A.P. Chekhov "Cherry Sad": description, heroes, plays analysis

English: Wikipedia Is Making The Site More Secure. You are using An Old Web Browser That Will Not Be Able to Connect to Wikipedia in The Future. Please Update Your Device or Contact Your It Administrator.

中文: 维基 科 正在 使 使 更加 更加 全 全 您 您 正在 使用 旧 的 浏览 浏览 这 这 在 无法 无法 连接 维基 维基 请 请 更 更 您 的 设备 或 联络 您 的 it 管理员 以下 以下 更 更 长 更 更 具 技术性 的 更更 (仅 英语 ).

Español: Wikipedia Está Haciendo El Sitio Más Seguro. Usted Está Utilizando Un Navegador Web Viejo Que No Será Capaz De Conectarse a Wikipedia EN El Futuro. Actualice Su Dispositivo o Contacte a Su Administrador Informático. Más Abajo Hay Una Actualización Más Larga Y Más Técnica en Inglés.

ﺎﻠﻋﺮﺒﻳﺓ: ويكيبيديا تسعى لتأمين الموقع أكثر من ذي قبل. أنت تستخدم متصفح وب قديم لن يتمكن من الاتصال بموقع ويكيبيديا في المستقبل. يرجى تحديث جهازك أو الاتصال بغداري تقنية المعلومات الخاص بك. يوجد تحديث فني أطول ومغرق في التقنية باللغة الإنجليزية تاليا.

Français: Wikipédia Va Bientôt Augmenter La Sécurité de Son Site. Vous Utilisez Actuellement Un Navigateur Web Ancien, Qui Ne Pourra Plus SE Connecter à Wikipédia Lorsque Ce Sera Fait. Merci De Mettre à Jour Votre Appareil Ou De Contacter Votre Administrateur Informatique à Cette Fin. Des Informations Supplémentaires Plus Techniques et En Anglais Sont Disponibles Ci-Dessous.

日本語: ウィキペディア で は サイト の セキュリティ を 高め て い い ます ご ご の ブラウザ は バージョン バージョン が 古く 今後 今後 今後 ウィキペディア 接続 でき でき なく なる 能 性 性 あり あり ます デバイス を 更 する する か か 管理 管理 者 ご 相談 ください ください 技術 面 詳しい 詳しい 更更 情報 は 以下 に で 提供 し て い ます.

Deutsch: Wikipedia Erhöht Die Sicherheit Der Webseite. Du Benutzt Einen Alten Webbrowser, Der in Zukunft Nicht Mehr Auf Wikipedia Zugreifen Können Wird. Bitte Aktualisiere Dein Gerät Oder Sprich Deinen It-Administrator An. Ausführlichere (Und Technisch Detaillierrete) Hinweise Findest Du Unten in English Sprache.

Italiano: Wikipedia Sta Rendendo Il Sito Più Sicuro. STAI USANDO UN BROWSER WEB CHE NON SAR IN GRADO DI CONNETERSI A WIKIPEDIA IN FUTURO. Per Favore, Aggiorna Il Tuo Dispositivo O Contatta Il Tuo Amministratore Informatico. Più in Basso è Disponibile Un AggiornaTo Più Dettagliato E TECNICO IN INGLESE.

Magyar: Biztonságosabb Lesz a Wikipédia. A Böngésző, Amit Használsz, Nem Lesz Képes Kapcsolódni a Jövőben. Használj Modernebb Szoftvert Vagy Jelezd a Problémát a RendSzergazdádnak. Alább Olvashatod a Részletesebb Magyarázatatot (Angolul).

SVENSKA: Wikipedia Gör Sidan Mer Säker. DU ANVÄNDER EN ÄLDRE WEBBLÄSARE SOM INTE KOMMER ATT KUNNA LÄSA WIKIPEDIA I FRAMTIDEN. Uppdatera Din Enhet Eller Kontakta Din It-Administratör. Det Finns En Längre Och Mer Teknisk Förklaring På Engelska Längre Ned.

हिन्दी: विकिपीडिया साइट को और अधिक सुरक्षित बना रहा है। आप एक पुराने वेब ब्राउज़र का उपयोग कर रहे हैं जो भविष्य में विकिपीडिया से कनेक्ट नहीं हो पाएगा। कृपया अपना डिवाइस अपडेट करें या अपने आईटी व्यवस्थापक से संपर्क करें। नीचे अंग्रेजी में एक लंबा और अधिक तकनीकी अद्यतन है।

We Are Removing Support for Insecure TLS Protocol Versions, Specifically TLSV1.0 and TLSV1.1, Which Your Browser Software Relies On To Connect to Our Sites. This is usually caused by Outdated Browsers, Or Older Android Smartphones. OR COULD BE INTERFERENCE FROM CORPORATE OR PERSONAL "Web Security" Software, Which Actually Downgrades Connection Security.

You Must Upgrade Your Web Browser or OtherWise Fix This IsSue to Access Our Sites. This Message Will Remain Until Jan 1, 2020. After That Date, Your Browser Will Not Be Able to Establish a Connection to Our Servers.

About the idea of \u200b\u200bwriting the play "Cherry Garden" A. P. Chekhov for the first time mentions in one of the letters dated in the spring of 1901. At first, she thought about them "like a funny play, where the devil walked a rocker." In 1903, when working on the "Cherry Garden" continues, A.P.hekhov writes to friends: "The whole play is cheerful, frivolous." The topic of the play "The estate goes from the hammer" was not new for the writer. Earlier, she was touched upon them in the drama "Want's" (1878-1881). Throughout the creative path, Chekhov was interested and worried about the psychological tragedy of the situation of the sale of estates and loss of the house. Therefore, in the play "Cherry Garden", many vital impressions of the writer were reflected related to the memoirs of the sale of the house in Taganrog, and acquaintance with Kiselev, who belonged to the Moscow region of Babkino, where the Czechov family was located in the summer of 1885-1887. In many ways, the image of Gaeva was written off with A. S. Kiselev, who became a member of the bank board in Kaluga after the forced sale of estates for debts. In 1888 and 1889, Chekhov rested in the estate of Lintelvarov, near the sum of the Kharkiv province. There he saw the ones of launched and dying noble estates. The same picture of Chekhov could observe in detail in 1892-1898, living in his estate Melikov, as well as in the summer of 1902, when he lived in his beloved - the estate K. S. Stanislavsky. The increasingly strongest "third class", which was distinguished by a tough business grip, gradually pushed them out of the "noble nests" of their ruining owners, thoughtlessly lived their states. Of all this, Chekhov and landed the plan of the play, where many details of the inhabitants of the dying noble estates were subsequently reflected.

Work on the play "Cherry Garden" demanded from the author of emergency effort. So, he writes to friends: "I write four lines per day, and those with unbearable torments." Chekhov, constantly struggling with the attacks of the disease and household turmoil, writes "Bodruny Play".

On October 5, 1903, the most famous Russian writer N. K. Garin-Mikhailovsky reports in a letter to one of its correspondents: "I got acquainted and loved Chekhov. He is bad. And he trains like the shortest day of autumn. Gentle, thin, barely catchy tones. Wonderful day , caress, rest, and dorms in it, the sea, mountains, and eternal it seems to be given this moment with a wonderful pattern. And tomorrow ... He knows his tomorrow and happy, and satisfied that he finished his drama "garden cherry".

Czechs also sends several letters to directors and actors, where it comments in detail some scenes of the "Cherry Garden", gives the characteristics of his characters, making a special focus on the comedy features of the play. But K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko, the founders of the Art Theater, took her as a drama. According to Stanislavsky, the reading of the play of the troupe was encountered "unanimously enthusiastically." He writes Chekhov: "I cried like a woman, I wanted, but could not stop. I hear how you say:" Let me, but this is the same farce. "No, for a simple person it is a tragedy ... I feel special to this play Tenderness and love. "

The setting of the play required a special theatrical language, new intonations. This perfectly understood her creator, and actors. M. P. Linail (the first executor of the role of Ani) wrote A. P. Chekhov on November 11, 1903: "... I would have introduced that the" cherry garden "is not a play, but a musical work, symphony. And play this play is especially true of playing this play. but without real rustic. "
However, the director's interpretation of the "Cherry Garden" did not satisfy Chekhov. "This is a tragedy, whatever the outcome to the best life you have opened in the last act," says Stanislavsky author, arguing his vision and logic of the play of the play to the dramatic final, meaning the end of the old life, the loss of the house and the death of the garden. Chekhov extremely indignant that the performance was deprived of comedy intonations. He believed that Stanislavsky, who performed the role of Gaeva, was too tightened in the fourth act. Czechs are recognized to his wife: "How terrible! Act that should last 12 minutes Maximum, you have 40 minutes. I have thugged me the play Stanislavsky."

In December 1903, Stanislavsky complained: "Cherry Garden" "does not bloom until. The flowers have just appeared, the author came and confused us all. Flowers opled, and now only new kidneys appear."

A. P. Chekhov wrote a "cherry garden" as a play about the house, about life, about the motherland, about love, about losses, about rapidly eluding time. However, at the beginning of the XX century, this was not far from indisputable. Each new play Chekhov caused a variety of estimates. There was no exception and comedy "Cherry Garden", where the character of the conflict, the characters, the poetics of Chekhov's dramaturgy were excellent and unexpected.

For example, A. M. Gorky characterized by Chekhovsky "Cherry Garden" as a crowding of old motifs: "She listened to the play Chekhov - in reading she does not impress a big thing. New - not a word. Everything is sentiments, ideas - if you can talk about them - Persons - All this was already in his plays. Of course - it's beautiful and - of course - from the scene will be entitled to the public with green longing. And about what the longing - I do not know. "

Despite the constant disagreements, the premiere of the "Cherry Garden" took place on January 17, 1904 - on the birthday of A. P. Chekhov. The Art Theater timed to the 25th anniversary of the literary activity A. P. Chekhov. The entire artistic and literary elite of Moscow gathered in the hall, and A. White, V. Ya. Bryusov, A. M. Gorky, S. V. Rakhmaninov, F. I. Shalyapin were among the audience. The appearance on the advancement after the author's third act was met by long applause. The last play of A. P. Chekhov, who became his creative testament, began his independent life.

The demanding Russian public with a big delight met the play, whose light spirit could not not conquer the viewer. The production of the "Cherry Garden" successfully walked in many theaters of Russia. But, nevertheless, Chekhov never saw the performance, fully responded with his creative designs. "The chapter about Chekhov is not yet over," Stanislavsky wrote, recognizing that A. P. Chekhov was far overwhelmed by the development of the theater.

Contrary to critical forecasts, the "cherry garden" became unfading classics of the domestic theater. The artistic discoveries of the author in drama, his distinctive vision of the contradictory parties to life is extremely clearly manifested in this thoughtful work.

"Cherry Garden" Anton Chekhov wrote in 1903. The author identified the genre of his work as a comedy, but in the last scene there are tragic notes. In January 1904, the premiere of the play on the play of Chekhov "Cherry Garden" took place on the stage of the Moscow Art Theater. This is a dramatic work and today enters the repertoire of many theaters. In addition, the play was decorated several times.

History of creation

An important image in the work of A. P. Chekhov is a cherry garden. The main character due to frivolity and impracticality was in a difficult financial situation. Manor, where she spent early, sold. The new owner does not admire the beauty of the Cherry Garden. Chekhov in their small work more than once emphasizes the opposite of the characters of the Ranene and Lopakhina. And this opposite symbolizes the disunity, misunderstanding between representatives of different social layers.

Why did the writer so called his work? Cherry garden from Chekhov is an image of a noble culture that has resulted in the beginning of the 20th century. Stanislavsky - Chief Director of the Moscow Art Theater - in the autobiographical book recalled how he first heard from Anton Chekhov about this play. These memories explain the idea of \u200b\u200bthe author.

The playwright loved to attend rehearsals, often he was sitting in the dressing room. Once during the idle, he did not give any meaningful conversation to the director's idea of \u200b\u200bthe future play. "I will name the work of the" Cherry Garden ", - Chekhov uttered these words solemnly, but Stanislavsky did not understand what the unusualness of such a name.

Several months have passed. The director has already forgotten about the new play called the "Cherry Garden". A. Chekhov, it is worth saying, with the first mention of the future, the emphasis in the word "cherry" did on the first syllable. But then a little changed the name. The writer happily shared with the director: "No cherry, but a cherry garden." A. P. Chekhov and then Stanislavsky did not understand. Only later, when I read the play, I will comprehend the meaning hidden in the title.

Cherry is an adjective formed from the names of the trees that are planted for the sake of profit. In the word "cherry" more poetchiness, hill. Stanislavsky understood: the cherry garden does not bring income, he is the keeper of the poetry of the left boring life. Such a garden pleases the eye. But it grows along the whims of impractical spoiled aesthetes. Piece Chekhov "Cherry Garden" is a sad comedy about the outgoing time.

Criticism

Not all writers and critics were delighted with the plays of Chekhov. "Cherry Garden" especially did not like the emigrant-nobleman Ivan Bunin. This writer knew perfectly well, what the real landowner manor looked like, and he stated that the cherries were rarely sitting there.

In Russia, according to Bunin, it was difficult to find a large cherry garden. A. Chekhov, with the help of dialogues, tried to convey the beauty of the May landscape. His characters, that and the case admire the beauty of the garden (all, with the exception of the merchant, the son of the former serf). Contrary to the vision of Chekhov, in the Vishnevian Garden, according to Bunin, there is nothing fine. Little, low trees with small foliage even at the time of flowering are not a picturesque sight.

Outmunted Ivan Bunin also the finals of the Pieces of Chekhov "Cherry Garden". Namely, the hasty, with whom Lopahin began to chop trees, without waiting for the countryside. The Bunin seemed to this scene with a ridiculous, and he noted: "The leopard needed to chop trees only in order to have the audience to hear the knocking knuckles, symbolizing the outgoing era." In addition, the writer argued that his colleague knows nothing about Russian manor culture, and Firs (one of the characters of the "Cherry Garden") - a hero, worthy of attention, but not the original. Nevertheless, Chekhov play does not lose popularity for more than a hundred years. With a point of view, Bunin not many agree.

Below is the content of the "Cherry Garden" Chekhov. The play consists of four actions. For reading the work of Chekhov will take no more than an hour. The summary of the "Cherry Garden" Chekhov will present on the following plan:

1. Return.
2. Main character.
3. Manor.
4. Merchant.
5. Sale of estates.
6. Peter Trofimov.
7. Anna.
8. Rich aunt.
9. Trading Day.
10. New life.

Return

Love Andreevna Ranevskaya - the main female character of the "Cherry Garden" Chekhov and one of the brightest heroines in Russian literature. Events in the work begin at the end of May. The story that happened with Chekhov heroes is completed, at the end of August.

After a five-year lack of in the family estate, Radinsky's love returned with his daughter Anna. Here all this time lived her brother, Leonid Gaev, and the receptional daughter of Varvara. Later, the reader finds out some details from the life of the heroes Chekhov.

In the play "Cherry Garden" Dialogues author built a special way. The conversation between heroes may seem incoherent, messy. The main feature of the play of Chekhov "Cherry Garden" - the characters do not hear each other, everyone is busy with their own experiences.

The crew drives up. The Mer City House is filled with people, pleasantly excited. All the Rada Ranevskaya arrived, but everyone speaks about his. The heroes of the work of Chekhov "Cherry Garden", as already mentioned, do not hear and do not listen to each other.

main character

So, Ranevskaya returns to the generic estate. Her things are bad, there is almost no money left. Six years ago her husband died. He died from drunkenness. Then a little son drowned, after which Ranenevskaya decided to leave Russia - so as not to see this house, an excellent cherry garden and a deep river, which reminded her of a terrible tragedy. But I had to return - it is necessary to resolve the issue with the sale of estates.

Ranenevskaya and her brother - "big children." These are people absolutely unsuitable for life. Andreyevna's love squeaks money. People in the house are starving, but she is ready for the latter to give a random passing. Who is she - a debris, holy? By no means. This is a lady, accustomed to living in luxury and unable to limit yourself in anything. She loomed the passage of money is not the goodness of spiritual, but rather due to carelessness and frivolity.

After the death of her husband, Ranevskaya agreed with a man, who just like she, did not like to limit himself in expenses. In addition, there was a personally dishonest: he spent predominantly saving the love of Andreevna. It was by his fault that she wasted the last means. He drove her to Paris, there he had a long time, then got into dubious things, and after gone to another woman.

Manor

When Andreyevna's love comes to a generic estate, she indulgesed memories. In the garden, which she will call later the only interesting place in the whole province, it suddenly sees the image of the deceased mother. Andreevna's love rejoices and atmosphere at home that did not change at the time of her childhood.

Merchant

While Varya and Gaev meet Ranevskaya with her daughter at the station, the house of the Maid Dunyas and the merchant Lopakhin are waiting at home. Ermolai Alekseevich - a simple man, but punching. He did not see the love of Andreevna for five years and now doubts whether she recognized him. Over the years, Lopakhin has changed a lot: he made a considerable condition, from the son of the serf turned into a lucky merchant. But for Ranenevskaya and Gayev, he will remain like a person simple, uneducated, unwanted.

Is the feeder of the ipaths. This is a person with whom all sorts of failures are constantly occurring. "Twenty two misfortunes" - this is called the Epodsov surrounding.

Other characters

Epiphans on the eve made the proposal of the maid of the Duny, about which the girl joyfully reports Anna. But she does not listen to it - not only because it is tired of the road, but also because it is occupied by completely different thoughts. By the way, marriage is a fairly discussed topic. Anna persuades Barbar to marry a lopakhin - a man of practical, firmly standing on his feet. That, in turn, dreams of issuing a seventeen-year-old daughter Ranevskaya married for a rich nobleman.

In this scene, the governess of Charlotte Ivanovna also appears. This eccentric, strange person is praised by his "amazing" dog. Here is a seimeon-a peeper who is constantly asking for a loan.

Sale of estates

Lopakhin raises the topic unpleasant to Ranevskaya and Gaeva. Generic estate will soon be sold with trading. The only way out for Ranevskaya is to cut out a cherry garden, break the land to the plots and rent to summer houses. Despite the fact that the financial position of Lyubov Andreevna is worse, she does not want to hear about selling at home. And the idea of \u200b\u200bthe destruction of the Cherry Garden, she and her brother perceive as blasphemy. After all, their estate is the only place in the province, worthy of attention. About the Cherry Garden is even said in Encyclopedia - heaev recalls about this, the same impractical and infantile person, like his sister.

It is worth adding the characteristic of the blades. If Ranenevskaya and Gaev admire the beauty of the garden, then the merchant says so: "The trees are fruit every two years, do not buy cherries. The beauty of the garden is only that he is big. " Does not appreciate the beauty of the beauty of the blooming garden. He only sees the practical side in everything. But it is impossible to say that this is a negative character. Chekhov does not divide the heroes on bad and good.

Peter Trofimov

This is a very interesting character in the play of Chekhov "Cherry Garden." The genre of the work, as already mentioned, comedy. But in the play there are many sad moments, such as scenes in which the main character remembers the death of a small son. Petya Trofimov is an eternal student. He was a governer of the deceased son Ranevskaya, and therefore the day of the arrival of Lyubov Andreevna, he is asked for the first time not to appear to her eyes. After all, he is a living reminder of the tragic event that occurred five years ago.

But trophimov still appears. Ranevskaya crying, remembering the drowned son Grisch. Trofimov from time to time aroused reasoning. Perhaps in the words of this hero there are also the author's point of view.

Monologue Trofimova

The words of this hero below are part of the dialogue. But since Ranenevskaya, Gaev and other characters are not particularly listened to what their interlocutors tell, Trofimov's speeches can be safely called a monologue.

Trofimov argues about Russian society, where few people work. He speaks of the intelligentsia, probably hinting at such as Ranevskaya and Gaev. They are not looking for anything, they do nothing, they are not adapted to work. They call themselves intellectuals, but they are treated for a servant, they also appeal with animals. They read little, there is a superficial representation about science, in art, too, is not much sense.

Representatives of the intelligentsia, according to Trofimov, serious persons, they philosophize, are talking about important, but meanwhile, they are calmly look at those conditions in which workers are. Ranevskaya does not hear it. And the love of Andreevna, and Barbara only say Trofimov: "How did you raise, Peter!"

In one of the scenes between the main heroine and the student, the dispute flared up. The love of Andreevna is recognized by Trofimov in the fact that he loves the person who is in Paris and sends her telegrams. A student is perplexed. How can I? After all, he is passing! Trofimov expresses her everything he thinks about her frivolousness. And that in turn insults the student, calling him a "pitiful freak." However, the quarrel is forgotten soon. In this house, angry really do not know how.

Anna

The only person who really listens to Trofimova is the daughter of Ranevskaya. Anna and Eternal Student binds friendship. Trofimov says: "We are above love." Anna is admired by the speeches of the student, she catches every word. Trofimov suggests that grandfather, and the great-grandfather girls were serfs: owned souls, did not work. From all this should be released, the former governer believes. Therefore, I advises Anna to forget the generic estate, and a beautiful cherry garden is a symbol of a destructive landlord.

Rich aunt

Lopahin again raises the topic of land rental. But as before, the impoverished owners of the luxurious generic estate do not understand it. Cut the cherry garden? It is like to destroy pleasant memories of childhood and youth. Pass the land for rent to summer houses? In understanding Ranevskaya and Gaeva, it went. But they do not consider vulgarity to wait for money from rich aunt.

Ranevskaya and Gaev and hear do not want to rent a land. Although quite soon the house will go away from trading. Save the financial situation can the amount per hundred thousand rubles. Rich relative will send no more than fifteen thousand.

Gaev fears that the aunt will not give money. After all, his sister married not behind the nobleman, and also behaved not "very virtuously". The love of Andreevna he calls vicious, hinting for her connection with that man who in Paris screamed her to the thread. Gaev argues about how to give a successfully niece. At the same time, constantly repeats that the sale of estates will not allow.

Another character is the old servant Firs, who constantly burst, talks as if himself. At the same time, this hero sometimes utters words that are not devoid of deep meaning. It was him that the author is the final monologue in the play.

Firsa draws Gheaev as a child. When he starts into his usual reasoning about the impossibility of selling estates, he takes it down and stacked to sleep.

A few days after the arrival of Ranevskaya, together with the brother and the blades go to the city, to the restaurant. After return, they stop at the chapel. The merchant is outraged by the frivolousness of these people who perceive the idea of \u200b\u200brenting the Earth by vulgarity and not wanting to face the truth. He is trying to leave the Ranevskaya house in anger, but that, as always, is careless. The love of Andreevna tells the blades: "Stay, with you more fun!"

Day of trading

Twenty-first August Ranevskaya House sell. On this day, despite the lack of money, it suits a small celebration. Guests dance, having fun, only by the end of the evening the mistress of the ball begins to worry. She is with anxiety expects to return Gaeva. A rich aunt still sent money - fifteen thousand rubles. But they are, of course, not enough to redeem the estate.

Finally, leopane appears. He is satisfied, but somewhat confused. The cherry garden is sold, the new owner was the merchant, the son of the former serf. Newly minted landowner. He entered into a profitable deal, surpassing at a bidding of some Deriganov.

New life

Ranevskaya finally realizes that the cherry garden is sold. Anna soothes the mother, assuring that a new life will soon begin.

It takes a few days. The main heroine seemed to have fun after the sale of the estate. She used to worry, suffered. Now calmed down. She is going to Paris again, because now she has money sent by rich aunt. Anna is also inspired. She has a new life in front: study in gymnasium, work, reading. Symeonov-Picker suddenly appears, but this time does not ask for loan, but, on the contrary, gives money. It turns out that white clay was discovered on its Earth.

In the last scene shown the empty house. Former inhabitants dispersed, the new owner is going for the winter to Kharkov. Trofimov returned to Moscow - he finally decided to finish the course.

Final scene

There is only one fours. The old servant utters a sad monologue, in which there are such words: "man forgotten." Lowered the house. Everyone disappeared. And only the knuckle of the axis is heard - it will cut down trees for the orders of the blades. This is the summary of the "Cherry Garden" Chekhov.

Analysis

The story that Chekhov told in the work of the "Cherry Garden" was not uncommon at the beginning of the 20th century. Moreover, something similar happened in the life of the writer. The house together with the bench that belonged to the Father was sold back in the eighties. This event left an indelible mark in the memory of Anton Chekhov. Having become a writer, he decided to talk about the psychological state of a man who was deprived of his home.

Heroes in the play "Cherry Garden" can be divided into three groups. The first includes aristocrats Ranevskaya and her brother. To the second - people of a new type. Lopahin is opposed to the main heroine. The son of the former serf, unlike Ranenevskaya and Gaeva, is able to adapt to the realities of the new time.

The third group should include Petya Trofimov and the Ranevskaya daughter. Pieces "Cherry Garden" Chekhov wrote two years before the first Russian revolution. The criticism of the nobility sounds from the mouth of Trofimov not by chance. This is a kind of echo of revolutionary sentiments, which intensified by the beginning of the 20th century.

Chekhov's heroes do not understand and does not hear each other. This author wanted to emphasize not the features of the characters of his characters, and the variety of Russian society at the turn of the century. Among the nobles, more and more met unable to deal with a serious matter. These were mostly idle people who spent most of their time abroad. This is partly the cause of the revolution, which has accomplished in 1917.

There is no open conflict in the Chekhov play. And this is another feature of the work. The main event is the sale of the Cherry Garden. Against this background, it is possible to consider contradictions between representatives of the departed era and the "new" people.

The play shows the collision of the present and the future. The conflict of generations in Russian literature in 1903 was not new, but previously none of the writers disclosed changes in historical time at the subconscious level. After all, Chekhov did not know what to happen to the Russian nobility after decades after the audience for the first time would look at the play "Cherry Garden." Given the events that happened after the revolution, it is difficult to name this play of the comedy. It has a premonition of terrible thunderstorms.

All acting persons in the play "Cherry Garden" are of great importance in the ideological and thematic context of the work. Even casual, the names are caused by a semantic load. For example, there are extranectural heroes (Paris lover, Yaroslavl aunt), the very fact of the existence of which already sheds the light on the nature and lifestyle of the hero, symbolizing the whole era. Therefore, in order to understand the writer of the author, it is necessary to analyze the images that implement it in detail.

Characters and their role in the work

1. Ranevsky love Andreevna -the woman is sensitive, emotional, but absolutely not adapted for life and failed to find its rod in it. Her kindness is used by all, even Lackey Yasha and Charlotte. The love of Andreevna in childish expresses emotions of joy and tenderness. It is characterized by affectionate appeals to the surrounding people. So, Anya - "My", Firs - "My old man." But a similar appeal to the furniture is striking: My Locker, My Table. I myself am not noticing that she gives the same assessment to man and things! On this, her concern about the old and faithful servant ends. At the end of the play, the landowner quietly forgets about the company, leaving dying in the house of one. At the news of the death of a nanny, which attacked her, does not respond. Just continues to drink coffee. Love Andreevna - Mistress at home is nominal, as it is essentially such not. All the characters of the play stretch to her, highlighting the preserver from different sides, so it seems ambiguous. On the one hand, in its first plan - own spiritual state. I left Paris, leaving children. On the other hand, Ranevskaya gives the impression of a good, generous and gullible woman. She is ready to disinterestedly help the passing and even forgive the treason to his beloved person.
2. Anya -good, tender, empathizing. She has a big loving heart. Having arrived in Paris and seeing, in what setting the mother lives, does not condemn it, but regrets. Why? Because she is alone, there is no close to her near a close man who surrounded her care, he defended her delicate soul from everyday life. The unpleasuriness of life does not upset Any. She knows how to quickly switch to pleasant memories. It delicately feels like, enjoys the singing of birds.
3. Varya - Reception daughter Ranevskaya. Good mistress, constantly in work. It keeps the whole house. Girl strict looks. Harsing the hard burden of concerns about households, a little outlined. She lacks a thin mental organization. Apparently, for this reason, Lopahin did not make her offers "Hands and Hearts". Barbara dreams of walking through the holy places. Does not take anything to somehow change your destiny. Hoping only to God's will. At twenty-four years, it becomes a "boring", so many do not like many.
4. Gaev Leonid Andreevich.On the proposal of the leopard about the further "fate" of the cherry garden reacts categorically negatively: "What nonsense". He is worried about old things, a wardrobe, he draws to them with his monologues, but he is completely indifferent to the fate of people, so the servant from him and left. The speech of Gaeva testifies to the limitations of this person who lives only by personal interests. If we talk about the situation in the house, Leonid Andreyevich sees the exit in obtaining an inheritance or favorable marriage of Ani. Loving sister, accuses her that she was vicious, married not behind the nobleman. It turns a lot, not embarrassed by no one listens to him. Lopakhin calls him "Baba", which is only a tongue only, while doing nothing.
5. Lopakhin Yermolai Alekseevich.You can "apply" aphorism to it: from dirt in the prince. Soberly assesses himself. It understands that money in life does not change the social status of man. "Ham, Kulak," says Gaev about the blades, but it is still that they think about him. Not trained good manners, can not normally communicate with the girl, as he shows his attitude to Vare. Constantly looking at the clock, communicating with Ranevskaya, he has no time to talk to human. The main thing is the upcoming deal. Conducts "console" Ranevskaya: "The garden is sold, but you sleep quietly."
6. Trofimov Peter Sergeevich.Dressed in a worn student uniform, in glasses, hot hair, for five years "cute boy" has changed a lot, drove. In his understanding, the purpose of life is free and happy, and for this you need to work. He believes that those who are looking for the truth must be helped. In Russia, many problems that need to be solved, and not philosophy. Trophimov does not do anything, it cannot finish the university. He pronounces beautiful and smart words that are not supported by actions. Petya sympathizes Ana, speaks about it "Spring mine". He sees a grateful and enthusiastic listener his speeches.
7. Simeonov - Picker Boris Borisovich.Landmark Falls asleep on the go. All his thoughts are directed only to getting money. Even a pet who compared it with a horse, he replies that it is not bad, as the horse can always sell.
8. Charlotte Ivanovna -governess. Nothing knows about himself. She has no loved ones or friends. Grown like a lonely stiff bush among the wasteland. She did not experience the feelings of love in childhood, did not see the care of adults. Charlotte became a man who could not find people who would understand her. But she can't understand herself. "Who am I? Why am I?" - This poor woman had a bright lighthouse in life, a mentor, a loving person who would help find the right path and not collapse from him.
9. Epiphans Semen Panteleevichworks in the office. He considers himself a developed person, but openly announces that it can not decide: "live" to him or "shoot". Jonah. Epietov pursue spiders and cockroaches, as if they were trying to make him turn around and look at a miserable existence that he was vocative over the years. Unrequited in love with Dunyash.
10. Dunyasha -maid in the house Ranevskaya. Living from the Lord, looked away from a simple life. Does not know the peasant labor. Everything is afraid. He falls in love with Jasha, not noticing what he is simply not able to share with someone's love.
11. FirsAll his life is stacked in the "one line" - to serve the gentlemen. Cancel of serfdom for him - evil. He is used to being a hob and other life does not represent.
12. Yasha.Outgraded young lacquer cutting about Paris. Dreams of rich life. Related - the main trait of its character; Even with the mother tries not to meet, having fun of her peasant origin.

Characteristic of heroes

1. Ranenevskaya - frivolous, spoiled and raised woman, but people stretch to her. The house seemed to open the door twisted when she returned here after a five-year lack. She was able to warm him with his nostalgia. The comfort and warmth "sounded" in every room, as solemn music sounds on holidays. It continued for a short time, since the days of the house were considered. In the nervous and tragic image of Ranenevskaya, all the shortcomings of the nobility were expressed: its inability to self-sufficiency, non-independence, the spoilness and the inclination of all evaluate on the estate prejudices, but at the same time the subtlety of feelings and education, spiritual wealth and generosity.
2. Anya. In the chest of a young girl beats a heart, which is waiting for sublime love and is looking for certain life guidelines. She wants to trust someone, test herself. Peter Trofimov becomes the embodiment of her ideals. It can not yet critically look at things and blindly believes "chatter" Trofimova, representing reality in the rainbow light. Only she is alone. Anya is not aware of the many-sidedness of this world, although he is trying. She also does not hear others, does not see the real problems that fell on the family. Chekhov premonish that this girl is the future of Russia. But the question remained open: whether she will change something or she will remain in his children's Gresses. After all, to change something, you need to act.
3. Gaev Leonid Andreevich. Spiritual blindness is peculiar to this mature person. He was so delayed in childhood for life. In the conversation constantly uses billiard terms. Its horizon narrow. The fate of the generic nest, as it turned out, does not care at all, although at the beginning of the drama he beat himself a fist in the chest and promised himself that the cherry garden would live. But it is categorically not able to affect how many nobles who are used to living while others work for them.
4. Lopahin buys the generic estate Ranevskaya, which is not a "apple of discord" between them. They do not consider each other enemies, humanistic relationships prevail between them. Love Andreevna and Yermolai Alekseevich as if they want to get out of this situation as soon as possible. The merchant even offers his help, but receives a refusal. When everything is safely ends, the lopahin rejoices that she will finally be able to do a real affair. We must give the hero due, because it was he, the only one, was concerned about the "fate" of the Cherry Garden and found a way out that arranged everyone.
5. Trofimov Peter Sergeevich. He is considered a young student, although he is already 27 years old. There is an idea that the students became his profession, although it turned out to turn into an old man. It is respected, but no one believes in the noble and life-affirming appeals except Ani. It is mistaken to assume that the image of Petit Trofimova can be compared with the image of the revolutionary. Chekhov never interested politics, the revolutionary movement was not part of his interests. Trofimov is too soft. The warehouse of his soul and intelligence will never allow him to cross the framework for the permitted and jump into the unknown abyss. In addition, he is responsible for Any, a young girl who does not know the real life. She has a rather thin psyche. Any emotional shock can push it out in the one direction where it will not be right from. Therefore, Petya should think not only about himself and about the realization of his ideas, but also about the fragile creature, which Ranevskaya entrusted him.

How does Chekhov belong to their heroes?

A. P. Chekhov loved his heroes, but no one could entrust the future of Russia, even Petya Trofimov and Ana, progressive youth of that time.

The heroes of the play, a pretty author, do not know how to defend their life rights, they suffer or silent. Ranenevskaya and Gaev suffer because they understand that they will not be able to change anything in themselves. Their social status goes into non-existence, and they are forced to carry out a miserable existence for the last reversed funds. He suffers to the leopard, as it realizes that they cannot help them. He himself is not happy to buy a cherry garden. No matter how hard he tried, but still will not be his full-fledged owner. That is why he decides to cut out the garden and solder the earth to subsequently forget about it as a terrible dream. But what about Peter and Anya? Doesn't the author of them implies on them? Perhaps, but these hopes are very foggy. Trofimov, due to their nature, is not able to take any radical actions. And without this, it is impossible to change the situation. It is limited only to conversations about the beautiful future and that's it. And Anya? In this girl laid a little stronger rod than in Peter. But due to her young age and the vital uncertainty, changes from it should not be expected. Perhaps in the distant future, when she puts all the life priorities for himself, it will be possible to expect any action from it. In the meantime, it is limited to faith in the best and sincere desire to plant a new garden.

Which side of Chekhov? He supports each side, but in his own way. In Ranevskaya, he appreciates genuine female kindness and naivety, albeit flavored emptiness. The lopakhin appreciates the desire for compromise and poetic beauty, although he is not able to assess the real charm of the Cherry Garden. The cherry garden is a member of the family, but about it everyone is forgotten together, the lopahin is generally unable to understand this.

The heroes of the play shares a huge abyss. They are not able to understand each other, as they are closed in the world of their own feelings, thoughts and experiences. However, all alone, they have no friends, like-minded people, there is no real love. Most sails downstream without setting them any serious goals. In addition, they are all unhappy. Ranevskaya is experiencing disappointment in love, life and its social supremacy, which seemed unshakable yesterday. Gaev reveals that the aristocracy of the manner is not a guarantor of power and financial well-being. In his eyes, yesterday's serfs takes his estate, becomes the owner there and without the nobility. Anna remains without a penny for the soul, it does not have dodging for a profitable marriage. Her chosen one does not require it, but he himself has not worked yet. Trofimov understands that it is necessary to change, but does not know how, because he has no connections, no money, nor the situation to influence something. They remain only the hopes of youth, which are short-lived. Lopahin is unhappy, because it is aware of his inferiority, it dismisses his dignity, seeing that he is not even than any gentlemen, although he has more money.

Interesting? Save on your wall!

1

On January 31, 1901, the premiere of the "Three Sisters" play was held in the Art Theater. The play had a major success, although all the significance and beauty of her were conscious of many spectators later. March 1 Vl.I. Nemirovich-Danchenko telegraphed Chekhov from St. Petersburg: "Played" three sisters ", success is the same as in Moscow ... They played wonderfully ... The first act, challenges are hot. The second and third depressed. Latest ovative. " At the beginning of March of the same year, M. Gorky reported to him about the play, visible in St. Petersburg: "And" three sisters "go - amazingly! Better "Uncle Vanya". Music, not a game. "

But the play, which was a big event in theatrical life, left the audience at the audience yet serious impression. "I don't know the work," wrote the theatrical critic P. Yartsev, - which would be more able to "infect the" severe obsessive feeling ... "Three sisters" a stone lay down on the soul. "

Chekhov wanted to create a work of cheerful, joyful.

In the first half of 1901, in the consciousness of the playwright, neither the idea nor the plot nor the characters of the future play had not yet acquired any clarity. He has not yet found for her and title. It was clear only the desire to write a cheerful play, comedy. On March 7, 1901, the writer reported O.L. Bookper: "The next play, which I will write, will certainly be funny, very funny, at least on the plan" (P., vol. 9, p. 220). On April 22, 1901, he confirmed: "For moments, a strongest desire to write 4-accompanied water and comedy for me. And I will write if nothing hurts, only I will give to the theater not earlier than the end of 1903. " (P., vol. 10, p. 15).

At one of the rehearsals that Chekhov visited in this visit to Moscow, the artists of the artistic theater persistently crossed him to write a new play. "He was killed," recalls K.S. Stanislavsky, - opened window, with a branch of white blooming cherries, brought from the garden to the room. Artem has already become a lacquer, and then with no one with this manager. His owner, and sometimes it seemed to him that it was a hostess, always without money, and in critical moments she appeals for help to his lacquer or a manager who had cluffed from somewhere, quite a lot of money.

Then a company of players appeared on billiards. One of them is the most threesome amateur, sleepless, very cheerful and vigorous, always screaming loudly ... Then the bobster room appeared, then she again replaced the billiard room "(ibid., P. 353).

On December 18, 1901, complaining about the forced by unhealthy idleness, Chekhov wrote to his wife: "And I dream of writing a funny play, where the traits go to the rocker" (P., vol. 10, p. 143).

In the second half of April, Stanislavsky visited Chekhov in Yalta, and when "praised him with reminders of a new play, then Chekhov said:" But here, here ... "- and at the same time took a small piece of paper, written by small, small handwriting "(Stanislavsky, vol. 5, p. 357). July 6, 1902 Chekhov asked sister M.P. Chekhov send him this leaflet from Yalta to Moscow. He wrote: "From my desk, and if there is an oskmushka of paper in the front of the box (or 1/3 of the postal paper sheet), written fine for the future play, then they came to me in the letter. On this leaf, it is recorded, by the way, many surnames "(P., vol. 10, p. 241).

By the summer of 1902, the dramatourgu became clear the general contours of the plot, and he had even confidence that he would graduate with a play by August 1.

Chekhov found for her and title. This title he thoroughly hid even from the closest. He feared that the title did not receive premature disclosure. For the first time, the writer called it under special circumstances. In early June, he was again seriously ill. Bookper. "Chekhov did not move away from her bed. Somehow, to entertain the sick, distract from thoughts about the disease, he said: "Do you want to tell you how to be called a play?" He knew that it would raise the mood, breaking the despondency. He leaned toward the ear of Olga Leonardovna and whispered softly, so that, God, who was not happy, who did not hear, although there was no one in the room, except for their two, was not: "Cherry Garden". "

At the end of 1902, Chekhov told the title of play (under the strictest secret!) And his sister M.P. Czech, which tells about it like this: "I just returned from Moscow. We were sitting with ant. Paul. in his office. He is at the desk, I'm around the window ... I said that the play was waiting for him from him ... I listened to Antosha silently ... Then, smiling, quietly, shyly said: "I am writing, I write ...". I became interested in the name of the play. He did not want to say for a long time, and then, taking off a piece of paper, wrote something and filed it. I read: "Cherry Garden". "

July and August Chekhov spent near Moscow, in his loved one. He was delighted with the wonderful nature of this area. He was pleased with silence and the almost complete lack of corporate visitors, so gloomy him in Yalta. He thought well. Here, I finally and formed a general plan for the plot of a new dramatic work. Chekhov was pleased with the plot and found it "magnificent" (P., vol. 11, p. 28).

The leaders of the Art Theater, whom Czechov acquainted in the most common features with the plot of their new play, with its main actors, have already begun to design its production: they chose possible performers; Did the first considerations of decorations. But with all Tom Chekhov has not yet searched for writing text.

October 1, he notified K.S. Alekseeva (Stanislavsky): "October 15 I will be in Moscow and I will explain to you why so far my play is not ready. There is a plot, but it is still not enough gunpowder "(ibid, p. 54). December 14, 1902 on the questions of his wife about the play, he answered: "When you sit for the" cherry garden, "I will write to you" (ibid., P. 91). Ten days later, sharing his thoughts about a new dramatic work, he informed her: "My" cherry garden "will be in three acts. So it seems to me, and however, I finally did not yet decide. I will recover and start deciding again, now everything scored "(ibid, p. 101).

2

Reflecting on the play "Cherry Garden", Chekhov began to gradually select and form the composition of its acting persons. For this, he widespread and the reserve of his long-standing impressions and the fact that he was surrounded by he saw and heard every day. The life of the old, oblivion of the estates and the morals of their inhabitants of Chekhov watched from the late 70s, while still a gymnasium, making trips to the Don Steppe, to his student P. Kravtsov.

In May 1888, he lived in the estate A.V. Lintelvareva in the Kharkiv province, from where he wrote that there "Nature and life is built along the very template, which is now so outdated and disagreeed in the editorial board: not to mention the nightingales who sing the day and night, about Laa dogs, who heard from published, oh Old launched gardens, about clogged tightly, very poetic and sad manors, in which the souls of beautiful women live, not to mention old, breathaning to incense lacques-serpents, about girls, thirsting for the most temporary love ... "(P., vol. 2 , p. 277). In this letter, in fact, the plot of the "Cherry Garden" is already told not only in his main event (scored tightly poetic estates), individual characters (lackey-serfs), but even in private episodes (compare, for example, "souls of beautiful Women "with a replica Ranevskaya:" Look, the deceased mom goes in the garden ... in a white dress! ") (S., vol. 13, p. 210).

In 1892, Chekhov bought in the Serpukhov district of the Moscow province his own estate of Melikovo and lived in it in 1899. Zemskaya and medical activity gave him the opportunity to have many landlords from the county and get acquainted with their homes sites, atmosphere. Based on the impressions of the life of the local nobility of Chekhov, a number of prosaic works were created: "Flowers are late" (1882), "Drama on the hunt" (1884), "In the estate" (1894). In the story "Familiar" (1898), Chekhov gave in the embryo not only the plot of the play "Cherry Garden", but also separate images, such as Losev, reminded Gaeva.

At the end of 1900 and in early 1901, Chekhov traveled abroad. There he had a wide opportunity to observe the idle life of the Russian bar, who squandered their states. January 6, 1901 he wrote O.L. Knipper: "And what insignificant women, ah, a sonya, what are insignificant! One 45 winning tickets, she lives here from nothing to do, only eats yes drink, it happens often in Monte-Srlo, where it plays a cowardly, and under January 6th does not go play, because tomorrow is a holiday! How many Russian money goes here, especially in Monte-Suro (P., vol. 9, p. 176). It is curious to note that it was originally Czechs called the old man, that is, Ranevskaya, the "Monte Carlo subsidiary".

For the image of Gaeva, as for Ranevskaya, Chekhov had no lack of real prototypes. He assured Stanislavsky: "" After all, the same reality! It was. I did not compose it ... "And told about some old Barin, which all day glanced in bed, because his Lackey left the village to the city, without rejecting the trouser baryna. And the pants hung in the closet next. "

The basis for the image of Piphodov, in all likelihood, served as a long-standing familiar writer A.I. Ivanenko, a big loser in life. MP Chekhov, Brother writer, directly calls him the "prototype of the Epodov". According to his memories, "it was a kind, miserable hokhlik, who did not enjoy his father in Malorus, who had emigre in Moscow to study." Here he surrendered the exam in a conservatory in the class of the piano, he stood, but it did not have enough tool for him, and he had to learn on the flute. Ivanhenko met the family of Chekhov, and it remained at all with her. "It was a pitiful man who loving, gentle, attained. He spoke unusually long and was not offended when he did not listen. " Chekhov called him "notepad". Some properties of the Epodova, his nickname "twenty two misfortunes" borrowed Czech by one jongler. At the beginning of the summer of 1902, the writer, living in Moscow, occasionally visited the Aquarium, where he liked a dexterous juggler. "It was," recalls Stanislavsky, "a big man in Thrake, the thick, slightly sleepy, perfectly, with a big komism playing the loser among his juggler exercises. "Twenty-two misfortunes" happened to him ... I think - finishes by K.S. Stanislavsky, - that it was a prototype of Epodova. Or one of the prototypes. "

In the same year, living in loved ones, manor Mother K.S. Stanislavsky, Chekhov met with the employee who also took certain features for the image of Epodov. "Chekhov often spoke with him, urged him to learn, it is necessary to be a competent and educated person. To become such, the prototype of the Epodova first of all bought a red tie and wanted to study in French "(Stanislavsky, vol. 1, p. 267). Creating the image of the Epodsov, the writer used his observations over Lake Egor, very awkward and unlucky. The writer began to convince him that "serve the lacquer offensively for a person," he advised him to be done to be treated and go somewhere with a root. Egor did it. Anton Pavlovich "... was very pleased." It is possible that some features of the Phahodov Chekhov noted in the appearance of I.G. Witte, Zemstvo-Surgeon, familiar Chekhov for medical activities in Serpukhovsky county. In the notebook, Chekhov noted: "Witte - the omphodas" (S., vol. 17, p. 148).

A real prototype of the image of Charlotte was one Englishwoman, with whom Chekhov met, living in loved ones (Stanislavsky, vol. 1, p. 226-267). But Chekhov took advantage of their observations over other women famous for him. He drew the type. And this is why he was so excited when Stanislavsky, who found out in Charlotte, a loved English woman, decided to make an artist who performed the role of Charlotte, under this Englishman. Chekhov saw in this danger of naturalism, copying a separate personality and assured the director that Charlotte "must certainly be a German, and certainly thin and big, - such as Muratov's artist, completely unlike the Englishman, with whom Charlotte was written out." p. 267).

There was no shortage of Chekhov and in materials for the image of Trofimov. He himself was a student of Moscow University and knew the student medium perfectly. The apartment of Chekhov was often visited by students - comrades and friends of the sisters and the brothers of the writer. In the summer of 1888, living in the estate of Lintelvarov, Chekhov met daily with P.M. Lintelov, excluded from the 4th year of the university. Chekhov belonged to student with great sympathy. In 1899, being in Taganrog, he said: "Here they say a lot, as if students now became worse than our time. I do not agree with this. In my opinion, they are much better ... they work much more and drink less. " At the beginning of the same year, Chekhov in a letter to I.I. Orlov wrote: "Students and ridingrs are an honest, good people, is our hope, this is the future of Russia" (P., vol. 8, p. 101). One of the real prototypes of Trofimov was the son of the maid in the estate of the Mother Stanislavsky. Anton Pavlovich convinced him to "throw the office, prepare for the examination of maturity and enroll in the university!". Chekhov tips were fulfilled. Some features of this young man: "angularity", "cloudy appearance" - the writer "introduced into the image of Petit Trofimov."

Drawing the images of the play "Cherry Garden", Chekhov took advantage of them with some words, expressions and turnovers that were in his notebooks. For example, for Trofimova - "Eternal Student" (C., vol. 17, p. 14); For a leopard - "This is the fruit of your imagination, covered by darkness of unknowns" (ibid., p. 43, 156); For the meal - "The hungry dog \u200b\u200bbelieves only in meat" (ibid., p. 44, 156), "I got into flock, Lai not bark, and vilaya's tail" (p. 157); For firs - "Notep!" (ibid, p. 94); For Gayaeva, "I love me" (ibid, p. 95); For Ranenevskaya - "This is playing music? - I do not hear "(p. 149).

In the notebook, we find part of the dialogue between the Firs and His gentlemen, which is what is happening in the second act: "Firs: before misfortune so buzzed. Before which misfortune? - Before the will "(S., vol. 17, p. 148). Chekhov's notebooks were kept and other materials that were learned by the writer and are developed in the play. So, in the first book there is an entry: "The cabinet is in the presence of a hundred years, which is seen from the papers; Officials seriously certify the anniversary "(ibid, p. 96). This entry is used for the role of Gaeva. Here there are fragments of Troprophim's speeches: "We need to work in mind only the future" (ibid, p. 17), "the intelligentsia is not suitable, because there is a lot of tea, it says a lot, there is a lot of empty bottles." Probably the basis of the replica of the Ranevskaya "Tablecloth smells soap" served as a record: "In Russian restaurants stinks clean tablecloths" (ibid, p. 9). In the record books Chekhov, there are mentions of the estate coming with a hammer (ibid. 118), about the villa near Mentons and other, which Czechs could use for their own plays. From here it was removed and the title of the plays (ibid., P. 122).

Life impressions, putting in the minds of Chekhov, served as the basis and setting of the "Cherry Garden", up to individual details. But at the same time he did not copy them. He selected and converted his observations in accordance with his illness peculiar to him, on the tasks of art and subordinate to their ideological intent of this work.

According to the memoirs of Stanislavsky, familiar Englishwoman, who served as the prototype Charlotte, was distinguished by cheerfulness and eccentricity. Charlotte retained the eccentricity of the British, but the writer gave her, in addition, bitterness of loneliness, dissatisfaction with broken and unconished fate.

Ivanenko, apparently, the main prototype of Epodova was a good, good, obligatory person, whose failures were excited by universal sympathy. Creating an image of the Epodsov, the writer endowed it very close-moving views, rudeness, ambitious and other features of a typical shortness that has acquired a none value.

K.S. Stanislavsky, describing somehow the creative process of Chekhov, said that "he is high, a high rock, on the top of which Czechs sits. At the bottom, people, people, people who are cooked; He is intently, fed, consider them. She saw the Epodova - to hug! Caught and put about himself; Then by Firs, Gaeva, Lopakhina, Ranevskaya, etc. And then puts them, he will breathe life in them, and they are going to him, and he only follows that they do not stop, they did not fall asleep, most importantly - they acted. "

3

The play "Cherry Garden", conceived by Czech as a comedy and already represented by him in their main characters, did not purchase the necessary for a long time, in all its parts of a well-thought-out event. After having completely completely all the plot relations of the acting persons, without understanding the entire composition of the play, the playwright could not start writing it. On January 1, 1903, he promised Stanislavsky: "The play will begin in February, so I count at least. I will come to Moscow already with a ready-made play "(P., vol. 11, p. 110). Chekhov worked at this time over prosaic works, in particular above the story of the "Bride", but reflections on the play "Cherry Garden", about her images, plot and compositions did not stop and captured the writer all with more power.

Meditsa about the "Cherry Garden" and all other writer classes were interrupted by a painful state. He was tormented by the pleurisy. He was forced to inactive. It led to loss of confidence in their capabilities. January 23, he notified O.L. Bookper: "I received a letter from Nemirovich today ... asks about my play. That I will write my play, it is true, as twice two four, if only, of course, I will be healthy; But whether she succeeds, whether something will come out - I don't know "(P., vol. 11, p. 129). Insecurity manifested itself in a letter to V.F. Commissarzhevskaya, who requested the writer about the play for the theater opened by her. January 27, Chekhov answered her: "I will say about the play as follows: 1) The play is conceived, however, I already have her name (" Cherry Garden "- but it's still a secret), and it's likely to write it, probably no later than February, If, of course, I will be healthy; 2) In this play, the central role is the old women !! - To the great regret of the author ... "(ibid., p. 134).

Only just came to relieve the disease, Chekhov immediately began to work. Vera returned to him. Already on January 30, he firmly promised O.L. Bookper: "Play I will write" (P., vol. 11, p. 138). It seemed to him that the play, in the main features already thoughtful, would not require for writing more than a month. On February 5, he was notified by Stanislavsky: "After the February 20th, I count sitting on the play and by March 20 I camp it. In my head, I'm ready for me. Called "Cherry Garden", four acts, in the first act in the windows are visible flowering cherries, a solid white garden. And ladies in white dresses. In a word, the Vishnevsky laugh will be a lot - and, of course, it is unknown, from what reason "(ibid, p. 142).

February 11 Chekhov promising O.L. Bookper, which will start writing a play on February 21, expressed his assumption that she would play "stupid" (that is, Vary. - A.R.), and asked, "Who will play an old woman - Mother?" (P., vol. 11, p. 151). On February 27, he graduated from the story of the "Bride" and March 1 reported to his wife: "... For the play, he already laid the paper on the table and wrote title" (ibid., P. 168). Writing the play of Chekhov did not start in March, nor even in May 1903, but all this time he tensely reflected over its characters, clarified their relationships and place in the play. His meditation over the images of the play was reflected in the notebook, in correspondence with the nearest relatives and acquaintances.

Thus, in the notebook there are the following entries on the blades: 1) "The father of Lopakhina was fortified by Terbetsky"; 2) "Lop.: I bought myself imhenishko, I wanted to arrange painful and did not come up with anything, except for the table: the entrance to the stroke is prohibited"; 3) "LOP. Rishu: - in the prisoner of you, "; 4) "The men began to drink chibanko - Lopakhin: This is true" (S., vol. 17, p. 148, 149). This, probably, the initial sketch of the image of the blades in the process of working on the play gradually changes.

On March 5, he wrote O.L. Bookper: "In the" Cherry Garden "you will be Varvara Egorovna, or cooking, accepting, 22 years old" (P., vol. 11, p. 172). On March 6, he made an appreciation that the role of Vari comic. The comic was drawn to Chekhov and the role of a leopard, which, according to his initial assumption, was appointed Stanislavsky (ibid.).

When pondering images, Chekhov had unexpected complications and difficulties. "And the play, by the way, - he announces on March 18, O.L. Bookper, - I do not quite succeed. One main acting person is not yet sufficiently thought out and interferes; But for Easter, I think this face will be clear, and I will be free from difficulty "(P., vol. 11, p. 179). What is this face? Not Ranenevskaya, which was originally the old woman in the full sense of the word. April 11 Chekhov asks OL. Bookper: "Do you have an actress for the role of an elderly lady in the" Cherry Garden "? If not, then the plays will not, I will not write it "(ibid, p. 192). And after 4 days, April 15, again: "I don't really want to write for your theater - mostly for the reason that you have no old woman. They will impose a role to the old man, meanwhile there is another role for you, and you have already played the old lady in the "Seagull" "(ibid, p. 194-195).

Stretched work brought its fruits. Everything clearer and relief appeared before Czech images of the play, their relationship and development. He discarded everything that she climbed, deprived of warmth. On March 21, he assured O.L. Bookper: "The" Cherry Garden "will be trying to make it possible less than those acting; Stage is intimate "(P., vol. 11, p. 182).

In his new play, he developed ideological and artistic principles already implemented by him in the preceding dramatic works, the principles of the image of the usual, everyday reality, in the inherent complexity and contradictions. And life rose from the usual shores, appeared by its new parties, previously unknown. And Chekhov seemed to be creatively stopped. He was covered by doubt, and he wrote anxiously on April 17: "The play is small, only I am afraid, my tone is generally outdated, it seems" (there, p. 196).

The rhythm of life and Labor Chekhov during his stay in Yalta was inconspicuously violated by numerous visitors: friends, acquaintances, fans of talent, aspiracles and simply curious. Chekhov from this very suffering. April 9, 1903, complaining about O.L. Bookper on visitors prefering to him, he notified her: "I will write a play in Moscow, it is impossible to write here. Even the proofreading is not allowed to read "(P., vol. 11, p. 191). June 17 in a letter to N.E. Eprosu, he stated that writing a play "I didn't even start" (ibid, p. 226). Chekhov was busy while the preparation and sketch of Etudides, but did not start writing the picture as a whole.

4

On May 25, 1903, Chekhov settled on the dacha near Moscow in Naro-Fominsk. June 4, he reported L.V. In the middle: "I'm sitting in a large window and smallest work" (P., vol. 11, p. 217). In the second half of June, he finally started the Scriptures of the Cherry Garden's connected text. Then, by the way, a few already written scenes were lost, which perhaps delayed his work on it. Once "Anton Pavlovich left her leaflets on the desk, and he went to the neighbors. At this time, a sudden summer thunderstorm flew out, the whirlwind burst into the window and took from the table in the garden two or three sheets of the play, written in ink with small handwriting Chekhov ...

"Don't you remember that it was on them?" - asked him.

Imagine that I do not remember, he answered with a smile. - You have to write these scenes of Syznov. "

On July 7, Chekhov left in Yalta and all his free time was already just a play. July 28, he reported by K.S. Stanislavsky: "My play is not ready, it gets tightly, which I explain to both the laziness, and wonderful weather, and the difficulty of the plot ... Your role seems to be waged" (P., vol. 11, p. 236).

Chekhov sought to simplify the plastic environment as easier. "The sleeping part in the play," he wrote on August 22 V.I. Nemirovich-Danchenko, - I breathed to a minimum, no special decorations will not need and invent the gunpowders. "(Ibid., P. 242).

The playwright did not find the necessary stage incarnation for a second act, which in the first sketch seemed to him boring, drove, monotonous. September 2, he wrote V.I. Nemirovich-Danchenko: "My play (if I continue to work in the same way that it worked until today) will be over soon, be found. It is difficult, it was very difficult to write the second act, but it seems nothing "(P., vol. 11, p. 246).

In the process of work on the play, its actors changed. So, the "old woman" got up somewhat, and her role could already be offered O.L. Bookper. In a letter cited by V.I. Nemirovich-Danchenko Chekhov wrote: "In my play, the role of the mother will take Olga" (ibid.).

Piece "Cherry Garden" was created in the most real "flour of creativity." Chekhov repeatedly experienced doubts about the written, and it seemed to him that he was away from the theater, from the center of culture, from a hunting key of public life, already repeats the boards and is not capable of something new, original. Having an almost complete play, he wrote to his wife on September 20: "I am so far from everything that I am starting to fall in spirit. It seems to me that I, as a writer, has already been taught and every phrase I write, it seems to me anywhere who is not suitable and for nothing for anything "(P., vol. 11, p. 252).

More easily given Chekhov's last act of play. September 23 Anton Pavlovich was notified by O.L. Bookper: "The fourth act in my play is relatively with other acts will be a suspicion of content, but effect. The end of your role seems to me so much "(ibid, p. 253-254).

On September 25, Chekhov add this act, and on September 26, the play was completed. The playwright saw in front of him all the work, and this time it did not seem to him outdated. "It seems to me - he admitted OL. Bookper - that in my play, as it is neither boring, there is something new "(P., vol. 11, p. 256). For him, it was undoubtedly the fact that her faces "lived" (there, p. 257).

5

The process of creating a play remained behind. It was necessary only to rewrite it. But, carefully reading the text of the play, Chekhov again found weaknesses in it, requiring alterations and grinding. "The play is already finished," he informed September 29, O.L. Bookper, but I rewrite slowly, as you have to redo, in mind; Two or three places I will send unfinished, I postpone them on after - you already apologize "(P., vol. 11, 258-259). Many scenes of Chekhov processed completely. "Some places," he wrote on October 3, "I don't like me very much, I write them again and rewrite again" (ibid., P. 262). Especially did not like Anton Pavlovich the second act, which remained after processing, in his opinion, "boring and monotony, like a web" (ibid., P. 267). This act started by the next Misanessen: Yasha and Dunyash are sitting on a bench, and the ipikhods standing near them. From the estate on the way, Trofimov and Anya are held. The action was opened by the Ani and Trofimov dialogue:

« Anya.. Grandma is alone, very rich. She does not like moms. In the first days I was hard with her, she talked little with me. Then nothing, softened. She promised to send money, gave me Charlotte Ivanovna money on the road. But how terrible, how hard to feel the poor relative.

Trofimov.. There is someone here already, it seems ... Sit. In this case, let's go further.

Anya.. Three weeks I was not at home. So missed! (Go.) "

After the care of Ani and Trofimova, Dunyash appealed to Yasha with the words: "Still, what happiness to visit the border," and then the action developed in the sequence already known to us, however, with the additional dialogue on the road from the estate and Charlotte, and the big one ended Scene by Firs and Charlotte.

Dialogue Cook and Charlotte interrupted Ranenevskaya, Gaeva and Lopakhina conversation and began after the exclamation of Lopakhina: "What to think about!" Here is its content:

« Varya. She is a smart girl and good-apartment, nothing can happen, but still one should not leave her one with a young man. At nine hours of dinner, Charlotte Ivanovna, see do not be late.

Charlotte. I do not want to eat ... (quietly sings a song).

Varya. It does not matter. It is necessary for order. You see, they sit there on the shore ... (Varya and Charlotte go). "

In the subsequent development of action, when Anya and Trofimov were hidden from Vari, Firs went on the scene and, mumbling something, looking for on Earth, near the bench. Then Charlotte appeared. Between these people who felt very lonely, the conversation was tied:

« Firs (mumbling). Oh, you, short!

Charlotte. (Sits on the bench and removes the card). Are you, firms? What are you looking for?

« Firs. Baryna Purse lost.

Charlotte (Looking for). Here is a fan ... But the handkerchiefs ... the spirits smells ... (pause). There is nothing more. Andreevna's love is constantly losing. She lost her life (quietly sings a song). I have a grandfather, there is no real passport, I don't know how old I am, and I think I'm a young ... (I put on the Kartuz farce, he sits motionless). Oh, I love you, my cute gentleman! (laughs). EIN, ZWEI, DREI! (Mounts from FRACE Kartuz, puts on himself). When I was a little girl, my father and milf went to the fairs and gave presentations. Very good. And I jumped Salto Mortale and different things, the like. And when dad and milf died, I took one German mistress to himself and I became learning me. Okay. I grew up, then went to the governess, and where I and who I am, - I don't know ... who my parents can, they were not married ... I do not know ... (takes out the cucumber and eats out of your pocket). I do not know anything.

Firs. I was 20 years old or 25, we go this, and the son of the father of the Dyakon, and the cook Vasily, and here it is like a person sitting on the stone ... Someone else's, unfamiliar ... I'm talking about the Orobel and left, but They took without me and killed him ... he had money.

Charlotte. Well? Weiter.

Firs. Then, therefore, the court ponaled, they began to interrogate ... they took ... and me too ... I set out two years old ... then nothing, released. It has long been ... (pause). You don't remember everything ...

Charlotte. You're time to die, grandfather ... (eating cucumber).

Firs. BUT? (mumbles to himself). And so, it means, we went all together, and there is a stop ... Uncle jumped from the cart ... I took the crust ... And in that Kul, I have been crying ... and looks, and there is something - Dryg, Dryg!

Charlotte (Laughs, quiet). Dryg, Dryg! .. (I heard someone goes on the road and playing quietly on the balalaica. The moon goes back. Somewhere around the poplar is looking for Anyu and calls: "Anya! Where are you?") "

So ended the second act.

With that thorough grinding that Czech produced, for 12 days (by October 7), only two and a half acts were rewritten. "Tyan, pull, pull," he reported on this day O.L. Bookper, - And because pulling, it seems to me that my play is immeasurably huge, colossal, I'm terrifying and lost every appetite for her "(P., vol. 11, p. 265). On October 6, 1903, Chekhov informed M. Gorky: "I graduated from the play, but I rewrite it extremely slowly. October 10, probably, I will send and send "(ibid., P. 264). The playwright was hurried by the leaders and artists of the artistic theater. They, like air, needed a new Chekhov play. Back in September VI Nemirovich-Danchenko asked: "Print, Anton Pavlovich! .. Oh, how we need it ...". Almost daily O.L. Bookper persistently reminded the writer about the need for a speedy completion of the play.

But a demanding artist delayed the play and continued to work painstakingly. "I rewrite the play," he reported OL. Bookper on October 9, 1903, - Soon I'm taiting ... I assure you, every extra day only benefits, for my play is getting better and better and the face is already clear. I just fear, there are places that can blacan censorship, it will be terrible "(P., vol. 11, p. 269).

For greater characteristics of the image of Gaeva, the players took the specific expressions of players in billiards. He asked his wife's brother - K.L. Bookper watch the game of billiards and write their speech jargon. October 9, K.L. The book reported to him: "She won two people, set two hours in the billiard city garden, but such a special billiard terminology learned a little: they play more sullenly, the drizzle under the nose ...".

K.L. Bookper recorded for Chekhov 22 expressions of billiards. Here is the beginning of the list of these expressions sent by it:

"1 - (cland) - from 2-sides in the middle.

2 - Craise in the middle.

3 - cut into the middle, in the corner.

4 - Duplet in the corner, in the middle.

5 - cland clean.

6 - from the ball right (left) to the angle.

7 - Ball (i.e., another ball) in the corner! " .

Chekhov was useful for these expressions, he inserted some of them to the role of Gaeva. It is important to note that, striving to be accurate, the writer was not satisfied with the observations of K.L. Bookper and October 14 wrote his wife: "We ask Vishnevsky to listen to how to play at billiards, and would record more billiard terms. I do not play at billiards or once played, and now I have forgotten everything, and in the play I have everything by chance ... "(P., vol. 11, p. 273).

Chekhov's recovery to himself was so great that he was already repeatedly rewritten by the play, made it in it, before refilling to Moscow, a number of amendments, additions and abbreviations. In the first act, Ranevskaya asked his brother, how many should they blades, and Gaev called the sum of 40 thousand (RGB. F. 331, l. 13). Chekhov found this episode excess and crossed out. In the same act, the writer changed the expression of Ranevskaya "Happiness woke up with me" to more expressive: "Happiness woke up with me" (l. 14). At the same time, in the first act, the appeal of Ani to the Gaev "only cute uncle" was corrected to a more rhythmic "but cute uncle" (l. 16).

In the second act, a replica fits into the role of Ranenskaya, in which it refutes the deceptive hopes of Giaev on some general. Fully divided by the mistrust of the blades to the Gaev project about the loan of money from the Unknown General, the love of Andreevna says: "It's a raver. There are no generals "(RGB. F. 331, l. 25). Trofimov, referring to Ana, originally said: "After all, it corrupted all of you." But, obviously, fearing censorship, Chekhov stressed the word "corrupted" and wrote instead: "reborn" (l. 29).

In the third act, Yasha's request to take it to Paris, with which he addresses Ranevskaya, included words: "Well, you see, you yourself" (l. 40). This increased the brace-familiar tone of the "civilized" lacquer.

In the fourth act in the story of the meal of the philosopher, who advised to jump from the roofs, expression is inserted: "You think!". But the same expression is stressed by the writer after the meeting of the meal about the delivery of the British of the site with clay for 24 years. Probably, Chekhov found that the close repetition of the favorite dining of the food in one scene will be too intrusive. Initially, the Picker, saying goodbye to Ranevskaya, said: "Remember this very much ... Horse and tell me:" Was in the world such, Xoyaka ... Simeon-Pirchik ... Horse "(l. 50). The last word, as repeated, Czechs also removes. He excludes the remark "fun", which characterizes the farewell words of the dinner, said Ranevskaya.

Two-time rewriting of the play was completed on 12 or 13 October, and on October 14, she was sent to Moscow. Despite the larger refinement made by rewriting, the play did not seem to be the author completely ended. If it had not been hurried so strongly, Chekhov would continue to hone the text. "Something in the play, he wrote OL. Bookper, - It is necessary to remake ... Not Dodelhan IV Act and something we need to move in II, yes, perhaps, change 2-3 words in graduation III, and then, perhaps, it seems to the end of the "Uncle Vani". "(P. , t. 11, p. 276). The playwright believed that the role of Ranevskaya "was made only in III and I acts, in the rest she is only namazan" (ibid., P. 271).

Seeking a play in Moscow, Chekhov began anxiously to wait for her assessment by the leaders and artists of the artistic theater. "Yesterday I did not write to you, - he admitted on October 19 O.L. Bookper, - Because all the time he was waiting for the telegrams ... I was all a coward, I was afraid. I was mainly frightened by the low-basement of the second act and the unfinishedness of some student Trofimov "(P., vol. 11, p. 278-279). On the same day, Chekhov received a telegram Vl.I. Nemirovich-Danchenko, who wrote that the "cherry garden" "as a scenic work may be more play than all previous ones." Two days later, the playwright read the telegram K.S. Stanislavsky: "Shocked, I can not come to my senses. I am in an unprecedented delight. I think the play is the best of all the excellent, you have written. I cordially congratulate the brilliant author. I feel, I appreciate every word. " This enthusiastic panechnic caused discontent from Chekhov. On the same day he reported O.L. Bookper: "He received from Alekseeva a telegram, in which he calls my play in the genius, it means to intercepted the play and take away a good half of success with her, what kind of happy conditions it could have" (P., vol. 11, p. 280).

October 21, the play of the entire troupe of the Art Theater took place. The artists were captured from the first act, appreciated each subtlety, cried in the last act. Stanislavsky told Chekhov that "never a play was not yet adopted so unanimously enthusiastic."

6

Pieces Manuscript "Cherry Garden", sent by Czech to Moscow, was reprinted in several copies. One copy of the play was immediately sent to St. Petersburg to the dramatic censorship, which on November 25, 1903 allowed her to represent on the scene. This copy of the play, reflecting one of the most important stages of creative work on it, we will call yalta, or censored Manuscript (there is an inscription on it: "To the presentation is allowed. St. Petersburg., November 25, 1903, Censor Dramat. Sochik. Vereshchagin")

December 4, A.P. Chekhov arrived in Moscow. Here, the art theater actively prepared the "cherry garden" to the production. Upon arrival of Chekhov felt bad, and to not tire him, "first paintings," says the artist E.M. Muratova, "he took him on the apartment." In the subsequent time, the playwright was almost daily at the rehearsals of his play in the theater, discussed with the participants of the play of their role and continued to work on the text of the play daily. Despite the fact that the leaders of the theater and artists employed in the performance worked with a great faith in his success, Chekhov treated him skeptical. His skepticism was so decisive that he offered the theater to buy a play in eternal property for only 3000 rubles.

New fixes that were introduced and pasted Chekhov to the main manuscript were very numerous. Already on December 16, M. Gorky notified K.P. Pyatnitsky about the request of Chekhov to send him the proofreading of the play, given to the collection "Knowledge", to make amendments to it. "He is already now," he wrote bitter, "the many amendments made a lot of amendments." Shlifuya text, Chekhov sought to a more distinct disclosure of the socio-psychological essence of the acting persons, with the complexity of them and contradictory, to the maximum compliance of their actions and characters, to greater thanks to their speech. He paid a lot of attention and composite slim, the liveliness, the staging of the play.

We turn first of all to the corrections of the first act.

To pay down the kind Ranevskaya, new cavements are made in her role: "Thank you, my old man," she says to Fours and kisses it (d. I) (RGB. F. 331, l. 9). "Cray?" - Love Andreyevna's love of the leopard about the Cherry Garden was repeated inapprage and displeased. And then continued: "If in the whole province there is something interesting, even wonderful, so it is only our cherry garden" (l. 7). The certainty and categorical of this replica did not quite go to the Ranevskaya. And Chekhov, feeling this, accompanied her question with a softening expression: "My dear, sorry, you do not understand anything" (l. 10). In the memory of Ranevskaya about the Son, the word "son" is replaced by a more cardiac, intimate expression: "My boy drowned" (l. 23). Previously, Ranevskaya, noticing the movement of Gaeva, recalling the game on the billiard, said: "Yellow in the corner! Duplet in the middle! " Chekhov prepixed this word entry: "How is it? Dai to remember ... "(l. 8). And her replica acquired the necessary naturalness.

When referring to the image of Gaeva Chekhov strengthened in it the line of ignorance, empty phrase. The writer completed the assurances of Gaeva about the payment of interest on the estimation of the following words: "My honor than you want, I swear, the estate will not be sold! My happiness I swear! Here you are my hand, let me call me a stray, dishonest person, if I bind to the auction. I swear all the creature! " (RGB. F. 331, l. 17).

An even greater refinement was subjected to the image of Lopakhina, Chekhov makes amendments and additions, adding the figure of the merchant, making it intelligent. So, by emphasizing the cover of the leopard to culture, characteristic of the gusts of heartiness, the playwright withered his appeal to the Ranevian epitheats such as "gorgeous", "amazing, touching eyes", "God of merciful!", "More than native" (ibid, l. 9). In the appeal of the leopard to Raevskaya, insert is made: "To your amazing, touching eyes looked at me, as before, God is merciful!"

Soften, delicate, sincerely, and tips of the lopakhin, designed to save the estate from the sale from the auction, as well as his reasoning about summer houses. In the early manuscript (censorship), Lopakhin said: "So I want to say before leaving ( looking at the watch). I am about the estate ... in a nutshell ... I want to offer you a way to find a way out. To avoid your damage, you need to get up every day at four in the morning and work all day. For you, of course, it is impossible, I understand ... But there is another way out. "(GTB, l. 6), - Further, as in print. It was the Council of the Delta, entrepreneur, alien and even hostile owners of the Cherry Garden.

In the final version of the Czechs, I drew the blades other. Therefore, he changed this stale advice on a soft, delicate appeal of a person, deeply located to Ranevskaya. "I want to tell you anything very pleasant, cheerful ( looking at the watch). Now I will leave, there is no time to talk ... Well, yes, I'm in two-three words. You already know, your cherry garden is selling for debts, on August 22 auction is appointed, but you do not worry, sleep yourself calmly, the exit is ... Here is my project "(RGB. F. 331, l. 10), etc. . In the same spirit, the speech of the leopard about summer houses is corrected. Saying goodbye to Ranevskaya, Lopakhin once again reminds her: "Think seriously" (l. 12).

The second half of the reasoning of the leopard about the dachensors was at first: "... In ten years, he will actually show that it is in fact. Now he only drinks tea on the balcony, but it can happen that on his one tenth he will deal with the economy and then what the hell is not joking, it will have to be considered with him "(GTB, l. 8). Chekhov reruns the beginning again ("in ten years it will multiply and start working") and the end ("and then your cherry garden would be happy, rich and you would not recognize it") of this part of the argument (RGB. F. 331, L . eleven). At the same time, Czechs introduced two expressions that were pronounced in the first act: "Congratulations (" in one word, congratulations, you are saved ") and" I swear to you "(" there is no other way out ... I swear to you ") (l. 10, eleven). Then the remark was changed sinks" on the " quietly peeling"(L. 24).

Expanding the role of Firsa, Chekhov emphasizes his devotion to the Lord. Earlier on the question of Varia: "Firs, what are you talking about?" He answered: "What do you like?". Now his replica continues. He happily says: "My lady arrived! I waited! Now, though stop ... ( Buried from joy) "(RGB. F. 331, l. 8). In the first edition of the Firs on the appeal Ranevskaya also answered the same: "What do you liberate?" But, strengthening color, the scenic of his role, Chekhov changes this replica. Deaf Firs instead of "What do I find?" Replies "The day before yesterday" (ibid, l. 9).

In the same edition, Firs said: "In the old time, 40-50 years ago, the cherry was dried, dusted, marinated, the jam was cooked and, it happened, the dried cherry was sent to Moscow and Kharkov (GTB, L. 7). Imaging the scer of this story, Chekhov interrupted him by the replica of Gaeva, and the story took this form:

« Firs. In the same time, 40-50 years ago, the cherry was dried, dusted, marinated, the jam was cooked, and it happened ...

Gaev.. Sorry, Firs.

Firs. And happened ... "(RGB. F. 331, l. 11), etc.

Turning to the image of Var, Czechs found it necessary to strengthen its discontent with its position and brighter to draw the desire for a quiet, contemporary life. He included in her replica words: "So everything went through the holy places ... I would go and went" (ibid., L. 7).

Work on other characters was limited to the advantage of adding individual expressions and words. The role of Epodova was supplemented by a phrase: "It's just even wonderful!" This phrase, he completed his arguments before leaving the children at the beginning of the first act. Replica Ani are endowed with remarks: sad ("This is Mom bought") (RGB. F. 331, l. 3), fun in childish ("And in Paris I flew in a balloon!") (L. 7).

More significant corrections required the second act. Chekhov concretized the colorful image of the Pephodov, giving him the words at the very beginning of this act: "I am a developed person, I read different scientists, but I can't understand the directions, which I actually want to live me or shoot, actually, but nevertheless I I always wear a revolver. Here it is... ( shows revolver) "(Ibid, l. 19). In the first edition, the discontinuation of the Pephodov, who started by the words "actually, without touching other objects," ended in this way: "I'm so, by the way, Avdota Fedorovna, and you understand what I'm talking about ... ( pause). I will talk to me to talk to you, Avdota Fedorovna "(GTB, l. 15-16). The final words of this appeal were not too characteristic for the Epodsov, and therefore Czechs replaced them with such: "Did you read the bookle? ( pause.) I wish to disturb you, Avdota Fedorovna, for a couple of words "(RGB. F. 331, l. 20). Expanding the role of the Epodsov, the author stressed his phrase: "Now I know what to do with my revolver." This replica identified the additional words of Dunyushi: "Do not give God, shoot" (ibid).

Satirically pointed by the image of Yasha, the writer contributes to his speech the following arguments: "( yawns.) Yes, with ... in my opinion, so: if the girl loves whom, then it means immoral. " Stressing the properties of a cold, corrupted egoist, only a fun with the dunchable, and not loving her, the playwright completed the last replica of the character in this episode with the words: "And then they will meet and think about me as if I am with you on a date. I can not tolerate it "(Ibid).

In the scene "Lord", which replaces the scene "servants", the playwright after the words of the blades that people will have to truly be giants, "included such a supplement:

« Love Andreevna. Did you need giants? They are only good in fairy tales, and so they scare.

(In the depths of the scene, the ipaths undergo).

Love Andreevna (thoughtfully). Epiphans goes ...

Anya. (thoughtfully). Epiphas goes.

Varya. Why does he live with us? Only traveling eats and drinks all day ...

Love Andreevna. I love Epodova. When he talks about his misfortunes, it becomes ridiculous. Do not dismiss it, cooking.

Varya. It is impossible, mommy. It is necessary to dismiss it, rascal "(RGB. F. 331, l. 27).

Chekhov enriches the role of almost all participants in the "Lord" scene. In the first, Yalta edition of Lopahin, going to the stage, spoke categorically, demanding, dry: "We must finally decide - time is not waiting. Do you agree to give land under the cottages or not? " (GTB, l. 16). After reworking, the access of the blades has acquired softness and even the questionality: "We must finally decide - time is not waiting. The question is completely empty. Do you agree to give the earth under the cottages or not? Answer one word: yes or no? Only one word! " (RGB. F. 331, l. 20). In the next replica, Lopakhin almost literally repeated the words of the first appeal: "Do you agree to give the land under the cottages or not?". A variety of speech of the blades, the writer replaced this replica different: "Only one word ( begging). Give me an answer! " (ibid., l. 21).

In the future conversation, he spoke Ranevskaya: "Your estate is sold. Understand, Sold! Need to do something? " (GTB, l. 17). The last words in the lopakhin lopakhin lips, which is to do, and persistently offering Ranevskaya, the only reliable way out of the established position seemed to Chekhov inappropriate, and he changed them like this: "Your estate is sold, and you definitely do not understand" (RGB. F. 331, l. 22).

Lopakhin, offering Ranevskaya Saving Path, stated: "Once finally decide that there are cottages, in three days you can get money as much as you like" (GTB, L. 17). In accordance with all previous warnings of the leopard about the impending catastrophe - the sale of estates, - Chekhov strengthens the concreteness, categoricalness and persuasiveness of this phrase: "Once finally decide that there are summer cottages, so much money will be given to you, and you are then saved" (RGB. F . 331, l. 22).

Several new strokes are entered into the role of Ranevskaya. Previously, on sharp reproaches of a blades in inconsistency, Ranevskaya somehow sluggishly and uncertainly answered: "What? Teach what? " (GTB, l. 17). Her reply reported a big interest: "What do we do? Teach what? " (RGB. F. 331, l. 22). Accordingly, words appear in its further access to the blades: "Bluebind" ("Stay, Bluebind"), "my friend" ("marry you need, my friend") (ibid, l. 26).

In the already accepted theater and permitted censorship, the plays of Chekhov, as we see, with exceptional demanding, introduced new nuances in the images of all actors.

An example of surprisingly careful processing of Czech not only the speech of their actors, but also the remarks can be the following phrase: " Through the scene hurried by Firs, in the old livreye and in a high hat, leaning on a wand; He is something ..." etc. Even in Yalta, this remark took this kind: " Through the scene hurried by Firs, traveled to meet the love of Andreevna; He is in an old livery and in a high hat, leaning on a wand, he is something ..." In Moscow, remark acquired a new edition, in which the natural sequence of actions of the servant is specified: " Through the scene hurriedly, leaning on a wand, the company passes, traveled to meet the love of Andreevna; He is in the old livery and in a high hat, he is something ..." etc. (RGB. F. 331, l. 4).

Chekhov had to make two corrections in the play caused by the requirements of censorship. In the second act in the scene, the Lords student Trofimov utters an accusatory speech, of which censorship excluded words: "In all the workers, workers eat disgusting, sleep without pillows, thirty, forty in one room" (GTB, L. 22). Chekhov replaced them with such: "The huge majority of us, ninety-nine of the hundred, live like savage, a little bit - now the denty, break, eat disgusting, sleep in dirt, in a slot." In the third act, the censorship was put out in the circulation of Trofimov to Ana the Word: "To own live souls - after all, it has reborn all of you who lived earlier and now living, so your mother, you, uncle no longer notice that you live in debt, on someone else's account , At the expense of those people you do not allow the front "(ibid, l. 24). Czechs were forced to replace these words as follows: "Oh, it's terrible, your garden is terrible, and when you pass in the garden in the evening or at night, the old bark on the trees chops dim and, it seems, the cherry trees see in a dream what was a hundred-two hundred years ago, and heavy vision languid them. ( Pause.) - What to say "(RGB. F. 331, l. 29).

All the corrections that we just marked were included in the main manuscript sent to Moscow in October 1903. This manuscript, cited above, conventionally call Moscow (we recall that it is kept in scientific and research. Department of RGB manuscripts).

The serious work of Chekhov over the text of the already rehearseed play has gained fame outside the artistic theater. Thus, the magazine "Theater and Art" informed that the playwright "took back the I act of the play and subjected it to a solid alteration" (1904. No. 1. P. 5).

7

On January 17, 1904, the premiere of the "Cherry Garden" play in the Art Theater took place. The performance, despite the very controversial responses about the play - positive, negative and perplexed, was perceived as a large theatrical event. On January 18, the Moscow newspaper "Russian Leaf" reported: "Yesterday, a new play A.P. Chekhov "Cherry Garden". In the hall there was no literary, artistic Moscow. The impression of the "Cherry Garden" is huge. All the author bred by the author were so close and familiar to us; Life, Russian life, so faithfully captured and brightly handed over in a number of small details, that interest in the play did not disappear to the last scene. All performers put the effort to make bright and interesting types from their roles. " January 25 in the magazine "Alarm clock", signed ImpPoems were printed: "A.P. Chekhov (after the "Cherry Garden"):

Literature of our days

All overgrown with burdocks ...

"Cherry Garden" from now in it

Let letting be "new colors". "

The play has already been recaptured for the second collection of the publishing house "Knowledge", and its correction was expected. January 20, 1904 Chekhov reported L.V. In the middle: "I ran out of a pository with a play, now I can sit at the table and write to you" (P., vol. 12, p. 16). Meanwhile, Chekhov did not experience full satisfaction with the play or its production. "Recipe" with a play continued, although all the main thing was done and left behind. However, the writer still lived a play, he could not break away from her and made new corrections into her text. One of these corrections was suggested by the formulation of the Art Theater. The director seemed that at the end of the second act, the lyrical episode of the Firs and Charlotte, who was walking "after a busy scene of young people ... reduced the mood of action" (Stanislavsky, T. 1, p. 473). And after the first performances, when the weaknesses of the second act especially clearly discovered, Chekhov expressed the wish to remove this episode. K.S. Stanislavsky told that Chekhov "became very sad, turned pale from the pain, which we hurt him then, but after thinking and reconciled, replied:" Reduce! "" (Ibid., P. 270).

The new corrections of Chekhov brought, obviously, in some typewritable copy of the play, from which they were then transferred to the text of theatrical manuscript and in the proof of the play, first published in the second collection of knowledge. Consequently, there was a third author's manuscript (editorial office) of the play, but it, unfortunately, did not reach us. The discrepancies between the second (Moscow) and the third manuscripts are established only by comparing the second manuscript with the printed text. What are these new fixes, except for the exception of the already specified scene of Firs and Charlotte?

The first act was included in the dialogue between the dictator and the love of Andreevna:

« Pen (Love Andreevna). What in Paris? How? Ate frogs?

Love Andreevna. Crocodiles ate.

Pen. You think ... "

Then the episode with pills entered the play:

« Yasha (submits Lyubov Andreevna Medicines). Maybe we will accept pills now ...

Pen. It is not necessary to take medicines, miley ... From them, neither harm, no benefit ... Dai-ka here ... Multi-resistant. (Takes the pills, pouring them out to his palm, blowing on them, puts in her mouth and drinks kvass.). Here!

Love Andreevna (frightened). Yes, you crazy!

Pen. All pills accepted.

Lopakhin. Eki buzz. (Everyone laughs.)

Firs. They were in our holy, half rid of cucumbers were buried ... "

The above-mentioned add-ons have clearly enhanced the communal image comic. Turning on the dialogue of the dialogue and the Ranevskaya, as well as an episode with pills, Chekhov at the same time excluded the scene with the focus of Charlotte. In Yalta ( or censorship) Charlotte manuscript before final departure from the scene approached the door and asked: "Someone stands there behind the door. Who's there? ( a knock at the door from the other side.) Who is knocking it? ( knock). This is my lord of my groom! ( Goes away. All laugh) "(GTB, l. 9).

Arriving to Moscow, Chekhov gave another version of this episode:

« Lopakhin. Charlotte Ivanovna, show focus.

Love Andreevna. Charlotte, show focus!

Charlotte (going to the door). Who is standing there behind the door. Who's there? ( knock on the door on the other side). Who is knocking it? ( knock). This is Mr. Groom. ( Goes away. All laugh) "(RGB. F. 331, l. 12).

But this option did not satisfy the playwright, and he found the best remove the scene with focus. Charlotte on the requests of the blades and Ranevskaya show focus replies: "No need. I wish you sleep. " And goes away.

Very significant permutations were made by Chekhov in the second act in connection with the wish of the director to lower the scene of Firs and Charlotte. Part of this scene, namely, the story of Charlotte about his life, Chekhov retained, moved him to the beginning of the same act and replacing them Dialogue Ani and Trofimov. The dialogue of young people did not make anything new in the development of action, but only slowed him. Thus, the second act now opened the scene servant and directly - a monologue of Charlotte. The argument of the Epodsov seemed to the playwright too long, turning into a monologue, and then he divided it with a replica Charlotte: "Cerente. Now I will go", etc.

Some changes in Chekhov introduced in this act and in the scene of the Lord. He removed the episode in which Varya and Anya passed along the road, as their dialogue, without developing actions, interrupted the rumor of a leopard with Ranevskaya and Gaev. He also eliminated the replicas of Var, Lopakhina and Ranevskaya concerning Epodova, because they did not add anything to his characteristic already clear. A partial processing has been subjected to the scene of the young, which is now final. Previously, after the enthusiastic exclamation of Ani: "How well you said!" - They exchanged remarks:

« Trofimov.. TSSS ... Someone goes. Again this cooking! ( angrily). Outrageous.

Anya.. Well? Come to the river. It's good there.

Trofimov.. Let's go ... ( go).

Anya.. Moon will go soon ( going out) "(GTB, l. 24).

These replicas are too dramatically, prose by reducing them, the speech of Trofimov, deep in meaning, bright expressiveness and pathetic tone. The student was excited by them himself and fascinated his young listener to a new life, to public ministry. Chekhov, apparently, felt this deficiency and corrected it. He continued the pathetic conversation of young people about happiness and gave it a real-symbolic meaning, introducing the image of the ascending Moon - Anya and Trofimov go to admire the moon to the river.

In connection with the post of the second act made by Chekhov, after the premiere, on February 16, 1904, the following message appeared in the newspaper "News of the day": "A.P. Chekhov made several changes in the "Cherry Garden", and with these changes in the play went in the last performances. They relate to the 2nd Act, who leaving a vague impression. The previous end of the act is completely cut off - the conversation of Charlotte and Firs. Now the act ends the scene between Anja and Trofimov, running away to the river. Their notes of a young feeling, young faith, are much differently coloring the last impression of the act, and it does not seem like so damaging. Part of Charlotte's story - about parents of magicians, childhood, is placed as the beginning of the act. In the initial stage, the "Cruel Romance" of the Epodova is inserted. His Moskvin under the guitar sings him with a big humor. The accompaniment of the guitar and in a short mute scene of the Epodsov passing in the background. This scene remained completely unnecessary, too much, now it is still something adds to the overall color color. "

In the third act, the playwright from two repeated Ranevskaya replicas, pronounced by the focus scenes of Charlotte, left one, and the second handed the head of the station. In the preceding editors were: " Love Andreevna (applauds). Bravo, Bravo! ( in the hall also applaud) ". It became: " Head station (applauds). Mrs. Veshwestrail, Bravo! "

All other amendments made during this period were to deepen the individual characteristics of the characters. The role of Ranevskaya has already acquired the necessary completion in previous editors. But revising the play, Chekhov found it possible to expand this role by several new words and expressions. All of them entered the conversation of Ranevskaya with Trofimov, which occurs in the third act. Here they are: "And I definitely lost sight, I see nothing." "But tell me, dove"; "This" ("Not because it is that you are young); "Only fate throws you from place to place." If the three first inserts enhance the softness and sentimentality of the Ranenevskaya, then the last phrase, together with other facts, open the reasons for such a long stay of Trofimova student: it was also sent out of Moscow.

The edit of the role of the blades was more serious. It is now that Trofimov's words appear, bringing the shovels of tenderness, complexity, artistry. "Once in no way," says Trofimov, turning to the blades, "I still love you. You have thin, tender fingers, like an artist, you have such a tender soul. " In accordance with this characteristic, the trends of some speech sophistication appear in the role of the blades. Chekhov gives the third editorial office of the jurisdiction of the leopard about summer houses, ending with the words: "And then your cherry garden will be happy, rich, luxurious."

In the III action in the monologue of the blades after the words "do not laugh at me!" It was: "I don't need not, do not, do not!" These words of Chekhov found unnecessary and eliminated. In the same monologue fit remarks. Before that it was: " Rises keys"(Abandoned Vares. - A. R.) (RGB. F. 331, l. 43), and it became:" Rises keys, gently smiling" Depositor's exclamations: "What is? Music, play distinctly! Let all I wish! " Chekhov accompanied the comment: " with irony"That immediately complicated them by depriving the rough categoricality. Third remark " audible how to configure the orchestra»Added in order to explain the appeal of the blades to the musicians:" Hey, musicians ", etc. ( there). It is also strengthened by certainty in relation to the blades to Vare. Previously, on the offer of Ranevskaya marry Vare, he answered: "What? I'm not away ... "( there). Chekhov supplemented this replica words: "She is a good girl." After these words, literally repeating the assessment of Vari as a modest worker, this Ranenevskaya, it becomes clear that some special sympathy is a powerful feeling - the powerful feeling has not been tested to Vare. In this regard, it is clear and recognition of the blades introduced at the same time: "Without you, I feel, I will not make sentences."

The speech of the leopard is complemented by two more remarks: "Let them say" (i.e. Gaev about him as a ham and fist; d. I), "only after all will not increase, the lazy is very" (about Gaev, who took the place of the official in the bank; d. IV).

The role of Trofimov, except for the above-mentioned lopakhin, also acquired a number of additional strokes. To the question of Lopakhina: "Let's come?" "He answered:" Raid or point to another way, how to get. " Chekhov, strengthening Trofimov's faith in the future, predicts this phrase with a decisive approval of "Raida", and also introduces a pause, after which the student finishes his thought. Stressing the principle and terrain of Trofimov, the playwright adds the following remark and a replica in response to Ranevskaya: "( goes away but immediately returns). Between us all over! " For the characteristics of Vari, the speech of Trofimov turns on words addressed to Ana: "And all days does not depart from us" (d. II).

Dorovating the immediacy of childish trusting Ani, Chekhov accompanied her response to Gyeev's oaths about the payment of interest on the remark: " calm mood returned to her, she is happy", And in the very response, he entered the words:" I am happy. " In the same (first) action to specify the speech of Ani, words are made: "That" ("six years ago") and "pretty" ("pretty seven-year-old boy"). Two remarks relating to Ani are also supplemented in this act. To the remark " hugs Vary.»Added word" quiet", And to the announcement of Ani about a person in the kitchen, separating the rumor about the sale of estates, remark is attached:" excitedly».

Some nuances are made and to the role of Var. She was eliminated by her words about the blades, said Ana at the first of their meeting: "And he himself, this appearance, seems to make a proposal," (RGB. F. 331, l. 7). These most immediately weaken the prospects for her marriage. The subsequent words were removed in which Varya appears in the unusual, too disturbing, dramatic mental state: "Sometimes it becomes even scary, I don't know what to do with you" (l. 9). Czechs removes her harsh, inappropriate and in the course of action a replica about crying from the joy of Farrasa: "Well, and fools!" (l. 8). In addition, the words of Varia: "Uncle bought, I'm sure of this" Chekhov gave remark: " trying to calm her"(D. III). Remarika - " Wakes up, the blow gets the blades, which at this time comes"- He gives a different edition:" Wares, at this time brought lopahin"(D. III). Part of the remarks - " Lopahin bounces"- changed as follows:" Lopakhin pretends to be frightened"(D. IV).

In the role of Dunyushi Chekhov deepened the features of the taller tenderness, fragility and dreaminess. To the words "Hands shake" he added; "I fainted dropping." The expression "Lord ... Lord" replaced on: "I'll fall now ... ah, drop!" Finished her replica in the third act with recognition: "I am such a delicate girl." Her response to the penis in the same act: "I ask you, after talking ... elsewhere" changed on: "I ask you, after we talk, and now leave me alone. Now I dream ( playing fan) ". In the same style of false affecting, a proud approval is included in the story of Dunyshi: "He loves me crazy" (d. I).

The final grinding of the play touched and other characters, but to a lesser extent. Chekhov, having shaded the complacency of Yasha, fills his dismissive estimate of the Epods with the words: "Empty man!" An even more strengthened the writer the feature of a egoistic indifference, moral cynicism in Yasha. Previously, he answered the memories of Firs: "You're tired, grandfather ( laugh). If only you are as soon as possible "(RGB. F. 331, L. 39). Remarika " laugh"It changes now on" yawns. " Epiphas in IV action, leaving for the first time, " came on something solid and crushed"(L. 48), and in the final edition:" Put a suitcase on the cardboard with a hat and crushed" This is more specifically. In the preceding editors, Firs, having met Baryn, " buried from joy"(L. 8), and in the final text:" crying from joy" This is natural. The playwright dropped in the final replica of the word: "I sit ... I feel good, nice so" (l. 55). In our opinion, these words fell out of the general context of the last scene and did not correspond to the painful state of the Firs; In the first editions were: " Firs enters the coat"(L. 24), and for the seal of Chekhov gave a different edition.

The farewell speech of Gaeva, apparently seemed to the playwright too long, and he stressed her end: "My friends, you who felt just like me who know" (RGB. F. 331, l. 52-53). Two remarks are also added to the role of Gaeva: " fun"- To the words:" In fact, now everything is fine, "and" sadlo"- To the words:" Wasplet yellow in the middle. "

All the corrections made by Czech after sending a manuscript to the set were made to them in the first proof of it, which he read at the end of January 1904 (P., vol. 12, p. 27).

8

March 24 for questions O.L. Bookper about the individual details of the role of the Dunya Chekhov already answered the printed text. "Say actresses playing the maid of Dunyash, he wrote, - so that she read the" cherry garden "in the publication of" Knowledge "or in the proofreading; There she will see where you need to poucher and so on. and so on. Let read without fail, in your notebooks is still confused and izmazano "(P., vol. 12, p. 70). These are the most Czechs installed the canonism of the printed text. But with all the same text on which the play was walking in the Moscow Art Theater, had some differences from printed. Causes of this.

First, in the process of preparing the performance, individual replicas were introduced into their roles themselves, the artists themselves, which was in their role and who wanted to enrich it. March 16, 1904 O.L. Bookper wrote Chekhov: "Moskvin begs, it is impossible to insert a phrase in the 4th act. When he presses the cardboard, Yasha says: "22 misfortunes", and Moskvin really want to say: "Well, it can happen to every way." He somehow said her by chance, and the public accepted. " Chekhov immediately answered agreement to this insert. "Tell the Moskvine," he wrote, "that he can insert new words, and I will insert them yourself when I read the proofreading. I give him a complete Carte Blanche "(P., vol. 12, p. 67).

At the end of April, the Chekhov read the second proof of the play, which was published in the second collection of "knowledge", but the replica of the Epodovov proposed by I.M. Muscovites, not made. Why? After all, he already approved her. In our opinion, Chekhov just forgot to make it. He was very in a hurry with reading and reference of the proof, as the collection of the collection was very lingered, and the provincial theaters strongly demanded the text of the play for performances. Chekhov was very interested in these productions. In addition, the playwright felt very bad about these days. There is no doubt that he would include this replica when reading the proof of a separate publication of the play, Printing A.F. Marx. He intended to do in the play and other amendments. May 31, he wrote A.F. Marx: "I sent you the proofreading and now I ask you not to let my play in the light, while I do not end it; I want to add another characteristic of the acting persons "(P., vol. 12, p. 110).

Thus, the right proofreading, Chekhov changed the words of the blades, pronounced at the beginning of the play of the boy's five-six-six, "on ... fifteen. At this age, it became clear that the huge impression that made his first meeting with Ranevskaya on the blades. Perhaps Czechs would contribute to their play and some other supplements offered by artists (stored in the Art Theater Museum two soufflers - early and later setting the play "Cherry Garden" - have many discrepancies with printed text). However, many "challenges", such as the French phrases Lacey Yasha, caused Czech discontent: "... it's not me! They came up with themselves! It's terrible: the actors say, do that they will come to mind, and the author is responsible! "

9

Czechs, based on their experience, persistently advised young writers to reread, redo, cut off, painstaking their works. For him to write - meant to work, straining all your creative abilities and strength. Chekhov was very offended when L.S. Mizinov in 1893 in a friendly letter (from 22 Aug.) called his creative work by Scripture "In his only pleasure." That's what he answered her: "As for the writings in his pleasure, then you, charming, read it just because unfamiliar on experience with all the severity and with the oppressing power of this worm, feeding life, as if he seemed to you." (P., vol. 5, p. 232).

For many years of writing activities convinced Chekhov that it is possible to create genuinely artistic works even with genius dating, only long, patient, scrupulous labor. "Need to work! Work hard! - he repeated. "And the more expensive thing, the stronger it is necessary to treat it."

The fruit of artistic genius and long, persistent creative work and came the poetic masterpiece Chekhov - Piece "Cherry Garden".

"... the symbolism is lighted in the title of the play. Initially, Chekhov wanted to call the "Cherry Garden" play, but then stopped on the title "Cherry Garden." K.S. Stanislavsky, remembering this episode, told how Czechs, declaring him about the change of title, crushed him, "Sticking on a gentle sound in the word" cherry ", trying to have the same, beautiful, but now the unnecessary life he with tears destroyed in his play. This time I understood the subtlety: "Cherry Garden" is a business, commercial garden bringing income. Such a garden is needed now. But the "cherry garden" income does not bring, he keeps in himself and in his blooming whiteness poetry for the past life. Such a garden grows and blooms for whims, for the eyes of spoiled aesthetes. It is a pity to destroy it, but necessary, since the process of economic development of the country requires this "(Stanislavsky, T. 1, p. 269).

It should be noted that the symbolism of the title of the play "Cherry Garden", as she understood by the director, does not give complete satisfaction and can generate inhabable questions from our readers and viewers. For example, why the symbol of the outgoing, disturbing is elected the Cherry Orchard - The personification of poetry and beauty? Remembed by the wonderful rows of Nekrasov:

How milk lured

Cherry gardens are standing,

Tihochonko noisy ...

("Green noise").

Why is a new generation designed to ruin, and not to use the beauty of the past? .. And at the same time, you need to admit that in understanding Stanislavsky symbolism title plays there is some truth ...

But the symbolism of the title of the play is not limited to just what has been said, it is more voluminous, multilateral. She refers not only to the past, but also to the future. The cherry garden of Ranevskaya and Gaeva is a profusion, which was, past. But after all, Trofimov, Anya, and behind them and Chekhov dreamed of the future. And this future in their minds also took the image of a garden, but even more luxurious, able to deliver the joy to all people. And for the development of the play in it there is an image cherry Garden As the beauty of life ...

Characterizing the play, k.s. Stanislavsky wrote: "Its charm in the unpacit, deeply hidden aroma" (t. 1, p. 270).

This charm "Cherry Garden" is largely given by pauses, music, real symbolism, which increase the psychological tension of the play, expanding its content, deepening its ideological meaning ... "