the heroes who realizes the limitations of his “truth” and the need to search for a “general idea,” which brings his position closer to the author’s point of view. Material from the site

Chekhov in The Cherry Orchard shows the fatal discrepancy between personal good qualities a person, his subjectively good intentions and the results of his social activities. It is with Lopakhin that one of the long-standing and main themes of Chekhov’s work enters into the play: hostility, illogicality, unbearable complexity, the incomprehensibility of life for an ordinary “average” person, no matter who he is. Many other heroes of Chekhov struggle just as unsuccessfully with the mysteries of life - both in his plays and in stories and stories. They turn out to be just as lonely, suffering, dependent on circumstances hostile to them, and therefore Lopakhin is one of the heroes standing on the main line of Chekhov’s work.

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