Almost the entire land of the old noble estate, owned by Lyubov Andreevna Ranevskaya and her brother, Leonid Andreevich Gaev, is occupied by a huge cherry orchard known throughout the province. Once it gave the owners a large income, but after the fall of serfdom, the economy on the estate was upset, and the garden remained for him one unprofitable, albeit charming decoration. Ranevskaya and Gaev, people no longer young, lead a scattered, carefree life typical of idle aristocrats. Occupied only with her feminine passions, Ranevskaya leaves for France with her lover, who soon robs her cleanly there. Management of the estate falls on the adopted daughter of Lyubov Andreevna, 24-year-old Varya. She tries to save on everything, but the estate is still mired in unpaid debts. [Cm. full text of The Cherry Orchard on our website.]
The first act of The Cherry Orchard begins with the scene of returning on a May morning to the home of Ranevskaya, who has gone bankrupt abroad. With her comes her youngest, own daughter, 17-year-old Anya, who has lived with her mother in France for the past few months. Lyubov Andreevna is met at the estate by acquaintances and servants: the wealthy merchant Yermolai Lopakhin (son of a former serf), the neighbor-landowner Simeonov-Pishchik, the elderly lackey Firs, the frivolous maid Dunyasha and the “eternal student” Petya Trofimov, in love with Anya. The scene of Ranevskaya's meeting (like all other scenes of The Cherry Orchard) is not distinguished by the richness of the action, but Chekhov, with extraordinary skill, reveals in her dialogues the features of the characters of the heroes of the play.
The businesslike merchant Lopakhin reminds Ranevskaya and Gaev that in three months, in August, their estate will be put up for auction for an outstanding debt. There is only one way to prevent its sale and the ruin of the owners: to cut down the cherry orchard and turn the vacant land into dachas. If Ranevskaya and Gaev do not do this, the garden will almost inevitably be cut down by the new owner, so that it will not be possible to save it in any case. However, the weak-willed Gaev and Ranevskaya reject Lopakhin's plan, not wanting to lose dear memories of their youth along with the garden. Fans of having their head in the clouds, they evade destroying the garden with their own hands, relying on some miracle that will help them out in unknown ways.
Chekhov "The Cherry Orchard", act 1 - summary full text of the 1st act.
« The Cherry Orchard". Performance based on the play by A.P. Chekhov, 1983
Chekhov "The Cherry Orchard", act 2 - briefly
A few weeks after Ranevskaya's return, most of the same characters gather in the field, on a bench by the old abandoned chapel. Lopakhin again reminds Ranevskaya and Gaev of the approaching deadline for the sale of the estate - and again suggests that they cut down the cherry orchard, giving the land for summer cottages.
However, Gaev and Ranevskaya answer him out of place and absent-mindedly. Lyubov Andreevna says that “summer residents are vulgar”, and Leonid Andreevich relies on a rich aunt in Yaroslavl, from whom you can ask for money - but hardly more than a tenth of what is needed to pay off debts. Ranevskaya is in France with all her thoughts, from where a fraudulent lover sends telegrams to her every day. Shocked by the words of Gaev and Ranevskaya, Lopakhin in his hearts calls them "frivolous and strange" people who themselves do not want to save themselves.
After everyone else left, Petya Trofimov and Anya remained at the bench. Untidy Petya, who is constantly expelled from the university, so that for many years he cannot finish the course, crumbles before Anya in high-flown tirades about the need to rise above everything material, above even love itself and, through tireless work, go to some (incomprehensible) ideal. The existence and appearance of the raznochinets Trofimov are very different from the lifestyle and habits of the nobles Ranevskaya and Gaev. However, in the depiction of Chekhov, Petya appears as an impractical dreamer, as worthless a person as those two. Petya's sermon is enthusiastically listened to by Anya, who is very reminiscent of her mother in her tendency to be carried away by any emptiness in a beautiful wrapper.
For more details, see a separate article by Chekhov "The Cherry Orchard", act 2 - summary. On our website you can read the full text of the 2nd act.
Chekhov "The Cherry Orchard", act 3 - briefly
In August, on the very day of the auction for the estate with a cherry orchard, Ranevskaya, on a strange whim, hosts a noisy party with an invited Jewish orchestra. Everyone is anxiously awaiting news from the auction, where Lopakhin and Gaev have gone, but, wanting to hide their excitement, they try to dance and joke merrily. Petya Trofimov venomously criticizes Varya for wanting to become the wife of the wealthy predator Lopakhin, and Ranevskaya for having a love affair with an obvious swindler and unwillingness to face the truth. Ranevskaya, on the other hand, accuses Petya of the fact that all his bold idealistic theories are based only on a lack of experience and ignorance of life. At 27, he does not have a mistress, he preaches labor, and he himself cannot even graduate from the university. Frustrated, Trofimov runs away almost in hysterics.
Pre-revolutionary playbill based on Chekhov's The Cherry Orchard
Lopakhin and Gaev are returning from the auction. Gaev goes, wiping away tears. Lopakhin, at first trying to restrain himself, and then with increasing triumph says that he bought the estate and the cherry orchard - the son of a former serf, who before was not even allowed into the kitchen here. The dancing stops. Ranevskaya cries, sinking into a chair. Anya tries to console her with the words that instead of a garden they have beautiful souls left, and now they will start a new, pure life.
For more details, see a separate article by Chekhov "The Cherry Orchard", act 3 - summary. You can also read the full text of Act 3 on our website.
Chekhov "The Cherry Orchard", act 4 - briefly
In October, the old owners leave their former estate, where the tactless Lopakhin, without waiting for their departure, already orders to cut down the cherry orchard.
A rich Yaroslavl aunt sent Gaev and Ranevskaya some money. Ranevskaya takes them all for herself and again goes to France to her old lover, leaving her daughters in Russia without funds. Varya, whom Lopakhin never marries, has to go as a housekeeper to another estate, and Anya will take an exam for a gymnasium course and look for work.
Gaev was offered a place in the bank, but everyone doubts that due to his laziness he will sit there for a long time. Petya Trofimov belatedly returns to Moscow to study. Imagining himself a "strong and proud" person, he intends in the future to "reach the ideal or show others the way to it." True, the loss of his old galoshes causes Petya great anxiety: without them he has nothing to set off on his journey. Lopakhin travels to Kharkov to immerse himself in work.
After saying goodbye, everyone leaves the house and locks it up. Finally, the 87-year-old footman Firs, forgotten by the owners, appears on the stage. Muttering something about the past life, this sick old man lies down on the sofa and falls silent in immobility. In the distance there is a sad, fading sound, similar to the bursting of a string - as if something in life has gone without return. The ensuing silence is broken only by the sound of an ax in the garden on a cherry tree.
For more details, see Chekhov's separate article "The Cherry Orchard", act 4 - summary. On our website you can read
Frame from the film "Garden" (2008)
The estate of the landowner Lyubov Andreevna Ranevskaya. Spring, cherry blossoms. But the beautiful garden is soon to be sold for debts. For the past five years, Ranevskaya and her seventeen-year-old daughter Anya have lived abroad. Ranevskaya's brother Leonid Andreevich Gaev and her adopted daughter, twenty-four-year-old Varya, remained on the estate. Ranevskaya's affairs are bad, there are almost no funds left. Lyubov Andreevna always littered with money. Six years ago, her husband died of alcoholism. Ranevskaya fell in love with another person, got along with him. But soon her little son Grisha died tragically by drowning in the river. Lyubov Andreevna, unable to bear her grief, fled abroad. The lover followed her. When he fell ill, Ranevskaya had to settle him in her dacha near Menton and take care of him for three years. And then, when he had to sell the dacha for debts and move to Paris, he robbed and abandoned Ranevskaya.
Gaev and Varya meet Lyubov Andreevna and Anya at the station. At home, the maid Dunyasha and the familiar merchant Yermolai Alekseevich Lopakhin are waiting for them. Lopakhin's father was a serf of the Ranevskys, he himself became rich, but he says about himself that he remained "a man a man." The clerk Epikhodov arrives, a man with whom something constantly happens and who is called "twenty-two misfortunes."
Finally, the carriages arrive. The house is filled with people, all in a pleasant excitement. Everyone talks about their own. Lyubov Andreevna looks around the rooms and through tears of joy recalls the past. Maid Dunyasha can't wait to tell the young lady that Epikhodov proposed to her. Anya herself advises Varya to marry Lopakhin, and Varya dreams of marrying Anya to a rich man. The governess Charlotte Ivanovna, a strange and eccentric person, boasts of her amazing dog, the neighbor landowner Simeonov-Pishchik asks for a loan. He hears almost nothing and all the time mutters something old faithful servant Firs.
Lopakhin reminds Ranevskaya that the estate should soon be sold at auction, the only way out is to break the land into plots and lease them to summer residents. Lopakhin's proposal surprises Ranevskaya: how can you cut down her favorite wonderful cherry orchard! Lopakhin wants to stay longer with Ranevskaya, whom he loves "more than his own," but it's time for him to leave. Gaev delivers a welcoming speech to the hundred-year-old "respected" closet, but then, embarrassed, again begins to senselessly pronounce his favorite billiard words.
Ranevskaya did not immediately recognize Petya Trofimov: so he changed, became uglier, the “dear student” turned into “ eternal student". Lyubov Andreevna cries, remembering her little drowned son Grisha, whose teacher was Trofimov.
Gaev, left alone with Varya, tries to talk about business. There is a rich aunt in Yaroslavl, who, however, does not love them: after all, Lyubov Andreevna did not marry a nobleman, and she did not behave “very virtuously”. Gaev loves his sister, but still calls her "vicious", which causes Ani's displeasure. Gaev continues to build projects: his sister will ask Lopakhin for money, Anya will go to Yaroslavl - in a word, they will not allow the estate to be sold, Gaev even swears about it. The grouchy Firs finally takes the master, like a child, to sleep. Anya is calm and happy: her uncle will arrange everything.
Lopakhin does not cease to persuade Ranevskaya and Gaev to accept his plan. The three of them had lunch in the city and, returning, stopped in a field near the chapel. Just here, on the same bench, Epikhodov tried to explain himself to Dunyasha, but she had already preferred the young cynical footman Yasha to him. Ranevskaya and Gaev do not seem to hear Lopakhin and talk about completely different things. So without convincing “frivolous, unbusinesslike, strange” people of anything, Lopakhin wants to leave. Ranevskaya asks him to stay: with him "it's still more fun."
Anya, Varya and Petya Trofimov arrive. Ranevskaya starts talking about a "proud man." According to Trofimov, there is no point in pride: a rude, unhappy person should not admire himself, but work. Petya condemns the intelligentsia, who are incapable of work, those people who philosophize importantly, and treat peasants like animals. Lopakhin enters the conversation: he just works “from morning to evening”, dealing with big capital, but he is becoming more and more convinced of how few decent people are around. Lopakhin does not finish, Ranevskaya interrupts him. In general, everyone here does not want and does not know how to listen to each other. There is silence, in which the distant sad sound of a broken string is heard.
Soon everyone disperses. Left alone, Anya and Trofimov are glad to have the opportunity to talk together, without Varya. Trofimov convinces Anya that one must be “above love”, that the main thing is freedom: “all of Russia is our garden”, but in order to live in the present, one must first redeem the past with suffering and labor. Happiness is near: if not they, then others will definitely see it.
Comes the twenty-second of August, the day of trading. It is on this evening, quite inopportunely, that a ball is being held in the estate, a Jewish orchestra is invited. Once, generals and barons danced here, and now, as Firs complains, both the postal official and the head of the station "do not go willingly." Charlotte Ivanovna entertains guests with her tricks. Ranevskaya anxiously awaits the return of her brother. The Yaroslavl aunt nevertheless sent fifteen thousand, but they are not enough to buy the estate.
Petya Trofimov “reassures” Ranevskaya: it’s not about the garden, it’s been over for a long time, we need to face the truth. Lyubov Andreevna asks not to condemn her, to feel sorry for her: after all, without cherry orchard her life is meaningless. Every day Ranevskaya receives telegrams from Paris. At first, she tore them up immediately, then - after reading them first, now she doesn't vomit. "That wild man", whom she still loves, begs her to come. Petya condemns Ranevskaya for her love for "a petty scoundrel, a nonentity." Angry Ranevskaya, unable to restrain herself, takes revenge on Trofimov, calling him a “funny eccentric”, “freak”, “clean”: “You must love yourself ... you must fall in love!” Petya tries to leave in horror, but then stays, dancing with Ranevskaya, who asked for his forgiveness.
Finally, the embarrassed, joyful Lopakhin and the tired Gaev appear, who, without saying anything, immediately goes to his room. The Cherry Orchard was sold and Lopakhin bought it. The "new landowner" is happy: he managed to beat the rich Deriganov at the auction, giving ninety thousand in excess of the debt. Lopakhin picks up the keys thrown on the floor by the proud Varya. Let the music play, let everyone see how Yermolai Lopakhin “suffices with an ax in the cherry orchard”!
Anya comforts her crying mother: the garden has been sold, but there is a whole life ahead. There will be a new garden, more luxurious than this, "quiet deep joy" awaits them ...
The house is empty. Its inhabitants, having said goodbye to each other, disperse. Lopakhin is going to Kharkov for the winter, Trofimov returns to Moscow, to the university. Lopakhin and Petya exchange barbs. Although Trofimov calls Lopakhin a "predatory beast", necessary "in the sense of metabolism", he still loves in him "a tender, subtle soul." Lopakhin offers Trofimov money for the journey. He refuses: over the "free man", "in the forefront going" to the "higher happiness", no one should have power.
Ranevskaya and Gaev even cheered up after the sale of the cherry orchard. Previously, they were worried, suffering, but now they have calmed down. Ranevskaya is going to live in Paris for the time being on the money sent by her aunt. Anya is inspired: it starts new life- she will finish the gymnasium, will work, read books, "a new wonderful world" will open before her. Suddenly, out of breath, Simeonov-Pishchik appears and, instead of asking for money, on the contrary, distributes debts. It turned out that the British found white clay on his land.
Everyone settled down differently. Gaev says that now he is a bank servant. Lopakhin promises to find a new place for Charlotte, Varya got a job as a housekeeper to the Ragulins, Epikhodov, hired by Lopakhin, remains on the estate, Firs should be sent to the hospital. But still, Gaev sadly says: "Everyone is leaving us ... we suddenly became unnecessary."
Between Varya and Lopakhin, an explanation must finally occur. For a long time, Varya has been teased by "Madame Lopakhina." Varya likes Yermolai Alekseevich, but she herself cannot propose. Lopakhin, who also speaks well of Vara, agrees to "put an end immediately" to this matter. But when Ranevskaya arranges their meeting, Lopakhin, without deciding, leaves Varia, using the very first pretext.
“Time to go! On the road! - with these words, they leave the house, locking all the doors. All that remains is old Firs, who, it would seem, everyone took care of, but whom they forgot to send to the hospital. Firs, sighing that Leonid Andreevich went in a coat, and not in a fur coat, lies down to rest and lies motionless. The same sound of a broken string is heard. "There is silence, and only one can hear how far in the garden they knock on wood with an ax."
retold
Publications in the Literature section
How to read The Cherry Orchard
In October 1903, Anton Chekhov finished work on the play The Cherry Orchard. Directed by Konstantin Stanislavsky, who first staged the play in the Moscow Art Theater, admitted: “Her [plays] charm is in the elusive, deeply hidden aroma. To feel it, it is necessary, as it were, to open the bud of a flower and force its petals to bloom. And until now, The Cherry Orchard remains one of the most controversial works of Russian literature. About what details you need to pay attention to in order to truly understand the play, Irina Sukhova, a researcher at the Department State Museum history of Russian literature named after V.I. Dahl "House-Museum of A.P. Chekhov".
Victor Borisov-Musatov. Spring (detail). 1898-1901. State Russian Museum, St. Petersburg
Krnstantin Korovin. At the tea table (detail). 1888. State Memorial Historical, Artistic and Natural Museum-Reserve of V.D. Polenov, Tula region
Claude Monet. Woman in the garden (detail). 1876. State Hermitage, St. Petersburg
Read the educational cycle dedicated to the work of Anton Chekhov in the V.I. Dahl "Literary Express".
Interviewed by Ekaterina Tarasova
Scientific adviser: Barnashova Elena Vyacheslavovna, cand. philol. Sciences, Department of Theory and History of Culture, National Research Tomsk State University, Russia, Tomsk
Annotation.
This article is devoted to the study of the worldview and the inner world of a person of a turning point in the late XIX - early XX centuries. To reveal this topic, the author uses the analysis of the work of A.P. Chekhov "The Cherry Orchard". This play was not chosen by chance, it is in it that the writer most fully reveals the mood of a person in a crisis era, and also gives an assessment of the general atmosphere of that time.
Keywords: A.P. Chekhov, "The Cherry Orchard", human attitude, the era of the late XIX-early XX centuries, crisis perception of the world.
This topic is relevant for the 21st century, as the consonance of epochs is now traced. Modern man is in a similar state. The surrounding reality shows its instability, values quickly become obsolete, new ideas, opinions, preferences appear, the world around is rapidly changing every second. Confidence in a stable future disappears. As at the end of the 19th century, a person cannot find support, unshakable ideals on which he could rely. XXI century covers special atmosphere languor, expectation of change, weariness from life. In this regard, the author of the article considers it appropriate to study the work of A.P. Chekhov "The Cherry Orchard" to identify the special mood of this crisis era and the worldview of a person. And understanding the atmosphere of the late XIX-early XX centuries. makes it possible to understand the processes taking place in inner world modern man.
Anton Pavlovich wrote the play The Cherry Orchard in 1903, a year before his death. He shares his idea of a new work in a letter with his wife O.L. Knipper March 7, 1901: "The next play I write will certainly be funny, very funny, at least in concept." And already in the summer of 1902, the writer clearly defines the contours of the plot, and comes up with a title for his new play. However, the writing of the play was postponed due to the illness of Anton Pavlovich, but already in June 1903, being at a dacha near Moscow in Naro-Fominsk, the writer set about writing a full-fledged plot of the play. And on September 26, 1903, the play was finished.
The play is created in a difficult time for the country. The era of the late XIX-early XX century was marked by rapid changes in all spheres of society. Society was torn apart by contradictions, revolutionary sentiments grew, especially among the workers. The socio-political situation in the country worsened. Old values are losing credibility with the common people. Revolutionary movements, opposing the old, still cannot offer anything concrete in return. The man is at a crossroads.
And it is in this "troubled" time that this play is created. This last work, written by Chekhov, reflects the whole essence of the cultural era of that time and how a person felt in it.
This is one of his most interesting and most discussed plays. Until now, researchers have not come to a consensus on the interpretation of this work, with each reading it opens up new meanings and gives rise to new interpretations.
The plot of this play is quite everyday and ordinary. However, the value of Chekhov's work is not at all in the plot, but in the subtle human psychologism with which the writer shows a person, his experiences and spiritual quest. A special atmosphere of the work is also created, it becomes more depressing compared to other plays. Here we will no longer see the dreams of happy life some feeling of dissatisfaction. There is now a sense of doom in the air. It is in this work that Chekhov especially accurately and subtly shows the turning point and the person living in it, who is trying to find support, but cannot do it. Characters cannot accurately understand what torments them, they cannot express their feelings. They are in an endless search for answers to their tormenting questions.
There is also a special relationship between the characters themselves. The misunderstanding between them is clearly shown. The characters seem to speak different languages, as a result of which the so-called “parallel dialogues” appear, when, for example, Ranevskaya and Lopakhin are talking about selling the estate, the landowner does not seem to hear what her interlocutor is talking about (or does not want to hear), she talks about her wonderful childhood, plunging into memories, she does not notice anything around her.
Chekhov, moving away from class, depicts people from the point of view of their perception of the surrounding reality. And we see Lopakhin, who was able to adapt and survive in this changed world, but on the other hand, the image of Ranevskaya, a person who does not want and cannot change, she is not ready for changes in her life, and therefore continues to live as before. In her image, a special fear of the future is read, she looks defenseless and desperate. It should be noted that this aspect cannot be tied to social aspects heroes, since then their status would be emphasized, but in the play, instead, attention is focused on emotional experiences.
The image of the Garden occupies a special place in the play; on the one hand, it appears as a kind of metaphor for life, an ideal where everyone strives to get. It is symbolic that the characters look at the garden only from afar. But on the other hand, the Garden is an image of the past, that happy carefree past, where everything was clear. Where certain authorities remained, unshakable values, where life flowed smoothly and measuredly, and everyone knew what awaited tomorrow. Therefore, Firs says: “In the old days, forty or fifty years ago, cherries were dried ... And then dried cherries were soft, juicy ... The method was then known ... ". This special way, the secret of life, which allowed the cherry orchard to bloom, has been lost and now must be cut down and destroyed. Time moves forward, the surrounding world changes, and therefore the Garden must become a thing of the past. It is very difficult to part with it, but this will be the main impetus for the development of the present, and with it the future.
Along with this, the problem of self-determination of a person in a new, constantly changing world is traced. Some find their occupation (like Lopakhin), others (Ranevskaya) still live in the past and are afraid to face the future. At first, she is really afraid to part with the garden, but after selling it, Gaev says: “Before the sale of the cherry orchard, we all worried, suffered, and then, when the issue was finally resolved, irrevocably, everyone calmed down, even cheered up”, thereby proving the need for change.
Another important factor is "random" sounds. Like the sound of the broken arrow at the end. In my opinion, this is an assumption about the future of the author himself. Throughout the play, tension grew, there was an internal conflict of a person with himself with his old habits of prejudice, inevitable changes were felt that put pressure on a person, forced him to make his “right” decision. The heroes rushed about in search of the truth and did not want to change anything, but the changes slowly took over their lives. And at the end the garden is sold, everyone left, and we see an empty stage, we hear the sound of a broken string, nothing and no one is left except Firs. The tension has been resolved, leaving a void that invites the reader to see something of themselves in her. Chekhov did not know exactly what this “future” would look like, he did not know what would be there, but he definitely foresaw the inevitable changes that were already very close, so close that we can already hear the knock of an ax.
Thus, the writer sought to show the inner life of the character, his feelings and emotions, the external aspects of everyday life were not so important. And so Chekhov tries to get away from the usual social characteristics of the characters, he tries to more fully describe their extra-class features. For example, personal characteristics, individualization of speech, special gestures. Another feature of The Cherry Orchard is that the reader does not see a pronounced social conflict, there are no contradictions or clashes. The speech of the characters also becomes new: they often say “random” phrases, and at the same time they do not listen to each other, they conduct parallel conversations. The whole meaning of the work is manifested in the totality of these small strokes, unsaid words.
Heroes appear before readers as realistically as in life, the writer shows that there is no single true truth that can be accepted by everyone. Everyone has their own truth, their own meaning and way of life, in which they sincerely believe. Anton Pavlovich showed the tragedy of the end situation XIX beginning XX century, when man stood at a crossroads. Old values and guidelines were crumbling, but new ones have not yet been found and assimilated. Life, to which everyone is accustomed, was changing, and a person felt the inevitable approach of these changes.
Bibliographic list:
1. Chekhov A.P. Complete collection of works and letters: in 30 volumes / ch. ed. N.F. Belchikov. - M. : Nauka, 1980. - T. 9: Letters 1900-March 1901. - 614 p.
2. Chekhov A.P. Novels and plays / A.P. Chekhov. - M. : Pravda, 1987. - 464 p.
The image of the garden in the play "The Cherry Orchard" is ambiguous and complex. This is not just a part of the estate of Ranevskaya and Gaev, as it might seem at first glance. This is not what Chekhov wrote about. The cherry orchard is an image-symbol. It means the beauty of Russian nature and the lives of the people who raised him and admired him. With the death of the garden, this life also perishes.
Center uniting characters
The image of the garden in the play "The Cherry Orchard" is the center around which all the characters unite. At first it may seem that these are only old acquaintances and relatives who have gathered by chance on the estate to solve everyday problems. However, it is not. It is no coincidence that Anton Pavlovich united characters representing various social groups and age categories. Their task is to decide the fate of not only the garden, but also their own.
Connection of Gaev and Ranevskaya with the estate
Ranevskaya and Gaev are Russian landowners who own a manor and a cherry orchard. They are brother and sister, they are sensitive, smart, educated people. They are able to appreciate beauty, they feel it very subtly. Therefore, the image of the cherry orchard is so dear to them. In the perception of the heroes of the play "The Cherry Orchard" he personifies beauty. However, these characters are inert, which is why they cannot do anything to save what is dear to them. Ranevskaya and Gaev, with all their spiritual wealth and development, are deprived of responsibility, practicality and a sense of reality. Therefore, they cannot take care not only of loved ones, but also of themselves. These heroes do not want to heed Lopakhin's advice and rent out their land, although this would bring them a decent income. They believe that dachas and summer residents are vulgar.
Why is the estate so dear to Gaev and Ranevskaya?
Gaev and Ranevskaya are unable to rent out the land because of the feelings that bind them to the estate. They have a special relationship with the garden, which is like a living person for them. Much connects these heroes with their estate. The cherry orchard seems to them the personification of a bygone youth, past life. Ranevskaya compared her life to "cold winter" and "dark rainy autumn". When the landowner returned to the estate, she again felt happy and young.
Lopakhin's attitude to the cherry orchard
The image of the garden in the play "The Cherry Orchard" is also revealed in Lopakhin's attitude towards it. This hero does not share the feelings of Ranevskaya and Gaev. He finds their behavior illogical and strange. This person wonders why they do not want to listen to seemingly obvious arguments that will help find a way out of a predicament. It should be noted that Lopakhin is also able to appreciate beauty. The Cherry Orchard delights this hero. He believes that there is nothing more beautiful than him in the world.
However, Lopakhin is a practical and active person. Unlike Ranevskaya and Gaev, he cannot just admire the cherry orchard and regret it. This hero seeks to do something to save him. Lopakhin sincerely wants to help Ranevskaya and Gaev. He never ceases to convince them that both the land and the cherry orchard should be leased. This must be done as soon as possible, as the auction will be soon. However, the landowners do not want to listen to him. Leonid Andreevich can only swear that the estate will never be sold. He says he won't allow the auction.
New garden owner
Nevertheless, the auction still took place. The owner of the estate was Lopakhin, who cannot believe his own happiness. After all, his father and grandfather worked here, "were slaves", they were not even allowed into the kitchen. Buying an estate for Lopakhin becomes a kind of symbol of his success. This is a well-deserved reward for years of hard work. The hero would like his grandfather and father to rise from the grave and be able to rejoice with him, to see how their descendant succeeded in life.
Negative qualities of Lopakhin
The Cherry Orchard for Lopakhin is just land. It can be bought, mortgaged or sold. This hero, in his joy, did not consider himself obliged to show a sense of tact in relation to the former owners of the purchased estate. Lopakhin immediately begins cutting down the garden. He did not want to wait for the departure of the former owners of the estate. The soulless footman Yasha is somewhat similar to him. It completely lacks such qualities as attachment to the place in which he was born and raised, love for his mother, kindness. In this respect, Yasha is the exact opposite of Firs, a servant who has these senses unusually developed.
Attitude towards the garden of Firs's servant
Revealing, it is necessary to say a few words about how Firs, the oldest of all in the house, treated him. Long years he devotedly served his masters. This man sincerely loves Gaev and Ranevskaya. He is ready to protect these heroes from all troubles. We can say that Firs is the only one of all the characters in The Cherry Orchard who is endowed with such a quality as devotion. This is a very whole nature, which is manifested in its entirety in the relation of the servant to the garden. For Firs, the estate of Ranevskaya and Gaev is a family nest. He seeks to protect it, as well as its inhabitants.
Representatives of the new generation
The image of the cherry orchard in the play "The Cherry Orchard" is dear only to those heroes who have important memories associated with it. The representative of the new generation is Petya Trofimov. The fate of the garden does not interest him at all. Petya declares: "We are above love." Thus, he admits that he is not capable of experiencing serious feelings. Trofimov looks at everything too superficially. He does not know real life, which is trying to remake, based on far-fetched ideas. Anya and Petya are outwardly happy. They crave a new life, for which they seek to break with the past. For these heroes, the garden is "the whole of Russia", and not a specific cherry orchard. But is it possible to love the whole world without loving your own home? Petya and Anya lose their roots in the pursuit of new horizons. Mutual understanding between Trofimov and Ranevskaya is impossible. For Petya, there are no memories, no past, and Ranevskaya is deeply worried about the loss of the estate, since she was born here, her ancestors also lived here, and she sincerely loves the estate.
Who will save the garden?
As we have already noted, it is a symbol of beauty. Only people who can not only appreciate her, but also fight for her can save her. Active and energetic people who replace the nobility treat beauty only as a source of profit. What will happen to her, who will save her?
The image of the cherry orchard in Chekhov's play "The Cherry Orchard" is a symbol of the native hearth and the past, dear to the heart. Is it possible to boldly go forward if the sound of an ax is heard behind your back, which destroys everything that used to be sacred? It should be noted that the cherry orchard is, after all, it is no coincidence that such expressions as "hit a tree with an ax", "trample a flower" and "cut roots" sound inhuman and blasphemous.
So, we briefly examined the image of the cherry orchard in the understanding of the heroes of the play "The Cherry Orchard". Reflecting on the actions and characters of the characters in Chekhov's work, we also think about the fate of Russia. After all, it is for all of us a "cherry orchard".
