Cherry garden minor heroes. List of acting persons and character system Chekhov drama

In the plays of interest to us A.P. Chekhova The image system is represented by three main groups. Consider briefly every one of them, after which we will stop in detail on the image of the leopard Yermolaya Alekseevich. This hero of the "Cherry Garden" can be called the most striking acting face of the play.

Below is the photo of Anton Pavlovich Chekhov, the great Russian playwright, the creator of the work of interest to us. Years of his life - 1860-1904. For more than a hundred years, various plays have been different, especially The Cherry Orchard"," Three sisters "and" Seagull "are put in many theaters around the world.

People of the Noble Epoch

The first group of characters amounted to people of the noble era, leaving the past. This is the Ranevsky love Andreevna and Gaev Leonid Andreevich, her brother. These people own a cherry garden. By age, they are not old at all. Gaevow is only 51 years old, and his sister is probably 10 years old for years. It can also be assumed that the image is also related to this group. it stepdaughter Ranenevskaya. The image of a company, an old lackey, which is like part of the house and all the outgoing life is also adjacent. Such is B. general features First group of characters. Of course, it is only a brief description of Heroes. The "cherry garden" is a work in which each of these characters plays a role, and each of them is interesting in its own way.

The most acting person

Very different from these heroes Lopakhin Yermolai Alekseevich, the new owner of the Cherry Garden and the whole estate. It can be called the most acting person in the work: it is energetic, active, moves steadily to the intended goal, which is to buy a garden.

Younger generation

The third group is represented by Ani, the daughter of Lyubov Andreevna, and Petit Trofimov, who is former teacher Son Ranevskaya, recently deceased. Without mentioning them, there would be an incomplete characteristic of the heroes. "Cherry Garden" is a play, in which these characters are in love. However, it combines them besides a love feeling and aspiration away from the dilapidated values \u200b\u200band all old life To the excellent future, drawing in the speeches of Trofimov, a disembodied, albeit shining.

Relationship between three groups of characters

In the play, these three groups are contrasted not to each other, although they have different concepts, values. The main heroes of the "Cherry Garden" play with all the difference in the worldview of each other love, show sympathy, regret the failures of others, are ready to even come to the rescue. The main feature that shares them and determines future life- Attitude towards the Cherry Garden. In this case, it is not just part of the estate. This is a certain value, almost an animated face. Throughout the main part of the action, the question of his fate is solved. Therefore, we can say that there is another hero of the "Cherry Garden", suffering and the most positive. It is a cherry garden itself.

The role of secondary characters play "Cherry Garden"

The main characters were in general terms are presented. Let's say a few words about other members of what is happening in the play action. They are not just secondary faces that are needed by the plot. These are the satellites of the main heroes of the work. Each of them carries a certain line of the main character, but only in exaggerated form.

Workout character

The eyes rushes a different degree of worn characteristics in the work of the "Cherry Garden". The main characters: And Leonid Gaev, and in the particular Lyubov Ranevskaya - given to us in the complexity of their experiences, combining sins and mental virtues, frivolity and kindness. Peter Trofimov and Anya are more applied than shown.

Lopahin - the brightest hero of the "Cherry Garden"

Let us dwell in more detail on the most bright feature of the play, which is worth a mansion. This hero "Cherry Garden" - Ermolai Alekseevich Lopakhin. According to Chekhov, he is a merchant. The author in letters to Stanislavsky and Knidno explains that the central role is given to the leopard. He notes that this character is a mild person, decent in all senses. It should be kept intelligent, decently, not finely, without any focus.

Why did the author believed that the role of a leopard in the work is central? Chekhov emphasized that he is not like a typical merchant. Find out what the motives of actions this characterwhich can be called the killer of the Cherry Garden. After all, he finished him.

Men's past

Yermolai Lopakhin does not forget that he is a man. One phrase crashed into his memory. She said Ranenevskaya, comforting him, while still a boys, after the leopard beat his father. The love of Andreevna said: "Do not cry, a peasant, he will heal before the wedding." These words should be buried.

The hero of interest is tormented by the Hero, on the one hand, the awareness of their past, but on the other - he is proud that he managed to get out of people. For the former owners, besides, he is a person who can become a benefactor, help them unravel the tangle of unsolvable problems.

Radio attitude to Ranevskaya and Gaev

That and the case of Lopakhin offers Gaevu and Ranevskaya various plans for salvation. He talks about the opportunity to give the land belonging to them on the sections for summer cottages, and the garden will cut out because it is completely useless. Lopahin sincerely is upset when he understands that his reasonable words do not perceive these heroes of the cherry garden. He does not fit in his head, as you can be so careless on the edge of your own death. Lopakhin directly says that he did not meet such frivolous, strange, non-glasses, like Gaev and Ranevskaya (heroes of the "Cherry Garden" Chekhov). In his desire to help them do not have a shadow of cunning. Lopakhin is extremely sincere. Why does he want to help his former owners?

Perhaps because it remembers what Ranevskaya has done for him. He tells her that he loves her as his own. Unfortunately, the blessing of this heroine remains outside the play. However, it is possible to guess that by virtue of the nobility, the mild nature of Ranevskaya respected the lopakhin, sorry him. In a word, she behaved like a real aristocrat - noble, cultural, kind, generous. Perhaps it is the awareness of such an ideal of humanity, his inaccessibility and forces this hero to make such contradictory actions.

Ranenevskaya and Lopahin are two centers in the work of the "Cherry Garden". The images of the heroes described by the author are very interesting. The plot is developing in such a way that interpersonal relations between them are not the most important. The first place comes to the fact that Lopahin makes it unwittingly, wondering to himself.

How does the identity of the blades in the final of the work revealed?

In the nervous voltage passes the third action. Everyone expects that heaev will come from trading soon and will bring the news about further fate Garden. The owners of the estate can not hope for the best, it remains only to hope for a miracle ...

Finally the fatal news is reported: the garden is sold! Ranevskaya as if thunder strikes the answer to a completely meaningless and helpless question: "Who bought?" Lopahin exhales: "I bought it!" This action of Ermolai Alekseevich is solved by the future of the heroes of the "Cherry Garden". It seems, Raevskaya did not expect from him. But it turns out that the estate and the garden is the dream of Hermola Alekseevich's life. To do otherwise, the lopahin could not. In it, the merchant was avenged for the man and defeated the intellectual. Lopahin is like hysterical. He does not believe his own happiness, he does not notice the Ranevskaya, killed by grief.

Everything happens in his passionate desire, however, against his will, because after a minute, noticing the unfortunate Ranevskaya, the merchant unexpectedly utters words that contradict his delight before: "My poor, good, you will not return now ..." But the next moment A former man and a merchant in a lopakhin raise her head and shout: "Music, play distinctly!"

The attitude of Petit Trofimova to the blades

Petya Trofimov speaks about the blades that he needs "in the sense of metabolism," as the predatory beast, eating what will fall on his way. But suddenly Trofimov, who dreams of a fair device of society and assigns the role of exploiter Yermola Alekseevich, speaks in the fourth action that he loves him for the "thin, gentle soul." - This is a combination of a predator's patter with a gentle soul.

The inconsistency of the nature of Yermolaya Alekseevich

He passionately craves purity, beauty, stretches to culture. In the work of Lopahin is the only acting person appearing with the book in hand. Although, reading it, this hero falls asleep, other characters during the play do not hold the books in the hands. However, mercile calculation, common sense, earthly start are stronger in it. Understanding that he experienced pride over the possessions, Lopahin is in a hurry to cut off and all happiness according to his own understanding.

Yermolai Alekseevich argues that the dachnik will multiply in 20 years before the extraordination. While he only drinks tea on the balcony. But one day it can happen so that he will deal with the economy on his tith. Then the cherry garden Ranevskaya and Gaeva will become luxurious, rich, happy. But Lopahin is mistaken in this. The dacnik is not the person who will keep and multiply the beauty of him. Its purely practical, predatory. It excludes from all impractical things, including culture. Therefore, the lopahin and decides to cut out the garden. This merchant, who has a "thin soul", is not aware of the main thing: it is impossible to cut the roots of culture, memory, beauty.

The value of the play A.P. Chekhov "Cherry Garden"

The intelligentsia from the serf, submissive, clogged slave created a talented, free, creatively active person. However, she herself was dying, and her creation was with her, since without the roots there cannot exist. The "cherry garden" is a drama telling the loss of spiritual roots. This ensures its relevance at any time.

The play of Anton Pavlovich Chekhov shows the attitude of people to the events taking place at the junction. It was the time when the capitalization of society and the death of Russian feudalism took place. Such transitions from one social and economic formation to another are always accompanied by the death of weak, strengthened struggle of various survival groups. Lopahin in the play is a representative of the people of a new type. Gaev and Ranevskaya - the characters of the separation era, which are no longer able to correspond to the changes occurring, fit into them. Therefore, they are doomed to defeat.

Characters

"Ranevsky's love Andreevna, the landowner.
Anya, her daughter, 17 years old.
Varya, her reception daughter, 24 years old.
Gaev Leonid Andreevich, Radane's brother.
Lopakhin Yermolai Alekseevich, merchant.
Trofimov Peter Sergeevich, student.
Simeon Picker Boris Borisovich, landowner.
Charlotte Ivanovna, governess.
Epiphans Semen Panteleevich, Butter.
Dunyasha, Maid.
Firs, Lackey, old man 87 years old.
Yasha, young lackey.
Pastech.
Head station.
Mail official.
Guests, servants "(13, 196).

As you can see, social markers of each role are saved in the list acting persons And the last play of Chekhov, and the same as in the previous plays, they are formal, without predesting the character of the character, nor the logic of his behavior on the stage.
So, social status landlord / landowner in Russia turn XIX-XX centuries actually ceased to exist without corresponding to a new structure public relations. In this sense, Ranevskaya and Simeon Picker are in Persona Non Grata's play; Their essence and purpose in it are not at all connected with the motive of possession of the souls, that is, by other people, and in general, ownership of anything.
In turn, "thin, gentle fingers" a blades, his "thin, tender soul" (13, 244) is not predetermined by his first author's characteristic In the list of existing persons ("merchant"), which is largely due to the plays of A.N. Ostrovsky acquired a completely defined semantic halo in Russian literature. It is no coincidence that the first appearance of the blades on the scene is marked with such a detail as a book. Continues the logic of the inconsistency of social markers and the scenic implementation of the characters perpetual student Petya Trofimov. In the context, the characteristics given to him by other characters, the love of Andreevna or a blades, for example, its copyright in the poster sounds like an oxymoron.
Next in the poster follows: the desk, which arguing in the play on the side and suicide capabilities; Maid, constantly dreaming of extraordinary love and even dancing on the ball: "You really have a gentle Dunyash," will tell her the leopard. - and dress like a young lady, and hairstyle too "(13, 198); Young lacquer, who does not experience the slightest respect for people to whom it serves. Perhaps only a model of the behavior of the company corresponds to the status declared in the poster, however, it is a lacquer with non-existing Lord.
The main category forming the system of characters of the last Chekhov play is now becoming no role (social or literary), which each of them plays, and the time in which each of them feels. Moreover, it was the chronotope chosen by each character, explicates his character, his feeling of peace and himself in it. From this point of view, there is a rather curious situation: the overwhelming majority of the characters of the play does not live in the time of the present, preferring to remember the past or dream, that is, rushing to the future.
So, the love of Andreevna and Gaev feel the house and the garden as a beautiful and harmonious world of their childhood. That is why their dialogue with a blades in the second action of the comedy is carried out in different languages: he tells them about the Garden as a completely real object of sale, which can be easily turned into cottages, they, in turn, do not understand how to sell harmony, Sell \u200b\u200bhappiness:
"Lopahin. Sorry, such frivolous people like you, gentlemen, such non-one, strange, I have not yet met. You are told by the Russian language, your estimate is sold, and you definitely do not understand.
Love Andreevna. What do we do? Teach what?
Lopakhin.<…> Understand! You finally decide that there were giving, so you will give you any money, and you then saved.
Love Andreevna. Dacha and dackets - it went so, sorry.
Gaev. I agree to you completely.
Lopakhin. I am either buried, or shout, or faint to drop. I can not! You suffer me! " (13, 219).
The existence of Ranenev and Gaeva in the world of childhood harmony was marked not only by the venue for the author in Remarke ("The room, which is still called Children's"), not only the constant behavior of the "Nanniki" of the Firs in relation to Gaevu: "Firs (cleans the brush of Gaeva , instructively). Again, not the trousers were put on. And what should I do with you! " (13, 209), but also a natural appearance of father and mother characters in discourse. "The deceased mother" sees in the White Garden of the first action Ranevskaya (13, 210); The Father, coming on the Trinity to Church, recalls in the fourth act of Gaev (13, 252).
The children's model of behavior of the characters is implemented in their absolute impracticality, in the absence of pragmatism and even - in a sharp and constant change of their mood. Of course, you can see in the speeches and actions of the Ranevskoye manifestation of the "ordinary person", which "obeying with its not always beautiful desires, whims, every time deceives itself." It can be seen in its image and "obvious profanation of the role-playing method of vital activity." However, it seems that it is disinterested, the ease, the raininess of the relationship to being, very reminiscent of the children's, instant mood change is racing all the sudden and ridiculous, from the point of view of other characters and many comedy researchers, actions and Gaeva, and Ranevskaya in a certain system. We are before us - children who have not become adults, did not adopt a model of behavior enshrined in the adult world. In this sense, for example, all serious attempts of Gaeva save the estate look, it is like a game in an adult:
"Gaev. Silent, Firs (Nyanka is temporarily removed - T.I.). Tomorrow I need to the city. They promised to acquaint with one general who can give a bill.
Lopakhin. You will not get anything. And do not pay you interest, be deceased.
Love Andreevna. It is he rant. No generals do not "(13, 222).
It is noteworthy that the attitude of the characters to each other remains unchanged: they are forever brother and sister who do not understand by anyone, but understanding each other without words:
"The love of Andreevna and Gaev remained together. They accurately waited for this, rushing on the neck to each other and sobally restrained, quietly, fearing so that they were not heard.
Gaev (in despair). My sister, my sister ...
Love Andreevna. Oh my dear, my gentle, beautiful garden! .. my life, my youth, my happiness, goodbye! .. "(13, 253).
It is adjacent to this micro group of characters by Firs, the chronotope of which is also the past, but the past, which has clearly defined social parameters. It is no coincidence that specific temporary markers appear in speech:
"Firs. In the same time, the years forty-fifty back, the cherry was dried, dusted, marinated, the jam was cooked, and it happened ... "(13, 206).
Its past is the time to unhappiness, that is, before the cancellation of serfdom. In this case, before us is a variant of social harmony, a kind of utopia based on a rigid hierarchy, on enshrined laws and a tradition:
"Firs (without hearing). And else. Men with gentlemen, gentlemen in men, and now all the battle, you will not understand anything "(13, 222).
The second group of characters can be conventionally called the characters of the future, although the semantics of their future will be different every time and does not always have a social reproach: it is, first of all, Petya Trofimov and Anya, then - Dunyash, Varya and Yasha.
The future of Petit, like the past of the Firs, acquires the features of social utopia, to give a detailed characteristic of which Czechs could not according to censorship considerations and probably did not want for considerations of artistic, summarizing the logic and goals of many specific socio-political theories and exercises: "Humanity goes to higher truth, To the highest happiness, which is only possible on Earth, and I am in the forefront "(13, 244).
The premonition of the future, the feeling of the dream of the dream characterizes and Dunyash. "I ask you, after Talk, and now leave me alone. Now I dream, "she says to the pub, constantly reminding her of not too beautiful present (13, 238). Her dream, like the dream of any young lady, it feels like it, "love. It is characteristic that her dream does not have specific, tangible outlines (Laci Yasha and "Love" to him - this is only the first approximation to the dream). Its presence is marked only by a special feeling of dizziness included in the semantic field of the dance Motive: "... And I have a head of dancing, my heart beats, Firs Nikolayevich, and now the official from the mail I told me that I had a breath of breath" (13, 237 ).
Just like Dunyasha dreams of extraordinary love, Yasha dreams of Paris as an alternative to a ridiculous and not real, from his point of view, reality: "This is not a real champagne, I can assure you.<…> Here I am not for me, I can not live ... nothing can be done. I looked at ignorance - it will be with me "(13, 247).
In the designated group of characters, Vary takes a dual position. On the one hand, it lives with conditional real, momentary problems, and in this sense of life, she is close to the blades: "Only here I can not, mommy. I need to do something every minute "(13, 233). That is why her role of the housekeeper in the house of the receptional mother naturally continues now in other people's people:
"Lopahin. Where are you now, Varvara Mikhailovna?
Varya. I? To Ragulin ... I agreed to look at the household ... in the housekeeper, or "(13, 250).
On the other hand, in its self-treatment, the desired future is also constantly present as a consequence of dissatisfaction with the present: "If there were money, at least a little, at least one hundred rubles, I would have threw everything, would go away. In the monastery would be gone "(13, 232).
The characters of the conditional present include the Lopakhina, Epodsov and Simeonov-Moschika. This characteristic of the present time is due to the fact that each of the named characters has its own image of the time in which he lives, and, therefore, a single, common for the whole play, the concept of the present time, as well as the future time, does not exist. So, the time of the bladhina is a real time, which is a continuous chain of daily "affairs", which give the visible meaningfulness of his life: "When I work for a long time, without tired, then it's too easy, and it seems as if I also know what I also know what I also know Essential "(13, 246). It is no coincidence that the character's speech is replete with instructions at a particular time to accomplish certain events (it is curious that his future time, as follows from the following replica, this is a natural continuation of this, in fact already implemented): "I am now, in the fifth hour in the morning, in Kharkov go "(13, 204); "If you don't come up with anything and do not come to anything, then the twenty-second August and the cherry garden, and all the estates will sell from the auction" (13, 205); "After three weeks, see" (13, 209).
The ipaths and the semes are a peeper form an opposition pair in this group. For the first life - a chain of misfortunes, and this conviction of the character is confirmed (again from his point of view) the theory of geographic determinism of the book:
"Pipica.<…> And I will take a kvaas to get drunk, and there, you look, something in high degree indecent, like cockroaches.
Pause.
Have you read bookles? " (13, 216).
For the second, on the contrary, life is a series of randomness, ultimately - happy, which will always fix any existing situation: "I never lose hope. Here, I think, everything was gone, died, Academy of Sciences, - railway On my land went, and ... I paid. And there, looked, still something will happen today, tomorrow "(13, 209).
The image of Charlotte is the most mysterious image in the last comedy Chekhov. Episodic in its place in the list of actors of the characters, however, becomes an extraordinary importance for the author. "Oh, if you played a governess in my play," writes Chekhov O.L. Bookper-Czech. - This is the best role, I do not like the rest. "(P 11, 259). A little later, the question of actresses playing this role will be repeated by the author three times: "Who, who will play my governess?" (P 11, 268); "Write also who will play Charlotte. Is Raevskaya? " (P 11, 279); "Who plays Charlotte?" (P 11, 280). Finally, in a letter Vl.I. Nemirovich-Danchenko, commenting on the final already distribution of roles and, undoubtedly, knowing about who will play Ranevskaya, Chekhov still counts on understanding the importance of importance for him that is this role: "Charlotte - question mark<…> This is the role of Ms. Bookper "(P 11, 293).
The importance of the image of Charlotte is emphasized by the author and in the text of the play. Each of the few appearances of the character on stage accompanies a detailed author's comment concerning his appearanceAnd his actions. This attentiveness (focus) of the author becomes all the more apparent that the replicas of Charlotte, as a rule, are reduced in the plays to a minimum, and the appearance of the characters more significant on the stage (say, Lyubov Andreevna) is not commented by the author at all: only numerous psychological details are given in remarks. Portrait.
What is the mystery of the image of Charlotte? The first and fairly unexpected observation, which should be done, is that the appearance of the character accentuates both female and men's features. At the same time, the selection of portrait details can be called autocitations. Thus, the first and last appearance of Charlotte on stage The author accompanies a repeating remark: "Charlotte Ivanovna with a dog on a chain" (13, 199); "Yasha and Charlotte with a dog leave" (13, 253). Obviously, in artistic world Chekhov Detail "With a dog" is significant. She, as well known, marks the image of Anna Sergeyevna - ladies with a dog - very rare for the prose Chekhov poetic image of a woman capable of a truly deep feeling. True, in the context of the stage action of the play, the detail gets a comic realization. "My dog \u200b\u200band nuts eats," says Charlotte Simeonovoye-Digger (13, 200), immediately separating himself from Anna Sergeyevna. In the letters of Chekhov's wife, the semantics of the dogs are even more reduced, but it is precisely at such an embodiment of the stage embodiment by the author: "... the dog is needed in the first act of shaggy, small, half-hearted, with acidic eyes" (p 11, 316); "Schnap, I repeat, is not suitable. We need the buckle dog, which you saw "(p 11, 317-318).
In the same first action, there is another comic remark-quotation, containing the description of the appearance of the character: "Charlotte Ivanovna in a white dress, very thin, pulled, with Lornnetka on the belt passes through the scene" (13, 208). The details mentioned together, the three mentioned by the author create an image, very resembling another governess - the daughter of Albion: "Near him was a high, thin English woman<…> She was dressed in a white ribbed dress, through which heavily shone to the skinny yellow shoulders. Golden watch hung on the gold belt "(2, 195). Lornnetka, instead of watch, Chasiks will remain like "Memory" about Anna Sergeyevna, because it is this item that will be emphasized by the author and in the first, and in the second part of the "lady with a dog."
Characteristic and subsequent assessment of the appearance of the British aturnal: "And the waist? This doll reminds me a long nail "(2, 197). The item sounds very thin as a sentence of a woman and in itself Chekhovsky - Epistolar - the text: "Yartsy say that you lost weight, and I really don't like it, - writes the Chekhov wife and several lines below, no matter how casual, continues, - Sophia Petrovna Medica Very lost and very raised "(p 11, 167). Such an explicated game of such multi-level quotes makes the character of the character in uncertain, blurred, devoid of semantic unambiguity.
REMARK, preceding the second action of the play, even more complicates the image of Charlotte, because now when describing it external view The author emphasizes the traditionally male attributes of the character's clothing: "Charlotte in an old cap; She took off the gun from the shoulders and corrects the buckle on the belt "(13, 215). This description can again be read as koltocitata, this time - from the drama "Ivanov". The remark, which precedes her first action, is completed by the significant appearance of Borkina: "Borkin in large boots, with a gun, is shown in the depths of the garden; he helped; Seeing Ivanov, on tiptoe goes to him and, having gone to him, aims in his face<…> Removes the cap "(12, 7). However, as in the previous case, the item does not become characterizing, because, unlike the play "Ivanov", in the "Cherry Garden" either a rifle of Charlotte nor the recolve of the Pephods and will not shove.
The remark included by the author in the third action of the comedy, on the contrary, completely levels (or unites) both principals fixed in the appearance of Charlotte earlier; Now the author calls her just a figure: "In the hall, the figure in the gray cylinder and in the checkered pantals, waving his hands and jumps, screams:" Bravo, Charlotte Ivanovna! " (13, 237). It is noteworthy that this level is a game - the game - the male / women's start was quite consciously laid by the author to the semantic field of the character: "Charlotte says not on Loman, and Nemirovich-Danchenko writes Chekhov, - only occasionally she instead of a word Pronounces Kommersant and adjectives confuses in men's and female kind"(P 11, 294).
Explants this game and Dialogue Charlotte with its inner voice, blurring the borders of sex identification of its participants:
"Charlotte.<…> And what is good weather today!
She is answered mysterious female voice, precisely from under the gender: "Oh yes, the weather is great, madam."
You are so good my ideal ...
Voice: "You, madam, I also really liked" (13, 231).
The dialogue dates back to the model of a secular conversation between a man and a woman, only one side is unuspended, but only one side is named, but there are two female voices dialogue.
Another very important observation concerns Charlotte's behavior on stage. All its replicas and acts seem unexpected and are not motivated by the external logic of one or another situation; They are not directly related to what is happening on the stage. So, in the first actions of the comedy, she refuses the blades in the ritual kiss of her hands only on the grounds that he subsequently could want something more:
"Charlotte (torn hand). If you allow you to kiss your hand, then you will later wish in the elbow, then in the shoulder ... "(13, 208).
In the most important for the author, the second action of the play, in the most pathetic moment of its own monologue, which we still have to say when the rest of the characters are sitting, thinking, unwittingly immersed in the harmony of being, Charlotte "pulls out the cucumber and eats out of his pocket (13, 215 ). Having finished this process, it makes a completely unexpected and not confirmed by the text of the comedy compliment to the penis: "You, ipaths, very smart man And very terrible; You should be madly to love women "(13, 216) - and leaves the scene.
The third action includes card and worshipers of Charlotte, as well as its illusion experiences, when from under the plaid, then Anya appear, then cooking. It is noteworthy that this storyline formally slows the action, as if interrupting, separating in half, a single replica of love of Andreevna: "Why is there no long Leonid? What does he do in the city?<…> And Leonid is not all. What he does in the city, so long, I do not understand! " (13; 231, 232).
And finally, in the fourth action of the comedy during the touching farewell of the rest of the characters with a house and garden
"Charlotte (takes a knot similar to a crumpled child). My baby, Bai, Bai.<…>
Saluch, my good, my cute boy.<…>
I feel sorry for me! (Throws the knot to the place) "(13, 248).
Such a mechanism for building a scene was known for the poetics of the Chekhov Theater. So, in the first action "Uncle Vanya" are included by Marina's replicas: "Chuck, chicken, tick<…> The bottle was left with chickens ... The crows would not have dragged ... "(13, 71), which are directly followed by the phrase of Vozyitsky:" In such weather, it's good to hang well ... "(ibid). Marina, as has already been repeatedly emphasized, in the system of characters, the play personifies a reminder of a person about the outpoures of the logic of events. That is why it does not participate in the borings of the rest of the characters with circumstances and with each other.
Charlotte also occupies a special place among other comedy characters. This feature is not only marked by the author, as mentioned above; She is aware and felt by the character himself: "These people sing terribly" (13, 216), "Charlotte will say, and her replica is not better correlated with the phrase of Dr. Dorn from the play" Seagull ", also from the side of what is happening:" People are boring "(13, 25). The monologue of Charlotte, opening the second act of comedy, explicates this feature, which is implemented primarily in the absolute absence of social markers of its image. Her age is unknown: "I don't have a real passport, I don't know how old I am, and everything seems to me that I am young" (13, 215). Its unknown and its nationality: "And when the dad and milf died, I took me one German mistress and became learning me." About the origin of I. genealogical tree The character also does not know anything: "Who my parents may, they didn't get married ... I don't know" (13, 215). Random and unnecessary finds himself in the play and the profession of Charlotte, since children in the comedy formally increased long ago.
All other characters of the "Cherry Garden", as already noted above, are included in this or that conditional time, it is no coincidence that the motive of memories or hope for the future becomes the main thing for most of them: Firs and Peter Trofimov are two poles of this self-assumption of characters. That is why "everyone else" in the play feel in any virtual, not a real chronotope (cherry garden, new sad, Paris, cottages). Charlotte also turns out to be outside of all these traditional representations of a person about themselves. Its time is not fundamentally linear: there is no past in it, which means that the future. It is forced to feel only now and only in this particular space, that is, in the present unconditional chronotope. Thus, in front of us simulated Czech personification of response to the question of what kind of person is, if consistently, the layer of layer is completely removed - both social, and even physiological - the parameters of his personality, freeing it from any determination to the outside world . In this case, Charlotte remains in this case, firstly, the loneliness among the other people with whom it does not coincide and cannot coincide in space / time: "So I want to talk, and not with whom ... I do not have anyone" (13, 215) . Secondly, absolute freedom from the conventions imposed on a person by society, the subordination of behavior only by its own internal impulses:
"Lopahin.<…> Charlotte Ivanovna, show focus!
Love Andreevna. Charlotte, show focus!
Charlotte. Do not. I wish you sleep. (Leaves) "(13, 208-209).
The consequence of these two circumstances is the absolute peace of character. There is no psychological remarks in the play, which would label the deviation of the Emotions of Charlotte from the absolute zero, while other characters can talk through the tears, outraging, joyfully, frightened, evil, embarrassed, etc. And finally, the natural conclusion is the glorification of the character finds in specific model Conduct - in free circulation, game, with the usual and unchanged for all other characters reality. This is a relationship to peace and explicate its famous tricks.
"I do Salto Mortale (like Charlotte - T.I.) on your bed," writes the wife of Chekhov, for which the rise on the third floor without the "car" was already an irresistible obstacle, "I get up with my legs and, picking up you, reversal several times And, thoring you to the ceiling, pick up and kiss "(p 11, 33).

"The Cherry Orchard" - last work A. P. Chekhov. The writer was incurably sick when he wrote this play. He was aware that he would soon leave life, and, probably, so the whole play is filled with some quiet sadness and tenderness. This is a farewell of the Great Writer with everything that he was expensive: with the people, with Russia, whose fate was worried about last Minute. Probably, at such a moment, a person thinks about everything: about the past - recalls the most important and summarizes the results - as well as the present and future of those whom he leaves on this earth. In the play "Cherry Garden" as if there was a meeting of the past, present and future.

It seems that the heroes of the play belong to the three different epochs: some live yesterday and are absorbed by the memories of the long-lasting time, others are busy with momentary affairs and seek to benefit from everything that have this momentAnd the third draw their eyes far ahead, without taking into account real events.

Thus, the past, present and the future do not merge into one thing: they exist by partly and find out the relationship among themselves.

Bright representatives of the past are Gaev and Ranevskaya. Chekhov gives a tribute to the formation and refinement of the Russian nobility. And Gaev, and Ranevskaya know how to appreciate beauty. They find the most poetic words to express their feelings in relation to everything that surrounds them - whether it an old house, Favorite garden, in a word, everything is expensive since childhood. Even to the closet, they appeal as an old friend: "Dear, a durable cabinet! Welcome to your existence, which for more than a hundred years has been sent to bright ideals of good and justice ... "Ranevskaya, being at home after the five-year-old separation, is ready to kiss every thing that resembles childhood and youth. The house for her is a living person, the witness of all its joys and seals.

Ranevskaya has a completely special attitude towards the garden - it seems to personify all the best and bright, which was in her life, is part of her soul. Looking at the garden in the window, she exclaims: "Oh my childhood, my purity! In this nursery I slept, I looked from here to the garden, happiness woke up with me every morning, and then he was exactly the same, nothing has changed. " The life of Ranevskaya was not the lungs: she won her husband early, and soon her seven-year-old son was killed after that. The person with whom she tried to tie life was unworthy - changed her money and tranched her money. But return home for her anyway, that falling to the lively source: she feels young and happy again. All the pain wrapped in her soul, and the joy of the meeting is expressed in her appeal to the garden: "Oh my garden! After dark rainy autumn and cold winter Again, you are young, full of happiness, the angels did not leave you ... "Garden for Ranevskaya is closely connected with the image of the late mother - she directly sees how mother in a white dress goes around the garden.

Neither Gaev, nor Ranevskaya may not allow their estate to be leased to the homestern. They say this thought to himself by vulgar, but at the same time they do not want to look into the face of reality: the day of the auction is approaching, and the estate will be sold with the hammer. Gaev shows full infantility in this matter (remark "puts in the mouth of a candy" as if confirms this): "We will pay interest, I am convinced ..." Where does he have such conviction? Who does he count on? Not clearly. Without having no reason, he swear Wary: "My honor I swear than you want, I swear, the estate will not be sold! ... My happiness I swear! Here you are my hand, call me then a stray, dishonest person, if I decide to the auction! My whole being swear! " Beautiful, but empty words.

A particular business is a leopard. This man does not throw words to the wind. He sincerely try to express the Ranevskaya and Gayev, that there is a real way out of the situation: "Every day I speak all the same. And the cherry garden, and the land must be leased under the cottages, to do it now, as soon as possible, - auction on the nose! Understand! Once finally decide that there are summer cottages, so you will give you any money, and you are then saved. " With such a call, "the present" refers to the "past", but the "past" is not a member. "Finally decide" is an unbearable task for such a warehouse. It is easier for them to abide in the world of illusions. But the lopahin of time is not losing. He simply buys this estate and rejoices in the presence of an unfortunate and disadvantaged Ranevskaya. The purchase of estates has special meaning: "I bought the estate where the grandfather and father were slaves, where they were not even died in the kitchen." This is the pride of the Plebea, which is "ditch nose" to aristocrats. He is only a pity that his father and grandfather do not see his celebrations. Knowing what the cherry garden meant in the life of Ranevskaya, he literally dances on her bones: "Hey, musicians, play, I wish you to listen! Come to all look like Yermolai Lopakhin is enough for an ax on the Cherry Garden, how the trees fall on the ground! " And immediately sympathizes sobbing Ranevskaya: "Oh, rather, all this would have passed, rather than our awkward, unhappy life." But this is a minute weakness, because he is experiencing his star hour. Lopahin - a man of the present, the owner of life, but is there a future for him?

Maybe a person of the future is Petya Trofimov? He is believable ("Do not deceive yourself, you need to take truth even once in my life."). He is not interested in his own appearance ("I do not want to be a handsome"). Love, he, apparently, considers the remnant of the past ("We are above love"). All the material does not attract it either. He is ready to destroy the past, and the present "before founding, and then ..." And what then? Is it possible to grow a garden without knowing how to appreciate the beauty? Petya gives the impression of a man of frivolous and superficial. Chekhov, apparently, not at all pleases the prospect of such a future for Russia.

The remaining heroes of the plays are also representatives of three different epochs. For example, the old servant Firs is all from the past. All his ideals are associated with distant times. He considers the beginning of all the troubles of 1861. He does not need "will", since his whole life is devoted to the Lord. Firs - Very mineral nature, he is the only hero of the play, endowed with such quality as devotion.

Read cars last page plays, but no answer to the question: "So whom the writer connects his hopes for new life? " There is a feeling of some confusion and anxiety: who will decide the fate of Russia? Who can be saved by beauty?

The image of a cherry garden in the consciousness of the heroes of the play L. P. Chekhov "Cherry Garden"

The cherry garden combines all the heroes of the play around him. Writer connects characters of different ages and social groupsAnd they will have to somehow solve the fate of the garden, and therefore, and their destiny.

The owners of the manor are Russian landowners Gaev and Ranevskaya. Both brother and sister - educated, clever, sensitive people. They know how to appreciate beauty, thinly feel it, but due to inertness can not do anything for her salvation. Gaev and Ranevskaya are deprived of the feelings of reality, practicality and responsibility, and therefore is not able to take care of either about himself about loved ones. They cannot follow the advice of a blades and pass the land for rent, despite the fact that it would bring them a solid income: "Dachas and dacms - it went so, forgive." To go to this measure, they prevent their special feelings that bind them to the estate. They belong to the garden as a living person with whom they have a lot of ties. The cherry garden for them is the personification of the past from the life of youth. Looking out the window on (garden, Ranevskaya exclaims "About my childhood, my purity! In this nursery I slept, I looked from here to the garden, happiness woke up with me every morning, and then he was exactly the same, nothing has changed." Returning to Native estate, she again felt young and happy.

The feelings of Gaeva and Ranevskaya does not share the leopard. Their behavior seems to him as strange and illogical. He is surprised why they do not act so obvious for him the arguments of a prudent exit from the difficult situation. Lopakhin knows how to appreciate the beauty: he admired the garden, "which is nothing more beautiful." But he is an active and practical person. He sincerely tries to help Gaevu and Ranevskaya, constantly convincing them: "And the cherry garden, and the land must be leased under the cottages, to do it now, as soon as possible, the auction is on the nose! Understand! " But they do not want to listen to him. Gaev is capable only on empty oaths: "My honor, than you want to swear, the estate will not be sold! .."

but the auction took placeAnd Lopahin bought the estate. For him, this event has a special meaning: "I bought the estate, where the grandfather and father were slaves, where they were not even allowed into the kitchen. I sleep, it only seems to me, it only seems ... "Thus, for a shovel, the purchase of estates becomes a kind of symbol

his success, reward for perennial labor. For a shovel, the cherry garden is just the land that can be sold, lay or buy. In his joy, he does not even consider it necessary to show an elementary sense of tact in relation to the former owners of the manor. He begins to cut down the garden, not even waiting for their departure. In something, he is akin to the soulless Lackey Yasha, in which there are no such feelings as kindness, love for the mother, attachment to the place where was born and grew. In this, he is the direct opposite of the Fours, with these qualities are extremely developed. Firs - most an old man in the House. He is many years faithfully serves as his gentlemen, sincerely loves them and will be ready to defend them from all the troubles. Perhaps Firs is the only character of the play, endowed with this quality - devotion. Firs - Very mineral nature, and this integrity is fully manifested in its attitude towards the garden. The garden for old lacquer is a generic nest, which he seeks to protect the same way as his Lord.

Petya Trofimov is a representative of a new minion. He does not care about the fate of the Cherry Garden. "We are above love," he declares, this is the easiest of the inability to a serious feeling. Petya looks at everything too superficially: not knowing genuine life, he is trying to rebuild it on the basis of contrived ideas. Externally Petya and Anya happy. They want to go to a new life, resolutely breaking with the past. The garden for them is "all of Russia", and not just this cherry garden. But is it possible, not like a native home, love the whole world? Both heroes rushed to new horizons, but losing their roots. Understanding between Ranevskaya and Trofimov is impossible. If there is no past and memories for Petta, then Ranevskaya is deeply grieving: "After all, I was born here, my father and mother lived here, I love this house, I do not understand my life without a cherry garden ..."

Cherry garden - symbol of beauty. But who will save beauty if people who are able to appreciate it, do not fight for it, and people are energetic and actors look at it only as a source of benefits and profit?

The cherry garden is a symbol of good, and therefore such expressions, how to "pick up the roots", "trample a flower" or "hit the tree with an ax", sounds blasphemy and inhuman.

Reflecting on the characters and actions of the heroes of the play, we think about the fate of Russia, which is for us thereby "cherry garden."

Analysis of the comedy A. P. Chekhov "Cherry Garden"

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General description of comedy.

This lyrical comedy, as Czech himself calls it, is aimed at disclosing the social topic about the death of the old nobility estates. The comedy action occurs in the estate of L. A. Ranenevskaya, the landowner and is tied to the fact that due to debts in the inhabitants have to sell so beloved by all the cherry garden. Before us nobility in a state of decline. Ranevskaya and Gaev (her brother) - people are impractical and not able to manage. Being people are weakly accomplices, they change their mood sharply, with ease shed tears along a trifling occasion, willingly wigitate and arrange luxurious holidays on the eve of their ruin. In the play of Chekhov shows people of the new generation, perhaps for them the future. This is Anya Ranevskaya and Petya Trofimov (former teacher of the deceased son of Ranevskaya Grisha). New people should be strong fighters for coming happiness. True, Trofimova attributed to the number of such people is difficult: he is "inequer", not too strong and, in my opinion, is not enough for a great struggle. Hope - on the young Anya. "We will put a new garden, luxuriously ..." - she believes, and in this faith - the only one in the play is the option of a happy development situation for Russia.

Form and content of the work.

1) The form: a) the problem part (subject matter), the world of the artwork: Main characters (images): Anywhere Ranevskaya Love Andreevna, her daughter Anya and Varya, her brother Gaev Leonid Andreyevich, merchant Lopakhin Yermolai Alekseevich, student Trofimov Petr Sergeevich, landowner Simeonov-Pischik Boris Borisovich, Governess Charlotte Ivanovna, Refrigerated Refrigerated by Semen Panteleevich, Dunyash Maid Yasha, as well as several minor heroes (passerby, head station, postal official, guests and servants). In addition, we allocate the "garden" as an independent hero, it occupies its place in the system of plays. b) the structure (composition) of the work, the organization of the work at the Makrotek level: the comedy consists of four actions. All of them intertwined between themselves plot and chronologically, forming a single picture of events. c) artistic speech

This work is a comedy, so it is very emotionally. We note that the text of the play is full of historians and archaisms, denoting objects and phenomena from the life of people of the beginning of the 20th century (lacquer, nobles, barin). There is a conversational vocabulary and conversational forms of words in the replicas of servants ("I am good, what a fool put it!", "Charming, still one hundred eighty rubles I will take you ... I'll take ..."), also numerous borrowings from French I. german languages, direct transliteration and foreign words As such ("Pardon!", "Ein, Zwei, Drei!", "Grand-Rond" dance in the hall).

subject -this phenomenon is external and inner life A person who is the subject of a study of the artistic work. The studied work polyathemsbecause Contains more than one topic.

According to the method of expression, the topic shall be divided into: 1) explicitly pronounced: the theme of love for the native home ("Children's, sweet, my beautiful room ...", "Oh, My Garden!", "Dear, a durable cabinet! Greetings to your existence, which for more than a hundred years has been sent to the bright ideals of good and justice"), theme of the family, love for relatives ("My dulling came!", "My beloved," "I suddenly became sorry for my mom, so it's a pity, I hugged her head, squeezed my hands and I could not release. Mom then everything caught, crying"), theme of old age ("You're tired, grandfather. Most like you," Thank you, Firs, thank you, my old man. I'm so glad you still alive "), theme of love ("And what to hide or silence, I love it, it's clear. I love, love ... This is a stone on my neck, I go with him to the bottom, but I love this stone and I can not live without it," " It is necessary to be a man, in your years it is necessary to understand those who love. And you need to love yourself ... it is necessary to fall in love with "; 2) implicitly pronounced: the topic of conservation of nature, the theme of the future of Russia.

2) cultural - historical topics: Theme of the Future of Russia

According to the classification of a philologist Pothebni:

2) internal shape (shaped structures, plot elements, etc.)

3) external form (words, text structure, composition, etc.)

Problems of work.

The main problems of this play are questions about the fate of the homeland and debt, the responsibility of the younger generation. The problem is implicitly pronounced, as the author comes this thought through the symbol of the cherry garden, disclosed from various aspects: temporary, shaped and spatial).

Specific issues:a) social (public relations, building a new life, the problem of the noble festive society); b) socio-psychological (internal experiences of heroes); d) historical (the problem of addictive nobility to the cancellation of serfdom).

Chronotope.

Straightforward, actions occur in May 1900s, immediately after the cancellation of serfdom, and end in October. Events occur in the chronological sequence in the Ranevskaya estate, however there are references to the past of heroes.

Characteristics of heroes.

It is worth noting that there is no sharply positive or sharply negative heroes in the work.

Exterior appearance heroes are given very briefly, and only clothing is described mainly. The text contains a characteristic not all heroes.

Lopakhin - "In a white vest, yellow shoes", "with swine slices", "thin, tender fingers, like an artist"

Trofimov - 26-27 years old, "In a worn old uniform, with glasses," "hair is not thick", "What a ugly, Petya," "Strict face"

Firs - 87 years old, "in a jacket and white vest, on the legs of the shoes."

Lyubov Ranevskaya, the landowner - "a good man. Easy, simple person, "very sentimental. He lives idle the habit, despite the fact that all in debt. The heroine it seems that everything is formed by itself, but the world's collapse occurs: the garden gets the lopakhin. The heroine, losing the estate and his homeland, leaving back to Paris.

Anya, Ranevskaya's daughter - in love with Petya Trofimova and is under his influence. It is passionate about the ideas that the nobility is to blame for the Russian people and must redeem their guilt. Anya believes in the future happiness, new, best life ("We will put a new garden, luxuriously", "Goodbye, house! Farewell, an old life!").

Varya is characterized by his Ranenevskaya's adopted mother as "from simple, running all day", "good girl."

Leonid Andreevich Gaev - Brother Ranevskaya, "Man of the Eighties of the Eighties", a man confusing in words, vocabulary which consists mainly of "Billiard Lords" ("I cut into the corner!", "Duplet to the angle ... Croisy in the middle ...") And perfect nonsense ("Dear, a durable cabinet! Greetings Your existence that is already more A hundred years was sent to bright ideals of good and justice; Your silent appeal to fruitful work did not weaken over a hundred years, supporting (through tears) in generations of our kind of vigor, faith in the best future and raising ideals of good and public self-consciousness in us) . One of the few, which invents various plans to save the cherry garden.

Ermolai Alekseevich Lopakhin - merchant, "He is good, interesting person", Himself characterizes himself as a man's man. He himself from the kind of serfs, and now is a rich man who knows where and how to invest. Lopahin is a very controversial hero in which the worn and rudeness are struggling with hard work and a mixture.

Peter Trofimov - Chekhov describes it as a "eternal student", already aged, but still not graduated from the university. Radaneskaya, angry with him during the dispute about love, shouts: "You are twenty-six years old or twenty-seven, and you are still a second-class gymnasister!", Lopahin ironically asks "How many years old, how do you study at the university?". This hero belongs to the generation of the future, he believes in it, denies love and is in finding the truth.

Epiphans, the Ranenevskaya and Gaev's office, Madly loves their maid Dunyash, who responds about him a little ambiguous: "He is humble, and only sometimes it starts talking, you will not understand anything. And good, and sensitive, only incomprehensible. I seem to me and like it. He loves me crazy. He is unhappy man, every day something. It is also teased with us: twenty two misfortunes ... " "You walk from place to place, and do not do it. The railway is kept, and unknown for what ": In these words, Varia is the whole life of the Epodova.

Portraits, as we have already described earlier, brief - non-independent element of the work.

The interior is self-concrete element in the work (i.e. needed to describe as such),since in addition to other things, it creates an image of time: in the first and third action, this is the image of the past and present (the comfort and the warmth of the native home after a long separation ("My room, my windows, as if I did not leave," "living room, separated by arch from the hall . The chandelier burns ")), in the fourth, the last action is a picture of the future, the realities of the new world, the emptiness after the county of the heroes (" the decoration of the first act. There are no curtains on the windows, no paintings, there are few furniture, which is folded in one corner, Exactly for sale. Emptiness is felt. About the output door and in the depths of the scene are folded suitcases, road junctions, etc. left door open ").

Thus, the interior is a descriptive-characteristic function.

Artistic landscape.

It is worth noting that the same description of the landscape performs two functions at once (the development of external and internal action and the descriptive characteristic function), based on the presence of such a hero in the play, as the "Cherry Garden", we give examples: "May, Cherry trees bloom, "field. Old, cropped, long abandoned chapel, a well, a well, big stones, sometime former, apparently grave slabs, and an old bench. The road is visible to the estate of Gaeva. Aside, towering, darkest tops: the cherry garden begins there. There were a number of telegraph pillars, and far away on the horizon is unclear the big city, which is visible only in very good, clear weather. Soon Sun will Sun. " Artistic detail.

1. Portrait:Gaev about Ana: "She is good, kind, nice, I love her very much, but, as you think about softening circumstances, yet, it is necessary to confess, it is vicious. It feels in her slightest movement. "

2. Portable psychological: Dunyer about the epidian: "He is unhappy man, every day something. It is also teased with us: twenty two misfortunes ... "

3. Wonderful: "Billiard Lights" Gaeva, for example, "cut into the middle!", "From two sides in the middle" and others.

Plays composition.

Exposition. Located in the first action - this is the scene of the expectations of Dunyasha, the leopard and the Epods of the arrival of Ranevskaya from Paris. Such scenes tell the reader and the viewer about the estate Love Andreevna, reveals the main trait of its inhabitants - everyone speaks of his own, without listening to the rest.

Tie. The scenes of the appearance of Ranevskaya with the daughter and governess of Charlotte, clarifying the relationship between the Ranevskaya and her brother Gaev. Opens the main problem Plays - unwillingness to pass the cherry garden, and at the same time, the inability to make another solution. Lopahin offers its conditions - to buy a garden, cut out everything and take under the country's dacha. No one agrees.

Development of action. In the second action, the fate of the Cherry Garden and the estates of Ranenevskaya and Gaeva, who live idle life, without controlling their expenses, thereby driving themselves in more long debts.

Culmination. In the third action, the ball scene in the estate of Ranenevskaya is described, and for the scene there is a selling of a blades, all heroes will learn about it. This leads heroes in shock.

« Picker. What is on the auction? Tell me! Love Andreevna. Sold cherry garden?

Lopakhin. Sold

Love Andreevna. Who bought?

Lopakhin. I bought".

Junction Describes in the fourth action of the play with the help of scenes of the departure of Ranevskaya back to Paris. The house leaves all the characters, except for the Lacey Firsa: they forgot.

Plot external. Performs both functions: and constructive (illuminates the elements of the depicted), and the characteristic (disclosure of the image of heroes). External: General development of events. Interior There is almost completely completely. Partially represented in the monologues of the heroes of the play. Conflicts:1. Psychological, moral: internal conflict of the human soul. 2. Socio-historical: the conflict of the outgoing nobility and the bourgeoisie coming to him (Ranevskaya, Gaeva and Ani with Trofimov, respectively).

In this waythe plot is multi-cable, concentric. Composition is complex (external: fission of the play on actions, internal: replicas of heroes). There are all types of text (narration, description and reasoning). The work is a play.