Past future present in the play The Cherry Orchard. Present, past, future in the play “The Cherry Orchard. Emotional ending of the lesson

“The Cherry Orchard” is the last work of A.P. Chekhov. The writer was terminally ill when he wrote this play. He realized that he would soon pass away, and this is probably why the whole play is filled with some kind of quiet sadness and tenderness. This is the great writer’s farewell to everything that was dear to him: to the people, to Russia, whose fate worried him until the last minute. Probably, at such a moment, a person thinks about everything: about the past - he remembers all the most important things and takes stock - as well as about the present and future of those whom he leaves on this earth. In the play “The Cherry Orchard” it is as if a meeting of the past, present and future took place. It seems that the heroes of the play belong to three different eras: some live in yesterday and are absorbed in memories of times long past, others are busy with momentary affairs and strive to benefit from everything that they have at the moment, and others turn their gaze far ahead, not accepting take real events into account.

Thus, the past, present and future do not merge into one whole: they exist according to piecework and sort out their relationships with each other.

Prominent representatives of the past are Gaev and Ranevskaya. Chekhov pays tribute to the education and sophistication of the Russian nobility. Both Gaev and Ranevskaya know how to appreciate beauty. They find the most poetic words to express their feelings towards everything that surrounds them - be it an old house, a favorite garden, in a word, everything that is dear to them

since childhood. They even address the closet as if they were an old friend: “Dear, dear closet! I greet your existence, which for more than a hundred years has been directed towards the bright ideals of goodness and justice...” Ranevskaya, finding herself at home after a five-year separation, is ready to kiss every thing that reminds her of her childhood and youth. For her, home is a living person, a witness to all her joys and sorrows. Ranevskaya has a very special attitude towards the garden - it seems to personify all the best and brightest things that happened in her life, it is part of her soul. Looking at the garden through the window, she exclaims: “Oh my childhood, my purity! I slept in this nursery, looked at the garden from here, happiness woke up with me every morning, and then he was exactly the same, nothing has changed.” Ranevskaya's life was not easy: she lost her husband early, and soon after that her seven-year-old son died. The man with whom she tried to connect her life turned out to be unworthy - he cheated on her and squandered her money. But returning home for her is like falling into a life-giving spring: she feels young and happy again. All the pain boiling in her soul and the joy of the meeting are expressed in her address to the garden: “Oh my garden! After a dark, stormy autumn and a cold winter, you are young again, full of happiness, the angels have not abandoned you...” For Ranevskaya, the garden is closely connected with the image of her late mother - she directly sees her mother in a white dress walking through the garden.

Neither Gaev nor Ranevskaya can allow their estate to be rented out to summer residents. They consider this very idea vulgar, but at the same time they do not want to face reality: the day of the auction is approaching, and the estate will be sold under the hammer. Gaev shows complete immaturity in this matter (the remark “Puts a lollipop in his mouth” seems to confirm this): “We will pay the interest, I am convinced...” Where does he get such conviction from? Who is he counting on? Obviously not on myself. Without any reason, he swears to Varya: “I swear on my honor, whatever you want, I swear, the estate will not be sold! ... I swear on my happiness! Here's my hand to you, then call me a crappy, dishonest person if I allow it to the auction! I swear with all my being!” Beautiful but empty words. Lopakhin is a different matter. This man does not waste words. He sincerely tries to explain to Ranevskaya and Gaeva that there is a real way out of this situation: “Every day I say the same thing. Both the cherry orchard and the land must be rented out for dachas, this must be done now, as quickly as possible - the auction is just around the corner! Understand! Once you finally decide to have dachas, they will give you as much money as you want, and then you are saved.” With such a call, the “present” turns to the “past,” but the “past” does not heed. “Finally deciding” is an impossible task for people of this type. It is easier for them to stay in the world of illusions. But Lopakhin does not waste time. He simply buys this estate and rejoices in the presence of the unfortunate and destitute Ranevskaya. The purchase of an estate has a special meaning for him: “I bought an estate where my grandfather and father were slaves, where they were not even allowed into the kitchen.” This is the pride of a plebeian who has “rubbed his nose” with the aristocrats. He is only sorry that his father and grandfather do not see his triumph. Knowing what the cherry orchard meant in Ranevskaya’s life, he literally dances on her bones: “Hey, musicians, play, I want to listen to you! Come and watch how Ermolai Lopakhin takes an ax to the cherry orchard and how the trees fall to the ground!” And he immediately sympathizes with the sobbing Ranevskaya: “Oh, if only all this would pass, if only our awkward, unhappy life would somehow change.” But this is a momentary weakness, because he is experiencing his finest hour. Lopakhin is a man of the present, the master of life, but is he the future?

Maybe the man of the future is Petya Trofimov? He is a truth-teller (“You don’t have to deceive yourself, you have to look the truth straight in the eyes at least once in your life”). He is not interested in his own appearance (“I don’t want to be handsome”). He apparently considers love to be a relic of the past (“We are above love”). Everything material does not attract him either. He is ready to destroy both the past and the present “to the ground, and then...” And then what? Is it possible to grow a garden without knowing how to appreciate beauty? Petya gives the impression of a frivolous and superficial person. Chekhov, apparently, is not at all happy about the prospect of such a future for Russia.

The rest of the characters in the play are also representatives of three different eras. For example, the old servant Firs is all from the past. All his ideals are connected with distant times. He considers the reform of 1861 to be the beginning of all troubles. He does not need “will”, since his whole life is devoted to the masters. Firs is a very integral person; he is the only hero of the play endowed with such a quality as devotion.

Lackey Yasha is akin to Lopakhin - no less enterprising, but even more soulless. Who knows, maybe he will soon become the master of life?

The last page of the play has been read, but there is no answer to the question: “So with whom does the writer pin his hopes for a new life?” There is a feeling of some confusion and anxiety: who will decide the fate of Russia? Who can save beauty?

Now, close to the new turn of the century, in the modern turmoil of the end of an era, the destruction of the old and convulsive attempts to create the new, “The Cherry Orchard” sounds to us completely differently than it sounded ten years ago. It turned out that the time of Chekhov's comedy is not only the turn of the 19th-20th centuries. It is written about timelessness in general, about that vague pre-dawn hour that came to our lives and determined our destinies.

3). The estate of landowner Lyubov Andreevna Ranevskaya. Spring, cherry trees are blooming. But the beautiful garden will soon have to be sold for debts. For the last five years, Ranevskaya and her seventeen-year-old daughter Anya have lived abroad. Ranevskaya’s brother Leonid Andreevich Gaev and her adopted daughter, twenty-four-year-old Varya, remained on the estate. Things are bad for Ranevskaya, there are almost no funds left. Lyubov Andreevna always squandered money. Six years ago, her husband died from drunkenness. Ranevskaya fell in love with another person and got along with him. But soon her little son Grisha died tragically, drowning in the river. Lyubov Andreevna, unable to bear the grief, fled abroad. The lover followed her. When he fell ill, Ranevskaya had to settle him at her dacha near Menton and look after him for three years. And then, when he had to sell his dacha for debts and move to Paris, he robbed and abandoned Ranevskaya.

Gaev and Varya meet Lyubov Andreevna and Anya at the station. The maid Dunyasha and the merchant Ermolai Alekseevich Lopakhin are waiting for them at home. Lopakhin's father was a serf of the Ranevskys, he himself became rich, but says of himself that he remained a “man a man.” The clerk Epikhodov comes, a man with whom something constantly happens and who is nicknamed “thirty-three misfortunes.”

Finally the carriages arrive. The house is filled with people, everyone is in pleasant excitement. Everyone talks about their own things. Lyubov Andreevna looks at the rooms and through tears of joy remembers the past. The maid Dunyasha can’t wait to tell the young lady that Epikhodov proposed to her. Anya herself advises Varya to marry Lopakhin, and Varya dreams of marrying Anya to a rich man. The governess Charlotte Ivanovna, a strange and eccentric person, boasts about her amazing dog; the neighbor, the landowner Simeonov-Pishik, asks for a loan of money. The old faithful servant Firs hears almost nothing and mutters something all the time.

Lopakhin reminds Ranevskaya that the estate should soon be sold at auction, the only way out is to divide the land into plots and rent them out to summer residents. Ranevskaya is surprised by Lopakhin’s proposal: how can her beloved wonderful cherry orchard be cut down! Lopakhin wants to stay longer with Ranevskaya, whom he loves “more than his own,” but it’s time for him to leave. Gaev makes a welcoming speech to the hundred-year-old “respected” cabinet, but then, embarrassed, he again begins to meaninglessly utter his favorite billiard words.

Ranevskaya does not immediately recognize Petya Trofimov: so he has changed, turned ugly, the “dear student” has turned into an “eternal student.” Lyubov Andreevna cries, remembering her little drowned son Grisha, whose teacher was Trofimov.

Gaev, left alone with Varya, tries to talk about business. There is a rich aunt in Yaroslavl, who, however, does not love them: after all, Lyubov Andreevna did not marry a nobleman, and she did not behave “very virtuously.” Gaev loves his sister, but still calls her “vicious,” which displeases Anya. Gaev continues to build projects: his sister will ask Lopakhin for money, Anya will go to Yaroslavl - in a word, they will not allow the estate to be sold, Gaev even swears by it. The grumpy Firs finally takes the master, like a child, to bed. Anya is calm and happy: her uncle will arrange everything.

Lopakhin never ceases to persuade Ranevskaya and Gaev to accept his plan. The three of them had breakfast in the city and, on their way back, stopped in a field near the chapel. Just now, here, on the same bench, Epikhodov tried to explain himself to Dunyasha, but she had already preferred the young cynical lackey Yasha to him. Ranevskaya and Gaev don’t seem to hear Lopakhin and are talking about completely different things. Without convincing the “frivolous, unbusinesslike, strange” people of anything, Lopakhin wants to leave. Ranevskaya asks him to stay: “it’s still more fun” with him.

Anya, Varya and Petya Trofimov arrive. Ranevskaya starts a conversation about a “proud man.” According to Trofimov, there is no point in pride: a rude, unhappy person should not admire himself, but work. Petya condemns the intelligentsia, who are incapable of work, those people who philosophize importantly, and treat men like animals. Lopakhin enters the conversation: he works “from morning to evening,” dealing with large capitals, but he is becoming more and more convinced how few decent people there are around. Lopakhin doesn’t finish speaking, Ranevskaya interrupts him. In general, everyone here does not want and does not know how to listen to each other. There is silence, in which the distant sad sound of a broken string can be heard.

Soon everyone disperses. Left alone, Anya and Trofimov are glad to have the opportunity to talk together, without Varya. Trofimov convinces Anya that one must be “above love”, that the main thing is freedom: “all of Russia is our garden,” but in order to live in the present, one must first atone for the past through suffering and labor. Happiness is close: if not they, then others will definitely see it.

The twenty-second of August arrives, trading day. It was on this evening, completely inopportunely, that a ball was being held at the estate, and a Jewish orchestra was invited. Once upon a time, generals and barons danced here, but now, as Firs complains, both the postal official and the station master “don’t like to go.” Charlotte Ivanovna entertains guests with her tricks. Ranevskaya anxiously awaits her brother's return. The Yaroslavl aunt nevertheless sent fifteen thousand, but it was not enough to redeem the estate.

Petya Trofimov “calms” Ranevskaya: it’s not about the garden, it’s over long ago, we need to face the truth. Lyubov Andreevna asks not to judge her, to have pity: after all, without the cherry orchard, her life loses its meaning. Every day Ranevskaya receives telegrams from Paris. At first she tore them right away, then - after reading them first, now she no longer tears them. “This wild man,” whom she still loves, begs her to come. Petya condemns Ranevskaya for her love for “a petty scoundrel, a nonentity.” Angry Ranevskaya, unable to restrain herself, takes revenge on Trofimov, calling him a “funny eccentric”, “freak”, “clean”: “You have to love yourself... you have to fall in love!” Petya tries to leave in horror, but then stays and dances with Ranevskaya, who asked him for forgiveness.

Finally, a confused, joyful Lopakhin and a tired Gaev appear, who, without saying anything, immediately goes home. The cherry orchard was sold, and Lopakhin bought it. The “new landowner” is happy: he managed to outbid the rich man Deriganov at the auction, giving ninety thousand on top of his debt. Lopakhin picks up the keys thrown on the floor by the proud Varya. Let the music play, let everyone see how Ermolai Lopakhin “takes an ax to the cherry orchard”!

Anya consoles her crying mother: the garden has been sold, but there is a whole life ahead. There will be a new garden, more luxurious than this, “quiet, deep joy” awaits them...

The house is empty. Its inhabitants, having said goodbye to each other, leave. Lopakhin is going to Kharkov for the winter, Trofimov is returning to Moscow, to the university. Lopakhin and Petya exchange barbs. Although Trofimov calls Lopakhin a “beast of prey,” necessary “in the sense of metabolism,” he still loves his “tender, subtle soul.” Lopakhin offers Trofimov money for the trip. He refuses: no one should have power over the “free man”, “in the forefront of moving” to the “highest happiness”.

Ranevskaya and Gaev even became happier after selling the cherry orchard. Previously they were worried and suffered, but now they have calmed down. Ranevskaya is going to live in Paris for now with money sent by her aunt. Anya is inspired: a new life is beginning - she will graduate from high school, work, read books, and a “new wonderful world” will open up before her. Suddenly, out of breath, Simeonov-Pishchik appears and instead of asking for money, on the contrary, he gives away debts. It turned out that the British found white clay on his land.

Everyone settled down differently. Gaev says that now he is a bank employee. Lopakhin promises to find a new place for Charlotte, Varya got a job as a housekeeper for the Ragulins, Epikhodov, hired by Lopakhin, remains on the estate, Firs should be sent to the hospital. But still Gaev sadly says: “Everyone is abandoning us... we suddenly became unnecessary.”

There must finally be an explanation between Varya and Lopakhin. Varya has been teased as “Madame Lopakhina” for a long time. Varya likes Ermolai Alekseevich, but she herself cannot propose. Lopakhin, who also speaks highly of Varya, agrees to “end this matter right away.” But when Ranevskaya arranges their meeting, Lopakhin, having never made up his mind, leaves Varya, taking advantage of the first pretext.

“It's time to go! On the road! - with these words they leave the house, locking all the doors. All that remains is old Firs, whom everyone seemed to care about, but whom they forgot to send to the hospital. Firs, sighing that Leonid Andreevich went in a coat and not a fur coat, lies down to rest and lies motionless. The same sound of a broken string is heard. “Silence falls, and you can only hear how far away in the garden an ax is knocking on a tree.”

The play “The Cherry Orchard” was published at the very beginning of the 20th century and is a kind of final work by A.P. Chekhov. In this work, he most clearly expressed his thoughts about the past, present and future of Russia. He was able to masterfully show the real situation in society on the eve of the first revolution and the changes that took place in the country. As one famous critic said, the main character of the play, in fact, is time. Almost everything depends on him. Throughout the entire work, the author focuses on the transience and mercilessness of time.

The action of the play “The Cherry Orchard” develops on the family estate of former nobles Ranevskaya and Gaev. The plot of the comedy is related to the sale of this estate for the debts of the owners. And along with it, a wonderful blooming garden, which is the personification of beauty and the desire for a better life, will go under the hammer. The play intertwines the lives of the past and present generations. The main characters, the owners of the estate, belong to the old days. They were never able to get used to the new life after the abolition of serfdom. Ranevskaya and Gaev live one day at a time. For them, time has stopped. They don't understand that if they don't act, they will lose everything.

Ranevskaya also loves to waste money on everything, despite the fact that she has almost no money left. And to the merchant Lopakhin’s proposal to turn the garden into summer cottages and make money on it so as not to lose the estate, both Ranevska and Gaev respond negatively. As a result, they lose both their garden and their estate. In this act one can see carelessness, lack of practicality and unwillingness of the owners to make any efforts. However, another driving force was their heightened sense of beauty. They simply could not cut down the garden, in which every leaf was a reminder of a happy childhood.

New times are represented by young characters. First of all, this is the businesslike merchant Lopakhin, who himself grew up under the tutelage of Ranevskaya. His ancestors wore “muzhiks” for the owners of the estate. And now he has become rich and bought the estate himself. In the person of Ermolai Lopakhin, the author depicted the emerging bourgeoisie, which replaced the nobility. With his hard work, practicality, ingenuity and enterprise, he managed to firmly establish himself in modern society.

In addition to Lopakhin, the new generation is represented by Petya Trofimov and Anya - people who want to work for the good of society in order to atone for the sins of inactive ancestors. Petya Trofimov is twenty-six or twenty-seven years old, and he is still studying. He was nicknamed the “eternal student.” This character demonstrates a keen sense of justice, philosophizes a lot about how things should be, but acts little. He scolds the nobility for idleness and sees the future behind the bourgeoisie. Petya encourages Anya to follow him, as he is confident in a happy future. Although he calls for work, he himself is not capable of creation.

The future of Russia remains uncertain in Chekhov's play. He does not give a specific answer to who the future belongs to and what will happen next. It is only clear that the writer sincerely hoped that the coming century would be fruitful, and that people would finally appear capable of growing a new cherry orchard, as a symbol of the eternal renewal of life.

(482 words) “The Cherry Orchard” is the last play by A.P. Chekhov. It was written by him in 1903, shortly before the 1905 revolution. The country then stood at a crossroads, and in the work the author skillfully conveyed the atmosphere of that time through events, characters, their characters and actions. The Cherry Orchard is the embodiment of pre-revolutionary Russia, and heroes of different ages are the personification of the past, present and future of the country.

Ranevskaya and Gaev represent earlier times. They live in memories and do not want to solve the problems of the present at all. Their house is under threat, but instead of making any attempts to save it, they in every possible way avoid conversations with Lopakhin on this topic. Lyubov Andreevna constantly wastes money that could be used to buy out a house. In the second act, she first complains: “Oh, my sins... I’ve always wasted money without restraint, like crazy...” - and literally a minute later, having heard the Jewish orchestra, she suggests “inviting him somehow, having an evening.” There is a feeling that before us are not adult, experienced, educated heroes, but foolish children who are unable to exist independently. They hope that their problem will be solved miraculously, but they themselves do not take any action, leaving everything to the mercy of fate. In the end, they are deprived of the entire past that they treasured so much.

The present time is personified by the merchant Ermolai Lopakhin. He is a representative of the growing class in Russia - the bourgeoisie. Unlike Ranevskaya and Gaev, he is not childish, but very hardworking and enterprising. It is these qualities that help him eventually buy the estate. He grew up in a family of serfs who used to serve the Gaevs, so he is very proud of himself: “... beaten, illiterate Ermolai... bought an estate where his grandfather and father were slaves, where they were not even allowed into the kitchen.” For Ermolai, the garden is not a memory of past years; for him, the plot is only a means for making money. Without any doubt, he cuts it down, thereby destroying the old, but at the same time, without creating anything new.

Anya and Petya Trofimov are heroes of the future. They both talk about the future as something absolutely bright and beautiful. But in reality, for the two of them it is quite vague. Petya talks a lot, but does little. At 26, he still hasn't graduated from university, earning him the nickname "the eternal student." He criticizes the nobility and supports the bourgeoisie, calling people to work, but he himself is not capable of anything. Of all the characters in the play, only Anya supports him. She is still a 17-year-old girl who represents the personification of youth, inexhaustible strength and the desire to do good. Her future is also unknown, but it is she who reassures her mother: “We will plant a new garden, more luxurious than this.” She has no doubt that the loss of an estate is not the worst tragedy and that a new garden can be planted, just as a new life can be started. Although the author does not claim anything, perhaps Anya is the true future of Russia.

A.P. Chekhov showed readers heroes of different generations, classes and views on life of that time, but was never able to give a definite answer as to who the future of the country lay behind. But still, he sincerely believed that Russia’s future would certainly be bright and beautiful, like a blooming cherry orchard.

Chekhov gave his last play the subtitle “comedy.” But in the first production of the Moscow Art Theater, during the author’s lifetime, the play appeared as a heavy drama, even a tragedy. Who is right? It must be borne in mind that drama is a literary work designed for stage life. Only on stage will drama acquire a full-fledged existence, will reveal all the meanings inherent in it, including gaining genre definition, so the last word in answering the question posed will belong to the theater, directors and actors. At the same time, it is known that the innovative principles of Chekhov the playwright were perceived and assimilated by theaters with difficulty and not immediately.

Although the Moscow Art Theater, sanctified by the authority of Stanislavsky and Nemirovich-Danchenko, the traditional interpretation of “The Cherry Orchard” as a dramatic elegy was entrenched in the practice of domestic theaters, Chekhov managed to express dissatisfaction and dissatisfaction with “his” theater with their interpretation.

“The Cherry Orchard” is the farewell of the now former owners to their ancestral noble nest. This topic was repeatedly raised in Russian literature of the second half of the 19th century, both tragically, dramatically, and comically. What are the features of Chekhov's embodiment of this theme?

In many ways, it is determined by Chekhov’s attitude towards the nobility, which is disappearing into social oblivion and the capital that is replacing it, which manifested itself in the images of Ranevskaya and Lopakhin. In both classes and their interaction, Chekhov saw the continuity of bearers of Russian culture. For Chekhov, the noble nest is, first of all, a center of culture. Of course, this is also a museum of serfdom, and this is mentioned in the play, but the playwright still sees the noble estate primarily as a historical place. Ranevskaya is his mistress, the soul of the house. That is why, despite all her frivolity and vices, people are drawn to her. The mistress returned, and the house came to life; the former inhabitants, who had apparently left it forever, began to flock into it.

Lopakhin matches her. This is a poetic nature, he has, as Petya Trofimov says, “thin, gentle fingers, like an artist... a subtle, gentle soul.” And in Ranevskaya he feels the same kindred spirit. The vulgarity of life comes at him from all sides, he acquires the features of a rakish merchant, begins to boast of his democratic origins and flaunt his lack of culture (and this was considered prestigious in the “advanced circles” of that time), but he is also waiting for Ranevskaya to cleanse himself and be reborn around her. This portrayal of a capitalist was based on real facts, because many Russian merchants and capitalists helped Russian art. Mamontov, Morozov, Zimin maintained theaters, the Tretyakov brothers founded an art gallery in Moscow, the merchant son Alekseev, who took the stage name Stanislavsky, brought to the Art Theater not only creative ideas, but also his father’s wealth, and quite a lot.

Lopakhin is exactly like that. That is why his marriage to Vara did not work out; they are not a match for each other: the subtle, poetic nature of a rich merchant and the down-to-earth, everyday, everyday adopted daughter of Ranevskaya, completely immersed in the everyday life of life. And now comes another socio-historical turning point in Russian life. The nobles are thrown out of life, their place is taken by the bourgeoisie. How do the owners of the cherry orchard behave? In theory, you need to save yourself and the garden. How? To be socially reborn, to also become a bourgeois, which is what Lopakhin proposes. But for Gaev and Ranevskaya this means changing themselves, their habits, tastes, ideals, and life values. And so they silently reject the offer and fearlessly go towards their social and life collapse.

In this regard, the figure of a minor character, Charlotte Ivanovna, carries deep meaning. At the beginning of the second act, she says about herself: “I don’t have a real passport, I don’t know how old I am... where I come from and who I am, I don’t know... Who are my parents, maybe they didn’t get married... not I know. I want to talk so much, but with whom... I don’t have anyone... I’m all alone, alone, I don’t have anyone and... and who I am, why I am, is unknown.” Charlotte personifies the future of Ranevskaya - all this will soon await the owner of the estate. But both of them, in different ways, of course, show amazing courage and even maintain good spirits in others, because for all the characters in the play, with the death of the cherry orchard, one life will end, and whether there will be another is unknown.

The former owners and their entourage (that is, Ranevskaya, Varya, Gaev, Pischik, Charlotte, Dunyasha, Firs) behave funny, and in the light of the social oblivion approaching them, stupid and unreasonable. They pretend that everything is going on as before, nothing has changed and will not change. This is deception, self-deception and mutual deception. But this is the only way they can resist the inevitability of inevitable fate. Lopakhin sincerely grieves, he does not see class enemies in Ranevskaya and even in Gaev, who bullies him, for him these are dear, dear people.

The universal, humanistic approach to man dominates in the play over the class-class one. The struggle in Lopakhin’s soul is especially strong, as can be seen from his final monologue of the third act.

How are young people behaving at this time? Badly! Due to her young age, Anya has the most uncertain and at the same time rosy idea about the future awaiting her. She is delighted with Petya Trofimov’s chatter. The latter, although 26 or 27 years old, is considered young and seems to have turned his youth into a profession. There is no other way to explain his immaturity and, most surprisingly, the general recognition he enjoys. Ranevskaya cruelly but rightly scolded him, and in response he fell down the stairs. Only Anya believes his beautiful speeches, but her youth excuses her.

Much more than what he says, Petya characterizes his galoshes, “dirty, old.”

But for us, who know about the bloody social cataclysms that shook Russia in the 20th century and began literally immediately after the applause died down at the play’s premiere and its creator died, Petya’s words, his dreams of a new life, Anya’s desire to plant another garden - we are all this should lead to more serious conclusions about the essence of Petit’s image. Chekhov was always indifferent to politics; both the revolutionary movement and the fight against it passed him by. Stupid girl Anya believes these words. Other characters chuckle and sneer: this Petya is too much of a klutz to be afraid of. And it was not he who cut down the garden, but a merchant who wanted to build summer cottages on this site. Chekhov did not live to see the other dachas built in the vast expanses of his and our long-suffering homeland by the successors of Petya Trofimov’s work. Fortunately, most of the characters in “The Cherry Orchard” did not have to “live in this wonderful time.”

Chekhov is characterized by an objective manner of narration; in his prose the author’s voice is not heard. It is generally impossible to hear it in drama. And yet, is “The Cherry Orchard” a comedy, drama or tragedy? Knowing how much Chekhov did not like certainty and, therefore, the incompleteness of coverage of a life phenomenon with all its complexities, one should carefully answer: everything at once. The theater will have the last word on this issue.

Introduction
1. Problems of the play by A.P. Chekhov's "The Cherry Orchard"
2. The embodiment of the past - Ranevskaya and Gaev
3. Exponent of the ideas of the present - Lopakhin
4. Heroes of the future - Petya and Anya
Conclusion
List of used literature

Introduction

Anton Pavlovich Chekhov is a writer of powerful creative talent and unique subtle skill, manifested with equal brilliance both in his stories and in novels and plays.
Chekhov's plays constituted an entire era in Russian drama and theater and had an immeasurable influence on all their subsequent development.
Continuing and deepening the best traditions of the dramaturgy of critical realism, Chekhov strove to ensure that his plays were dominated by the truth of life, unvarnished, in all its commonness and everyday life.
Showing the natural course of everyday life of ordinary people, Chekhov bases his plots not on one, but on several organically related, intertwined conflicts.

At the same time, the leading and unifying conflict is predominantly the conflict of the characters not with each other, but with the entire social environment surrounding them.

The play “The Cherry Orchard” occupies a special place in Chekhov’s work.
Before her, he awakened the idea of ​​​​the need to change reality, showing the hostility of people's living conditions, highlighting those features of his characters that doomed them to the position of a victim. In The Cherry Orchard, reality is depicted in its historical development. The topic of changing social structures is being widely developed. The noble estates with their parks and cherry orchards, with their unreasonable owners, are becoming a thing of the past. They are being replaced by business-like and practical people; they are the present of Russia, but not its future. Only the younger generation has the right to cleanse and change life. Hence the main idea of ​​the play: the establishment of a new social force, opposing not only the nobility, but also the bourgeoisie and called upon to rebuild life on the principles of true humanity and justice.
The very name of Chekhov's play sets one in a lyrical mood.

In our minds, a bright and unique image of a blooming garden appears, personifying beauty and the desire for a better life. The main plot of the comedy is related to the sale of this ancient noble estate. This event largely determines the fate of its owners and inhabitants. Thinking about the fate of the heroes, you involuntarily think about more, about the ways of development of Russia: its past, present and future.

The embodiment of the past - Ranevskaya and Gaev

Exponent of the ideas of the present - Lopakhin

Heroes of the future - Petya and Anya
All this involuntarily leads us to the idea that the country needs completely different people who will accomplish different great things. And these other people are Petya and Anya.
Trofimov is a democrat by origin, habits and beliefs.
Creating images of Trofimov, Chekhov expresses in this image such leading features as devotion to public causes, desire for a better future and propaganda of the fight for it, patriotism, integrity, courage, and hard work. Trofimov, despite his 26 or 27 years, has a lot of difficult life experience behind him. He has already been expelled from the university twice. He has no confidence that he will not be expelled a third time and that he will not remain an “eternal student.”
Some treat Petya with slight irony, others with undisguised love. In his speeches one can hear a direct condemnation of a dying life, a call for a new one: “I’ll get there. I’ll get there or show others the way to get there.”
And he points. He points it out to Anya, whom he loves dearly, although he skillfully hides it, realizing that he is destined for a different path.
He tells her: “If you have the keys to the farm, then throw them into the well and leave. Be free like the wind."
The klutz and “shabby gentleman” (as Varya ironically calls Trofimova) lacks Lopakhin’s strength and business acumen. He submits to life, stoically enduring its blows, but is not able to master it and become the master of his destiny. True, he captivated Anya with his democratic ideas, who expresses her readiness to follow him, firmly believing in the wonderful dream of a new blooming garden. But this young seventeen-year-old girl, who gained information about life mainly from books, is pure, naive and spontaneous, has not yet encountered reality.

Anya is full of hope and vitality, but she still has so much inexperience and childhood. In terms of character, she is in many ways close to her mother: she has a love for beautiful words and sensitive intonations. At the beginning of the play, Anya is carefree, quickly moving from concern to animation. She is practically helpless, she is used to living carefree, not thinking about her daily bread or tomorrow. But all this does not prevent Anya from breaking with her usual views and way of life. Its evolution is taking place before our eyes.

Anya’s new views are still naive, but she says goodbye to the old home and the old world forever.
It is unknown whether she will have enough spiritual strength, perseverance and courage to complete the path of suffering, labor and hardship. Will she be able to maintain that ardent faith in the best, which makes her say goodbye to her old life without regret? Chekhov does not answer these questions. And this is natural. After all, we can only talk about the future speculatively.
Chekhov's dramaturgy, responding to pressing issues of his time, addressing the everyday interests, experiences and worries of ordinary people, awakened the spirit of protest against inertia and routine, and called for social activity to improve life. Therefore, she has always had a huge influence on readers and viewers.
The significance of Chekhov's drama has long gone beyond the borders of our homeland; it has become global. Chekhov's dramatic innovation is widely recognized outside the borders of our great homeland. I am proud that Anton Pavlovich is a Russian writer, and no matter how different the masters of culture may be, they probably all agree that Chekhov, with his works, prepared the world for a better life, more beautiful, more just, more reasonable.

If Chekhov looked with hope into the 20th century, which was just beginning, then we live in the new 21st century, still dreaming of our cherry orchard and of those who will nurture it. Flowering trees cannot grow without roots. And the roots are the past and the present. Therefore, for a wonderful dream to come true, the younger generation must combine high culture, education with practical knowledge of reality, will, perseverance, hard work, humane goals, that is, embody the best features of Chekhov's heroes.

Bibliography
1. History of Russian literature of the second half of the 19th century / ed. prof. N.I. Kravtsova. Publisher: Prosveshchenie - Moscow 1966.
2. Exam questions and answers. Literature. 9th and 11th grades. Tutorial. – M.: AST – PRESS, 2000.
3. A. A. Egorova. How to write an essay with a "5". Tutorial. Rostov-on-Don, "Phoenix", 2001.