Poetics play cherry garden. Features of teaching a dramatic work at school on the example of the play A.P.hekhov "Cherry Garden"

Section III. Literary criticism

UDC 82-2 BBK 74.268.0

S. A. Garmash

A. P. Chekhov. Comedy "Cherry Garden" (Experience reading the Piece)

Annotation. The article shows the experience of reading the comedy A. P. Chekhov "Cherry Garden". Illuminated images, conflict, symbolism, flickering plays.

Keywords: Chekhov, Cherry Garden comedy, conflict, images, subtext, symbolism.

A. P. Chekhov. The Comedy "The Cherry Orchard" (Experience of Perusal)

ABSTRACT. This Paper Shows The Experience of Perusal of The A. P. Chekhov "S Comedy" The Cherry Orchard ". Characters, The Conflication, The Symbolism and the Implication of the Play Are Covered.

Key Words: Chekhov, Comedy "The Cherry Orchard", The Conflict, Imagery, The Implating, The Symbolism.

I was looking for my way to the last play of A. P. Chekhov for a very long time. He experienced a new way to express himself. He wanted to give up the usual in drama, find new means of creating a system of images, building a plot, he dreamed of an unusual ending of the play.

Chekhov refused to build a "Cherry Garden" play on direct clashes, struggle between characters. Instead of external conflicts, he put forward internal conflicts, expressed in the spiritual experiences of heroes. For their replicas, the actions traced "subtect-stop" development of action. The modification of structural and genre forms was subordinate to the main goal - to reveal spiritual fermentation in the society of the turning point. It was a period of deaf timeless of the 80s, when a dramatic painful fracture was performed in the worldview of the Russian intelligentsia.

Therefore, it is so important to experience the changing internal states of the heroes of the Comedy "Cherry Garden" from the first to the last scene. This play permeates, in our opinion, the atmosphere of universal disadvantaged, there are no happy people in it.

The awareness of the gap between the past, the present and future in the Chekhov play is inherent in most heroes. Each of them in this regard develops its emotional state: from the sense of doomed one - to optimistic rates from others. Make sure how the idea of \u200b\u200bthe broken connection of times in the play "Cherry Garden" is expressed.

So, the "long-liver" of Firs, the witness of the life of the forefather, constantly opposes the time "before" and "now": before "the men with the gentlemen, gentlemen in men, and now all the battur do not understand anything." "Previously, the generals, barons, admirals danced on our balas. "In the old time, the years forty-fifty back, the cherry was dried, uringed ..., we sent to Moscow to Moscow and Kharkov. There was money! ", I knew the" way "how to receive income from the garden and contain the estate - and now" forgotten. No one remembers. " Or another example: the author's remark is given about the sound of the bundled string, then the reaction to this sound "Full, sad" is described:

Firs Before misfortune, it was also: and I shouted Owl, and Samovar buzzed unversrate.

Gaev. Before which misfortune?

Firs Before the will.

In addition to the replica of the Firs, it all sides and in the expression of a leopard about "our awkward life", and in a repeating author's remark about the burst string, and in the replicas of other characters. The idea of \u200b\u200bincompetence, disconditions in the Chekhov play is expressed not only lexically, but also compositionally. We are close to the researcher's point of view A. P. Skaftimov, who argued that "the dialogical fabric of the play is characterized by torn, inconsistency and brokenness of thematic lines."

Universal disadvantage is complicated and enhanced by the feeling of universal loneliness. In the comedy Chekhov reigns a special atmosphere of psychological deafness. The heroes of the play are absorbed by their own troubles and failures, and therefore they do not hear each other badly, communication between them is hard to go into dialogue. There is a feeling that everyone is bred in one degree or another individually and all combined. The direct carrier of the public evil in the miss

bows, and therefore, evil lies in the basics of society's life. It gives rise to a special sense of drama of life.

In the comedy "Cherry Garden" conflict is muffled, there is no division of heroes on positive and negative, absent in the classic drama. Czechs, first of all, destroys the end-to-end effect (key event), organizing a plot unity, with the disappearance of which the plot lines of individual heroes in the play are decentralized.

The subject of the image in the play is not an action, developing as a conflict, but evasion of the main characters from action. Chekhov is building their play on such life situations that contain all the conditions for the conflict and tense action, but the heroes are inactive. For example, Ranenevskaya and Gaevva are known that on August 22, the cherry garden will be sold for debts, therefore, they had to make some kind of active action to save the garden and all the estate. Lopahin even offers them a certain line of struggle, but they shy away from this struggle.

So what is the main knot of a dramatic conflict? Apparently, not in the economic bankruptcy of Ranevskaya and Gaeva. After all, Lopahin offered them an economic prosperity option: to rent a garden for giving. Why do heroes refuse him? Obviously, because the drama of their existence is deeper than elementary ruin.

Yes, and the lopahin himself, having bought a cherry garden, triumphs shortly. This acquisition does not eliminate the deeper conflict of this hero with the world. And as if in unison with all the characters, he says: "Oh, I would rather all this pass, I would rather have changed somehow our awkward, unhappy life."

In our opinion, the chief (hidden) source of drama is not imprisoned in the struggle for the cherry garden, but in subjective discontent with the life of all the characters of the play "Cherry Garden". Changes in public life are coming, against which the victory of the blades is a conditional victory, like the defeat of Gaeva and Ranevskaya - a conditional defeat. The main thing that takes time for those and others. All the heroes of the play have a sense of gradual death of those forms of life, which once seemed unshakable and eternal. The drama of life lies in the disadvantage of its essential foundations.

Chekhov comes in the play "Cherry Garden" to the new disclosure of a dramatic character. In the classic drama, the images of the heroes revealed through acts and actions aimed at achieving the goals set, and the playwright opened up new features of the image of character: the character-character is disclosed not in the fight for achieving the goal, but in the experience of the contradictions of being. Paphos action is replaced by pathos of meditation. There is an unknown classic drama Chekhov "subtext". Here is the hidden spiritual subtext that heroes are investing in words. For example, in the second act of the play in the depths of the scene, the ipaths are undergoing - the living embodiment of unlikely and misfortune. The following dialog occurs:

Love Andreevna (thoughtfully). Epiphans goes ...

Anya (thoughtfully). Epiphans goes ...

Gaev. Sun village, gentlemen.

Trofimov. Yes.

As you can see, the heroes speak of the epiphany and about sunset, but only formally - about it, and essentially about the friend. Through scraps of these phrases, the internal state of the heroes, their unpleasution and absurdity of the inconsidered life are transmitted.

We give an example of another "subtext". Ranevskaya comes to his estate where there was not five years. The first few minutes in the house ... she is very natural and the joy of recognition, and excitement of a meeting with the past. But immediately the replicas of Gaeva, Charlotte, Moshika:

Gaev. The train was late for two hours. What? What are the order?

Charlotte. (Mainic). My dog \u200b\u200band nuts eats.

Picker (surprised). You think!

Falling out of the lyrical mood of Ranenevskaya, these replicas reduce her feelings, prepare the reader and the viewer to understand that her experiences are not so deep, what seems outwardly.

For Chekhov poetics is also characterized by a hidden symbolism, leading to the overstext of the play. As an example, consider the central image-symbol of the cherry garden in the play of the same name A. P. Chekhov and, relying on the text of the play, we will try to give different interpretations of this image-symbol.

So, what does the cherry garden symbolize?

1. An irrevocably gone beautiful past Ranevskaya and Gaeva.

Love Andreevna (looking out the window to the garden). Oh my childhood, my cleanness!

Oh, my dear, my gentle, beautiful garden! ..

My life, my youth, my happiness, goodbye!

2. High poetry of life.

Cooking (quietly turns out the window). Take a look ... what wonderful trees! My God, air! Skvortsy sing!

Love Andreevna. What amazing garden! White masses of colors, blue

3. Happiness.

Love Andreevna. ... oh, my garden! After the dark, rainy autumn and the cold winter again you are young, full of happiness, Heaven Angels did not leave you ...

4. The symbol of the gloomy destroying past Russia.

Trofimov. . Will your ancestors were serfs and really from every cherry in the garden, with each piece, each trunk does not look at you human beings ...

5. Symbol of life commercial success.

Lopakhin. Cherry garden now mine!

6. Russia.

Trofimov. All Russia is our garden.

It should also be paid to Chekhov remarks, with the help of which the author expresses its attitude to the depicted, gives an assessment to the acting persons, clarifies the situation and subtext the plays. Remarkets in the Comedy "Cherry Garden", besides its usual role (draw a situation, indicate a sequence of actions, the fine lyricism of the play shall, complement the characteristics of the characters, revealing their psychological state, etc.), often help to understand the inner world of the hero, his thoughts and feelings. For example, remarks belonging to the image of Ani ("she is very tired, even stealing", "gently", "joyful", "says fun, childishly"), point to a clean, gusty and sincere soul of this young girl.

When analyzing the image of Ranevskaya, pay attention to the remarks, drawing the change of its moods and feelings. Only in one first action, we find remarks, testifying to the contrasting transitions in her mood from grief to joy, from crying to laughter, from thinking to carefree fun. For example, entering the nursery, the love of Andreevna says "joyfully, through tears," saying the following replica, "crying", then "kisses" others. In the next phenomenon, she "laughs," kisses "an ah, and soon he says already" through tears. " After a few moments, she "jumps and walks in strong excitement", "kisses the cabinet" and almost immediately "sits down and drinks coffee." After the coffee she "looks out the window to the garden" and "laughs from joy." So, for a short period of time, the moods of Ranevskaya change dramatically. As we see, the Czechs of the entire characteristic of Ranevskaya convinces us that for her, as for a person only emotional, with elements of even some naigry, it is quite natural.

But I look at the style dominant. Statute dynamics as much as possible, psychologism is poorly expressed. The leading style property of the Comedy "Cherry Garden" is the descriptions, only peculiar: Czech's attention has been attracted not to the subject world, but to the forms of behavior of people who have already become familiar in this environment. In accordance with the specifics of the dramatic kind, the focus is made primarily on the description of the heroes.

The second style of dominant - dissection, in which various speech manners are opposed to each other; It also works for the descriptions, creating a speech image of various lifestyles. In the Comedy "Cherry Garden", there is a socio-cultural problem in compound with the descriptions, Chekhov's interest in some sustainable trafficking features.

Consider the speech dominant "dissection". In the statements of the heroes of the play, mostly two types of speech behavior are implemented: a) the speech of characters is inexpressive, primitive, sometimes incorrect; b) Speech is saturated with rhetoric. An example of the first type can serve serial phrases of Gaeva, crossed by billiard terms, the outrageous replica of Lopa-Hina "every disgrace has its own decency", saying Charlotte, the diner, Epodova.

An example of a second type of speech is the statements of Gaeva: "Dear multiple wardrobe! Welcome to your existence, which for more than a hundred years has been sent to bright ideals of good and justice. "," Oh, Nature, Wing, you bloom by eternal radiance ... ", Montologist Ranevskaya" Oh, my childhood, my purity! .. Oh, my garden! .. ", pathetic speeches Petit Trofimova:" Humanity goes to the highest truth, to the highest happiness, which is only possible on Earth, and I am in the forefront! ".

In some cases, one speech manner instantly and naturally replaces the other: it happens constantly at Gaeva, and quite often at Ranevskaya, Trofimova. But even in the other manner of speech, something general is manifested: in both cases, the speech of the heroes is minimally meaningful, the phrase remains an empty form, which is not filled with the corresponding phrase by action. The play is observed in the play and especially the pathetic phraseology of the heroes, which is ultimately a lie: are such, for example, slogans and calls in Petit Trofimov, who does not notice in his impulse to light

the future of the future, neither real life drama Ranenevskaya, Lopakhina, Varia, nor the triumphant rudeness of Yasha, nor the doomes of an old fours, nor the death of the live beauty of the Cherry Garden.

Concretioning the meaningful dominant of the comedy, find out what kind of sociocultural issues is occupied by Chekhov. As the researcher A. B. Esin said rightly, "Chekhov understood the Russian reality of his time not from the point of view of relations between social, political, economic, but from the point of view of the state of culture, in the favorite Writer of the" middle layer ", in everyday domestic refraction. The failure of the cultural structure, the absence of high values \u200b\u200band the corresponding cultural skills in the mass consciousness - one of the most important ideas of the play; Hence, perhaps and persistently approved by the writer, the Genre of Plays-Commune. "

The comedy genre gave the author a brilliant opportunity to make people at each other and realize, in which funny characters they turn, hiding in the shell of their personal life, following them imposed on them and the rules of behavior.

What seemed to the drama funny and vicious in the modern life? Chekhov believed that funny aristocrats (Gaevs), people-relics (Firs), which the owners of the estates hold as living witnesses of their former greatness. Menthon in his stupidity is a Pirch who believes in the winning lottery ticket. The unfortunate of the Epodsov and the Comedan Charlotte are ordinary.

It seems that it is important to emphasize the fact that all the heroes of Chekhov's play are given in dual, tragicomic lighting. It should be noticed, for example, the author's sympathetic attitude to Ranevskaya, but this does not exclude a hidden irony over its lack of battery, practical helplessness and infantality. Ranevskaya drama - in the conflict between her desires to live in old, that is, as it was before debt, and the full inability to return to the past. She herself is this precipice between "today" and "yesterday" is not aware of what makes it idle and frivolous. As in the old days, Ranevskaya invites the orchestra to the evening or gives a golden passerver, although in the estate she has nothing to feed people. The inability to soberly assess their position causes the reader and the viewer an unpleasant feeling that intensifies, firstly, to speak her manner, without showing anything genuine interest, and secondly, the fact that the Ranevskaya rides again to Paris, to a person, Which reared it.

Certain sympathetic notes have Chekhov and in the image of the blades. He is a bit and kind, he seeks to help Gaevu and Ranevskaya save the estate. But in double Chekhov's lighting, the leopown is far from the hero: it has business prosaic blindness, he is not able to love, in a relationship with Vares, Lopakhin is awkward and comic, and he himself is unhappy with his life. The play has replicas of the blades, characterizing it not from the best side. One of them says at the moment when the Ranevskaya estate has already been bought: "Let everything I wish! There is a new landowner, the owner of the Cherry Garden! For everything I can pay! " - It should be understood: both for love, and for power, and for friendship.

A number of researchers allocate images of Petit Trofimov and Ani, emphasizing the author's sympathies in their lighting. But we should notice that the comic decline does not at least concern these young heroes. So, the play is focused on the youth, inexperience and vital inexpensiveness of Ani. In double Chekhov lighting depicted Peter Trofimov. This hero, like Chekhov himself, does not consider the contemporary contemporary device to him. But, tortured by the nonsense of the existence, full of compassion for those who are poor and unhappy, he utters angry monologues, calls for himself to the future that does not see and does not understand, so his sincere words inspire only longing and pity. In the arguments of Petit there are no personal power, there are many words that look like spells. In addition, he is "Eternal Student" and "Slantable Barin". "Funny Chudak," Ranevskaya speaks about him. Such an image of Petit Trofimova's image gives reason to believe that Chekhov, most likely, was convinced of the following: not such people master life and become her creators.

Thus, all the characters in the Comedy Chekhov "Cherry Garden" are depicted in a dual, tragicomic lighting: the author and sympathizes to some sides of their character, and exposes a ridiculous, negative. There is no absolute carrier of good, as there is no absolute carrier evil.

Consequently, Russia at the turn of the two centuries, as A.P.chekhov represented it, did not yet produce a valid ideal of a person, and the heroes of the cherry garden's play did not rise to that height that is required to overcome upcoming tests.

Bibliographic list

1. Esin, A. B. Principles and techniques for analyzing a literary work: studies. Manual / A. B. Esin. - M.: Flint: Science, 1998.

2. Skafodov, A. P. The moral search for Russian classics / A. P. Skamps. - M., 1972.

3. Chekhov, A. P. Coll. So.: In 18 t. / A. P. Chekhov. - M.: Fiction, 1978. - T. 13.

The genre nature of the "Cherry Garden" has always caused disputes. Chekhov himself called her a comedy - "comedy in four actions" (albeit a special type comedy). K. S. Stanislavsky considered her tragedy. M. Gorky called the "lyrical comedy". Often the play is defined as "tragicomedy", "ironic tragicomedy". The issue of genre is very important for understanding the work: it defines the reading code of the play and characters.

Chekhov wrote: "I got out not drama, but a comedy, even the farce places." The author refused the characters of the "Cherry Garden" in the right to the drama: they were disappeared on deep feelings. In the play there are receptions of Balagan, focuses (Charlotte Ivanovna), strikes a stick on the head, after pathetic monologists follow the farce scenes, then a lyrical note appears again ... In the "Cherry Garden" there is a lot of funny: ridiculous ipaths, funny pompous speeches Gaeva ("Multiple Cabinet "), ridiculous, inappropriate replicas and answers Nefopad, comic situations arising from misunderstanding of each other's characters. Piece Chekhov is ridiculous, and sad, and even tragic at the same time. There are many crying, but these are not dramatic sobs, and not even tears, but only the mood of individuals. Czechs emphasizes that the sadness of his heroes is often lighting that in their tears there is a tearful for weak and nervous people. The combination of comic and serious is the distinctive feature of Chekhov poetics, starting from the first years of his work.

The external plot of the "Cherry Garden" is a change of owners of the house and garden, the sale of generic estate for debts. At first glance, the play is clearly indicated by opposing forces, reflecting and aligning social forces in Russia of that time: Russia Old, noble (Ranevskaya and Gaev), gaining strength entrepreneurs (Lopahin), Russia Young, Future (Peter and Anya). It would seem that the collision of these forces and should give rise to the main conflict of the plays. Characters are focused on the most important event in their lives - on the sale of the Cherry Garden, appointed on August 22. However, the viewer does not witness the very sale of the garden: a culmination, it would seem that the event remains beyond the scene. Social conflict in the play is not relevant, not the social status of the acting persons. Lopakhin - This "predator" -Pertot - is depicted not without sympathy (like most characters play), and the owners of the estate do not resist. Moreover, the estate as it turns out to be in his hands, against his desire. It would seem that in the third action, the fate of the Cherry Garden was decided, he bought a lopahin. Moreover, the omission of the external plot is even optimistic. But the play does not end, the author writes the fourth action, in which nothing new happens. But the motive of the garden sounds here again. At the beginning of the play, the garden that threatens the danger, attracts the whole family to himself, gathered after the five-year separation. But it is not given to save him, it is no longer there, and in the fourth action, everyone is resting again. The death of the garden led to the collapse of the family, scattered, spread over the cities and weighs of all the former inhabitants of the estate.

For household episodes and details, the motion of the "underwater flow" of the play, its background. The pauses are largely formed by the subtext of the play, her mood, create a sense of tense expectation, listening to the underground hum of the upcoming shocks.

Motive of loneliness, misunderstanding, confusion - the leading motif of the play. It defines the mood, the globility of all characters. Can not find the "faithful direction" of the omphodas ("twenty two misfortunes"): "... I can't understand the directions in any way, which I actually wants to live me or shoot." Foursa former order was understood, "and now all the vitality, you will not understand anything." And even pragmatic blades only sometimes "seems" what he understands why he lives in the world.

A frequently quoted fragment of the second action of the play, in which misunderstanding, the concentration of each character of the play is solely on their own experiences with particular visibility:

"Love Andreevna. Who is here smokes disgusting cigars ...

Gaev. Here the railway was built, and it became convenient. We went to the city and have breakfast ... Yellow in the middle! I would first go to the house, play one party ...

Lopakhin. Only one word! (Imploringly.) Give me the answer!

Gaev (yawning). Who?

Love Andreevna (looks into his purse). Yesterday there was a lot of money, and today there is very little ... "

The essence of the conflict of the play is not in the loss of the cherry garden, not in the ruin of the owners of the noble manor. The reason for the disaster, the source of the conflict is not in the struggle for the cherry garden, but in general discontent with life.

But, unlike the classical drama of the XIX century, the culprit of suffering and failures in the play is not personified, not named, they are not any of the actors. And the reader draws its questioning out of the scene - in the device itself, "addition" of life, in the face of which all the characters are powerless. The main conflict of Chekhov plays - "bitter dissatisfaction with the addiction itself" - remains unresolved.

In the play, everyone lives the expectation of an inevitably impending catastrophe: separation is not with a cherry garden, but with a whole millennial age - millennial structures of Russian life. And no one else knows, but it is already sicking that under an ax of the blades, not only the garden will die, but also much of the fact that expensive and the Ranevskaya, and the blades, and those who believed that "everything will be different," - ane and pet Trofimov. Before that future, the scene conflict of the "Cherry Garden" is ghostly.

Initially, the image of Ranevskaya seems cute and attractive to us. But then he acquires stereoscopy, complexity: the lightness of its turbulent experiences is found, exaggerated in the expression of feelings.

Ranevskaya, despite the fact that Brother (Leonid Andreyevich Gaev) calls her "vicious woman", oddly enough, it causes respect and love for all the characters of the Piesen. Even Lake Yasha, on the rights of the witness of her Parisian secrets completely capable of familiar appeal, it does not occur to be an interconnected. Culture and intelligence attached to Ranevskaya charm of harmony, sobriety of mind, fineness of feelings. She is smart, can say the bitter truth about himself and about others

And yet, in Ranevskaya, it causes sympathy. For all silence, sentimentality is characteristic of the latitude of nature, the ability to disinterested kindness.

The twin Ranevskaya, but the personality is less significant, is in the play of Gaev. And he is able to sometimes talk smart things, be sometimes sincere, self-critical. But the flaws of the sister are frivolism, impracticality, braveless - become Gaeva caricature. The love of Andreevna only kisses in a fit of the lunizing cabinet, Gaev says in front of him in "High-Style". In their own eyes, he is the aristocrat of the highest circle,

Gaev infantile, riff.

Gaev is another option of spiritual degradation, emptiness and vulgarity.

Ranevskaya and Gaevs will freely or unwittingly betray everything that it seemed expensive to them: both the garden, relatives and the faithful slave of the Firs. The final scene and comic, and truly tragic. The last word of the play, spoken by the Firs: "Tempel," is about the most fours, and about other heroes, and about the most Russian reality of those years ...

Chekhov did not idealize representatives of any class, no social group, he was known, outside politics and ideology, beyond social preferences. All classes "got" from the writer, and the intelligentsia too: "I do not believe in our intelligentsia, hypocritical, fake, hysterical, uncompatible, lazy, I do not believe even when she suffers and complains, for her oppressants come out of her subsurface" .

In the same Cherry Garden, there are not only idealized characters, but also of certainly positive heroes (this also applies to the leopard ("modern" Chekhov of Russia), and to Ana and Pete Trofimov (Russia of the Future).

The future of Russia is represented by images of Ani and Petit Trofimov. The future in the play is unclear, but it fascinates and manits cleanly emotionally, as always attractive and weakly youth. The image of a poetic cherry garden, a young girl who welcomes a new life is the dreams and hopes of the author of Russia's transformation, to turn it in the future in a flowering garden. The garden is a symbol of the eternal renewal of life: "New life begins," Anya exclaims enthusiastically in the fourth act. Ani image in spring is celebrated, joyful. "My sun! My spring, "says Petya about her. Anya condemns the mother for the Bar's habit of sifting with money, but she better than others understand the tragedy of the mother and sternly reports Gaeva for the bad words about the mother. Where did the seventeen-year-old girl have this vital wisdom and tact, not affordable to her far from young uncle?! Its determination and enthusiasm are attractive, but they threaten to turn around the disappointment judging by the way it believes to Trofimov and its optimistic monologues.

Petya Trofimov, like Anya, represents Russia to Russia. He is a former teacher of a drowned seven-year-old son Ranevskaya. His father was a pharmacist. He is 26 or 27 years old, he is an eternal student who did not end the course, wearing glasses and suggests that it is necessary to stop admiring himself, but "only work."

Petya speaks most often not from himself - on behalf of the new generation of Russia. Today is for him - "... dirt, vulgarity, asiatine", the past - "Funks, who owned alive souls." "We are behind, at least about two years, we have no more than anything else, there is no certain attitude to the past, we only philosophic, complaining for longing or drink vodka. After all, it is so clear to start living in the present, you must first redeem our past, finish with him, and you can take it only to suffering, only extraordinary, continuous work. "

Peter Trofimov is from Chekhov intellectuals for which things, tithing land, jewelry, money does not represent the highest value. Refusing to the Lopakhinsky Money, Petya Trofimov says that they do not have over him "not the slightest power, that's how the fluff that is worn in the air." He is "Silen and Gord" by being free from the power of everyday, material, emitted.

With all the "positivity" of Petit Trofimova, he is questioned precisely as a positive, "author" hero: he is too literary, his phrases about the future are too beautiful, too commonly of his appeals "work", etc.

"New People" Chekhov - Anya and Peter Trofimov are also a gramophole in relation to the tradition of Russian literature, as well as Chekhov's images of "small" people: the author refuses to recognize certainly positive, idealize "new" people just for the fact that "new", for The fact that they act as the accusals of the old world. Time requires solutions and actions, but Petya Trofimov is not capable of them, and it brings him closer to Ranevskaya and Gaev. In addition, human qualities are lost on the way to the future: "We are above love," he is happily and naively, by Any.

In the dramaturgical works written by "Chekhov", as a rule, there was a center - an event or a character around which the action developed. In the play of Chekhov such a center does not exist. In its place it turns out the central image symbol - the cherry garden. In this image, both the specific, and the eternal, the absolute is a garden, "which is nothing more beautiful in the world"; This is beauty, past culture, all Russia.

It is the garden that is the ontological basis of the plot of Plays Chekhov: "The history of the garden as a living being is the first link ... chains of transformations" play. "This is a kind of subsoil of the text, then the foundation of which grows the whole world of his ideology and stylistics ... The garden is doomed not because his enemies are strong - merchants, industrialists, summer houses, but because he really came time to die "

The motifs "Sloma", gap, separation, disconnection prevail in the play.

This motive continues in the final remark of the play: "A distant sound is heard, exactly from the sky, the sound of the burst string, served, sad. Silence comes, and only hear how far in the garden the tree is knocked on the tree. " It is not by chance that in the final of the play, the sound of the bundled string merges with the blows of the ax. "

The final of the "Cherry Garden" leaves a really dual, obscure impression: and sadness, but also some bright, albeit a vague, hope. "The conflict resolution is in accordance with all the specifics of its content. The final is painted with double sound: it is sad, and leveled ... the arrival of the best depends not to eliminate private interference, but from changing all forms of existence. And so far there is no such change, everyone is separately powerless before the common destiny. " The writer recorded the state of the Russian society, when only one step remained from universal separation, listening to everyone to universal enmity.

Exercise 1

Identification of a double aesthetic paphos play: a compound of lyric-pathetic tonality with comic.

Working with the text of the first action. Students must show:

- how the constant change of the tonality is created, the transition from the bag to the Commission and vice versa;

- as they serve this game tones uncontrolled characters, their inadequate statement, clutch of random phrases; Unexpected clashes of people, sudden changes in their moods, "random" comic situations in which the main characters fall; significant statements of comic persons;

- As this double dialization of Paphos is manifested in the interaction of crossroads and opposite estimates that the characters of the play give the same persons (for example, Ranevskaya).

Task 2.

Work on the plot of the play:

- identification of the plot role of the blades;

- determine, "build" the logic of personal relationships of the blades with Vares and Ranevskaya;

"The imaginaryness of his groom and sincere recognition in the love of another, willingness to victims - and the reaction to them the women, which he loves" more than his native. "

Is lucky for a shovel buying a cherry garden? How does the themes of the fate of the blades with the theme of the "Cherry Garden" correlate?

Task 3.

Study of the relationship of central and secondary characters play.

Determine the similarity in the situation of explanations in the love of a leopard with Barbaroos, Padikov with the Duny, Dunyasi with Jasha. Who reflects and paroding?

Task 4.

Investigation of the relationship between domestic and essential plans. Working with the text of the 2nd action.

How is the plot of salvation estate moving? How are the conversations about the sense of the characters about the general life of life? Who belongs to these statements? How do the main and secondary characters relate in this regard? Is the "Essential" statements "are represented only in pathetic tone or the tone playing continues?

Task 5.

Collision of two cultures. To analyze the Ranevskaya dialogue with Trofimov in the 3rd action (from the words of love Andreevna "Do not tease her, Petya ..." To the words of her "What an eccentric this petition ...").

To explain the Puten "True" and "Truth" Ranevskaya, the expression of the positions of different cultural layers in them, different historical generations.

Task 6.

Analysis of symbolic plays images. How do the cherry garden are different characters of the play? What is the symbolic meaning of the Cherry Garden? Why is the second action unfolding on the border between the house and the open space?

The saturation of traditional topos at home and garden with new intensiations. What?

Symbolic meaning of other details: telegrams from Paris; Noise from the baffy and other sheds in the mine. Finding symbolic details and explain them.

Bibliography

Chekhov A. P.Cherry garden (any edition).

Polotsk Ela"Cherry Garden" / E. A. Poletskaya, I. Yu. Supothlebov // Chekhov A. P. Fields. Cathedral So.: at 30 t. T. 13. M., 1978.

Berdnikov G. P.Dramaturgia Chekhov. M., 1971 or: He. Election Works: in 2 tons. T. 2. M., 1986.

Zingerman B.Theater Chekhov and his world importance. M., 1988. P. 319-383.

Popper A.On the unity of the form and content in the "Cherry Garden" A. P. Chekhov // Moral search for Russian writers. M., 1972. P. 339-380.

Semance M. L."Cherry Garden" A. P. Chekhov. L., 1958.

Training edition

History of Russian literature 2nd half of the XIX century

Themes of practical classes for students of the Faculty of Philology

Compilers

Aleksey Vasilyevich subordinates

Mostringer Elena Konstantinovna

PRACHARUK ____________________

Editor

Computer layout