The external plot of the play by A.P. Chekhov " The Cherry Orchard»Serves as the sale for debts of the estate of Ranevskaya, the end of the established way of life of a noble family. A beautiful garden, against the background of which heroes are shown, who do not understand what is happening or understand them very wrongly, is associated with the fate of several generations - the past, present and future of Russia.
The philosophical content of the play lies in the farewell of the new, young, tomorrow's country with the past, moribund. We can say that the whole play "The Cherry Orchard" is directed towards the future of the homeland.
The past, present and future in the play are personified by the characters of The Cherry Orchard. Each of them lives in the present, but for some this is the final stage. life path (the way Russia is going). These are Ranevskaya, her brother Gaev, their faithful old servant Firs. For these heroes, the best is in the past. For others (Anya, Petya Trofimov), this is just the beginning of a wonderful future, a new life, with new goals, new happiness, a new country.
In the play, the return from the present to the past is associated not only with some of the characters, but also with many details of the work. Old stones, a hundred-year-old wardrobe, cherries, with which they now do not know what to do, remind us of gray antiquity, but forty-fifty years ago it brought a lot of income ... In addition, the play mentions that six years ago, my husband died and Ranevskaya's son drowned, blind Firs has been muttering for three years, etc.
From the present to the future in "The Cherry Orchard" the road opens only for Anya, Varya, Petit and Lopakhin. “Yes, time is ticking,” Lopakhin himself notes.
So, "The Cherry Orchard" is a play about the past, present and future of Russia. The future appears before us in the form of a beautiful garden. "All Russia is our garden," Trofimov says in the second act, and in the final act, Anya says: "We will plant a new garden, more luxurious than this ..."
In general, the image of the cherry orchard plays a large, multifaceted role in the play. First of all, it is a symbol of a passing old life, a dead noble culture. “To own living souls - after all, it has reborn all of you who lived before and are living now, so that your mother, you, uncle, no longer notice that you are living in debt, at someone else's expense, at the expense of those people whom you do not let on front ... After all, it is so clear that in order to start living in the present, we must first redeem our past, put an end to it ... ”- Petya Trofimov says in his monologue.
It seems to me that it is in these words that the idea of \u200b\u200bthe play lies. The end of the past is its main meaning. The motive of the proximity of happiness is associated with this in The Cherry Orchard. Addressing Anya, Trofimov calls her to the beauty of the future: “I anticipate happiness, Anya, I already see it ... Here it is, happiness, here it is, coming closer and closer, I can already hear his steps. And if we do not see, do not recognize him, then what is the trouble? Others will see him! "
But the Gaevs, Ranevskys, it seems, do not think about life, the life of the outgoing and future. Even the terrible drama that is played out in connection with the sale of their native estate is not a problem for them. It seems to me that all this happens for the reason that such heroes as Ranevskaya and Gaev cannot have anything serious, nothing dramatic in life at all. That is why, in my opinion, the comedic, satirical basis of The Cherry Orchard is associated with Ranevskaya and, of course, Gaev.
And therefore these representatives of the past do not deserve the beauty of the future, about which Petya Trofimov speaks. Ranevskaya and Gaeva, and representatives of something can only be called a stretch. They are only ghosts who cannot even leave a lasting memory behind.
Because the heroes in "The Cherry Orchard" are clearly divided into two groups, they seem to not hear each other, cannot find mutual language... It is not surprising: after all, some of them are in the past, others are marching into the future. Relentless time separates them ...
In fact, time is another actorperhaps the most important thing in the play. It is invisible, but the greater is its significance. Time does not stand in one place, it is characterized by movement. Movement is also characteristic of the historical process, life. This means that Russia will move forward. If anything, this belief is evident in the play. Obvious, since A.P. Chekhov realized that "everything has become old and outdated" and is only waiting for "the beginning of something young, fresh." And the writer happily said goodbye to the hated past. "Goodbye, old life!" - the young voice of Anya, the voice of the new Russia, the voice of Chekhov rings in the final of The Cherry Orchard.
The past, present and future in the play by A. Chekhov "The Cherry Orchard".
"The Cherry Orchard" by A. Chekhov is a unique work where all three periods of life are connected: past, present and future.
The action takes place at a time when merchants and entrepreneurship are replacing the outdated nobility. Lyubov Andreevna Ranevskaya, Leonid Andreevich Gaev, old lackey Firs are representatives of the past.
They often think back to the old days when there was no need to worry about anything, especially about money. These people value something more sublime than material. The cherry orchard for Ranevskaya is memories and her whole life, she will not allow the thought of selling it, cutting it down, destroying it. For Gayev, even such things as a hundred-year-old wardrobe are important, to which he turns with tears in his eyes: "Dear, dear wardrobe!" And what about old footman Firs? He did not need the abolition of serfdom, because he devoted his whole life and all of himself to the family of Ranevskaya and Gaev, whom he sincerely loved. “The peasants are with the gentlemen, the gentlemen are with the peasants, and now everything is in disarray, you will not understand anything,” Firs said about the state of affairs after the liquidation of serfdom in Russia. He, like all representatives of the old time, was satisfied with the previously existing order.
The nobility and antiquity are being replaced by something new - the merchants, the personification of the present. The representative of this generation is Yermolai Alekseevich Lopakhin. He comes from a simple family, his father traded in the village in a shop, but thanks to his own efforts, Lopakhin was able to achieve a lot and make a fortune. Money mattered to him, in the cherry orchard he saw only a source of profit. Ermolai's mind was enough to develop a whole project and help Ranevskaya in her deplorable situation. It was the savvy and craving for material benefits that were inherent in the generation of the present time.
But sooner or later, the present must also be replaced by something. Any future is changeable and vague, this is how A.P. Chekhov shows it. The future generation is rather motley, including Anya and Varya, student Petya Trofimov, maid Dunyasha and young footman Yasha. If the representatives of antiquity are similar in almost everything, then the young are completely different. They are full of new ideas, strength and energy. However, among them there are those who are capable only of beautiful speeches, but do not really change anything. This is Petya Trofimov. “We fell behind in at least for two hundred years, we have absolutely nothing, we have no definite attitude to the past, we only philosophize, complain of melancholy and drink vodka, "he says to Anya, while doing nothing to make life better, and staying like that." an eternal student. " Although Anya is fascinated by Petya's ideas, she goes her own way, intending to get settled in life. “We will plant a new garden, more luxurious than this,” she says, ready to change the future in the better side... But there is also another type of youth, to which the young footman Yasha belongs. Completely unprincipled, empty, capable of only grins and not attached to anything. What will happen if the future will be built by people like Yasha?
“All Russia is our garden,” notes Trofimov. Indeed, the cherry orchard embodies the whole of Russia, where there is a connection between times and generations. It was the garden that connected all representatives of the past, present and future into one whole, just as Russia unites all generations.
A short essay-reasoning on the topic: The past, present and future of Russia in the play "The Cherry Orchard". Three generations in the comedy "The Cherry Orchard". The fate of the Cherry Orchard
In the play The Cherry Orchard, Chekhov portrayed several generations of people at once, each of which represents the past, present or future of Russia. The author does not idealize any of them: each era has its own advantages and disadvantages. This is why we value Chekhov's work: he is extremely objective in relation to reality. The writer does not try to convince us that the future is cloudless or the past is worthy of worship, and he is even more strict about the present.
The past in the play "The Cherry Orchard" is presented in the images of Ranevskaya, Gaev and Firs. All of them simply cannot adapt to the new realities of life. In some places, their position seems ridiculous to us, because their actions are absurd. To save the estate, the owners only need to rent it profitably, but they are too scrupulous and arrogant, they are embarrassed by the vulgarity of summer residents who will desecrate their cherry orchards. Instead, they brought the matter up to the fact that Lopakhin buys the estate and completely cuts down the heavenly bushes. This example suggests that the nobles cannot even take care of themselves, let alone Russia. Their behavior is not rational, and their character is capricious, because they are used to living carelessly by someone else's labor. Obviously, they did not justify the privileges of their class, therefore the harsh reality left them in the past: they could not keep up with her, they all dreamed that she had to adapt to them. However, Chekhov does not set himself the task of denigrating the past. We see that these people are not devoid of spiritual subtlety, tact and other genuine virtues. They are well-mannered, educated and kind. For example, the loyalty of the old servant Firs makes us sympathize with him and recognize the moral superiority of the older generation over modern people like Lopakhin.
The future in the play "The Cherry Orchard" is the younger generation: Trofimov and Anya. They are dreamers divorced from reality, maximalists. They are romantic and uplifting, but at the same time independent and intelligent, being able to find mistakes of the past and present and try to correct them. Student Trofimov says: “We are at least two hundred years behind, we still have absolutely nothing, we have no definite attitude to the past, we only philosophize, complain of melancholy or drink vodka,” it is obvious that the young man is soberly looking at things. But at the same time, the hero demonstrates indifference towards the cherry orchard: “We are above love,” he declares, relieving himself of any responsibility for the fate of the garden, and, therefore, for the whole of Russia. He and Anya, of course, want to change something, but are losing their roots. This is what worries the author.
"The Cherry Orchard" is the last work of AP Chekhov. The writer was terminally ill when he wrote this play. He was aware that he would soon pass away, and, probably, that is 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 sums up the results - as well as about the present and future of those whom he leaves on this earth. In the play "The Cherry Orchard" it was 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 gone, others are busy with momentary affairs and strive to benefit from everything they have at the moment, and still others look far ahead, not accepting into account real events.
Thus, the past, present and future do not merge into one whole: they exist by piecework and sort things out among themselves.
Gayev and Ranevskaya are prominent representatives of the past. Chekhov pays tribute to the education and refinement of the Russian nobility. Both 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 - be it an old house, a favorite garden, in a word, everything that is dear to them.
since childhood. They even refer to the closet as to an old friend: “Dear, dear closet! I greet your existence, which for over a hundred years has been directed towards the bright ideals of goodness and justice ... ”Ranevskaya, finding herself at home after five years of separation, is ready to kiss every thing that reminds her of her childhood and youth. Home for her is a living person, a witness to all her joys and sorrows. Ranevskaya has a very special attitude to the garden - he seems to embody all the best and brightest that was in her life, is a part of her soul. Looking out the window at the garden, she exclaims: “O my childhood, my purity! In this nursery, I slept, looked from here at the garden, happiness woke up with me every morning, and then he was exactly the same, nothing changed. " Ranevskaya's life was not easy: she lost her husband early, and soon after that her seven-year-old son died. The person with whom she tried to connect life turned out to be unworthy - he cheated on her and wasted her money. But returning home for her is like falling to a life-giving source: she again feels young and happy. All the pain that boiled in her soul and the joy of meeting are expressed in her address to the garden: “O my garden! After a dark, rainy autumn and cold winter, you are young again, full of happiness, the angels have not left you ... ”For Ranevskaya, the garden is closely connected with the image of the deceased mother - she directly sees her mother in a white dress walking through the garden.
Neither Gaev nor Ranevskaya can allow their estate to be leased to summer residents. They consider this idea itself 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 infantilism in this matter (the remark “Puts a lollipop in his mouth” seems to confirm this): “We will pay the interest, I’m convinced ...” Where did he get such conviction? Who is he counting on? Obviously not on myself. Having no reason to do so, he swears to Varya: “I swear by my honor, whatever you want, I swear the estate will not be sold! ... I swear by my happiness! Here's my hand, then call me a trashy, dishonest person, if I admit it to the auction! I swear with all my being! " Beautiful but empty words. Lopakhin is a different matter. This person does not throw words to the wind. 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 leased out for summer cottages, to do it now, as soon as possible - the auction is right around the corner! Understand! Once you finally decide to have summer cottages, you will be given as much money as you like, and then you are saved. " With this appeal, the “present” refers to the “past”, but the “past” does not heed. “To finally solve” is an impossible task for people of this kind. It is easier for them to be in a world of illusion. But Lopakhin does not waste time. He just buys this estate and rejoices in the presence of the unfortunate and disadvantaged Ranevskaya. Buying an estate for him has a special meaning: "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 the plebeian who "wiped his nose" to the aristocrats. He only regrets that his father and grandfather do not see his triumph. Knowing what the cherry orchard meant in the life of Ranevskaya, he literally dances on her bones: “Hey, musicians, play, I wish to listen to you! Come all to see how Yermolai Lopakhin has enough ax in the cherry orchard, how the trees will fall to the ground! ” And right there she sympathizes with the sobbing Ranevskaya: “Oh, it would be more likely that all this would pass, it would sooner change somehow our awkward, unhappy life.” 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?
Perhaps the man of the future is Petya Trofimov? He is a lover of truth (“You must not deceive yourself, you must at least once in your life look the truth straight in the eye”). He is not interested in his own appearance (“I don’t want to be handsome”). He apparently considers love a relic of the past (“We are higher than 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 with 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, old servant Firs is all from the past. All his ideals are associated 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 masters. Firs is a very integral nature, 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 person. 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 on new life? " There is a feeling of some kind of 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 frantic attempts to create a new one, "The Cherry Orchard" sounds to us quite different from what it sounded ten years ago. It turned out that the time of the action of Chekhov's comedy is not only the turn of the XIX-XX centuries. It is written about timelessness in general, about that vague predawn hour that fell on our life, and determined our destinies.
3). The estate of the landowner Lyubov Andreevna Ranevskaya. Spring, cherry trees are blooming. But the beautiful garden must soon be sold for debt. For the past five years, Ranevskaya and her seventeen-year-old daughter Anya have lived abroad. Ranevskaya's brother Leonid Andreevich Gaev and her adopted daughter, twenty-four-year-old Varya, remained on the estate. Ranevskaya's business is bad, there are almost no funds left. Lyubov Andreevna has always littered with money. Her husband died of drunkenness six years ago. Ranevskaya fell in love with another person, got along with him. But soon her little son Grisha died tragically by drowning in the river. Lyubov Andreevna, unable to bear the grief, fled abroad. The lover followed her. When he fell ill, Ranevskaya had to settle him at her dacha near Menton and take care of him for three years. And then, when he had to sell the dacha for debts and move to Paris, he robbed and left Ranevskaya.
Gaev and Varya meet Lyubov Andreevna and Anya at the station. At home, the maid Dunyasha and the familiar merchant Yermolai Alekseevich Lopakhin are waiting for them. Lopakhin's father was a serf of the Ranevskys, he himself became rich, but says about himself that he remained a "peasant peasant." The clerk Epikhodov, a man with whom something constantly happens and who was nicknamed "thirty-three misfortunes", comes.
Finally, the carriages arrive. The house is filled with people, everyone is pleasantly excited. Everyone talks about their own. Lyubov Andreevna looks at the rooms and through tears of joy recalls the past. The maid Dunyasha is impatient to tell the young lady that Epikhodov proposed to her. Anya herself advises Varya to marry Lopakhin, and Varya dreams of marrying Anya off as a rich man. The governess Charlotte Ivanovna, a strange and eccentric person, boasts about her amazing dog, the neighbor landowner Simeonov-Pishik asks for a loan. He hears almost nothing and the old faithful servant Firs mutters something all the time.
Lopakhin reminds Ranevskaya that the estate should soon be sold at auction, the only way out is to split the land into plots and lease them to summer residents. Ranevskaya Lopakhin's proposal surprises: how can you cut down her favorite wonderful cherry orchard! Lopakhin wants to stay longer with Ranevskaya, whom he loves "more than his own," but it's time for him to leave. Gaev addresses welcome speech to the hundred-year-old "respected" wardrobe, but then, embarrassed, he again begins to uselessly utter his favorite billiard words.
Ranevskaya does not immediately recognize Petya Trofimov: this is how he changed, looked ugly, the "sweet student" turned into an "eternal student." Lyubov Andreevna cries, remembering her little drowned son Grisha, whose teacher was Trofimov.
Gayev, left alone with Varya, tries to talk about business. There is a rich aunt in Yaroslavl, who, however, does not like them: after all, Lyubov Andreevna did not marry a nobleman, and she did not behave "very virtuous". Gayev loves his sister, but still calls her "vicious", which annoys Ani. Gaev continues to build projects: his sister will ask Lopakhin for money, Anya will go to Yaroslavl - in a word, they will not allow the estate to be sold, Gaev even swears about it. Grumpy Firs finally takes the master to sleep like a child. 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, returning, stopped in a field near the chapel. Just here, on the same bench, Epikhodov tried to explain himself to Dunyasha, but she already preferred the young cynical lackey Yasha to him. Ranevskaya and Gaev do not seem to hear Lopakhin and talk about completely different things. Without convincing the "frivolous, non-business, strange" people of anything, Lopakhin wants to leave. Ranevskaya asks him to stay: with him "still more fun."
Anya, Varya and Petya Trofimov arrive. Ranevskaya starts a conversation about a “proud person”. According to Trofimov, there is no point in pride: a rude, unhappy person needs not to admire himself, but to work. Petya condemns the intelligentsia, incapable of work, those people who philosophize importantly, but treat men like animals. Lopakhin enters the conversation: he just works "from morning to evening", dealing with large capitals, but he is more and more convinced that there are few decent people around. Lopakhin does not finish, Ranevskaya interrupts him. In general, everyone here does not want and do not know how to listen to each other. There is a silence in which the distant sad sound of a broken string is heard.
Soon they all leave. Left alone, Anya and Trofimov are happy 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 Russia is our garden”, but in order to live in the present, one must first redeem the past by suffering and labor. Happiness is close: if not they, then others will definitely see it.
The twenty-second of August arrives, the trading day. It was on this evening, quite inappropriately, that a ball was being organized in the estate, and a Jewish orchestra was invited. Once upon a time, generals and barons danced here, but now, as Firs laments, both the postal official and the station chief "are not going to go hunting." Charlotte Ivanovna entertains the guests with her tricks. Ranevskaya is anxiously awaiting her brother's return. Yaroslavl's aunt nevertheless sent fifteen thousand, but they are not enough to redeem the estate.
Petya Trofimov "calms" Ranevskaya: it's not about the garden, it's over for a long time, you need to face the truth. Lyubov Andreevna asks not to condemn her, to regret: after all, without the cherry orchard, her life loses its meaning. Every day Ranevskaya receives telegrams from Paris. The first time she tore them at once, then - having read them first, now she no longer tears. “This wild man,” whom she still loves, begs her to come. Petya condemns Ranevskaya for her love of "a petty scoundrel, nothingness." Angry Ranevskaya, unable to restrain herself, takes revenge on Trofimov, calling him a "funny eccentric", "freak", "neat": "You must love yourself ... you must fall in love!" Petya, in horror, tries to leave, but then stays, dances with Ranevskaya, who asked his forgiveness.
Finally, a confused, joyful Lopakhin and a tired Gaev appear, who, without telling anything, immediately goes to his room. The cherry orchard was sold, and Lopakhin bought it. The "new landowner" is happy: he managed to surpass the rich man Deriganov at the auction, giving ninety thousand in excess of the debt. Lopakhin picks up the keys thrown on the floor by the proud Varya. Let the music play, let everyone see how Yermolai Lopakhin "enough with an ax in the cherry orchard"!
Anya consoles her crying mother: the garden is sold, but there is a whole life ahead. There will be a new garden, more luxurious than this, they will have a "quiet deep joy" ...
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 "predatory beast" necessary "in the sense of metabolism", he still loves in him "a gentle, subtle soul." Lopakhin offers Trofimov money for the trip. He refuses: over the "free man", "in the forefront of going" to "the highest happiness", no one should have power.
Ranevskaya and Gaev even cheered up after the sale of the cherry orchard. They used to worry and suffer, but now they have calmed down. Ranevskaya is going to live in Paris on the money sent by her aunt. Anya is inspired: a new life is beginning - she will graduate from the gymnasium, work, read books, a "new wonderful world" will open before her. Suddenly, a breathless Simeonov-Pischik appears and instead of asking for money, on the contrary, distributes debts. It turned out that the British had found white clay on his land.
Everyone settled down differently. Gaev says that he is now a banking campaigner. 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."
An explanation must finally occur between Varya and Lopakhin. For a long time Varya has been teased by "Madame Lopakhin". Vara likes Yermolai Alekseevich, but she herself cannot make an offer. Lopakhin, who also speaks very well of Vara, agrees to "end it at once" with this case. But, when Ranevskaya arranges their meeting, Lopakhin, never daring, leaves Varya, using the very 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 the old Firs, whom, it would seem, everyone took care of, but whom they forgot to send to the hospital. Firs, sighing that Leonid Andreevich went in an overcoat, and not in a fur coat, lies down to rest and lies motionless. The same sound of a broken string is heard. "There is a silence, and you can only hear how far away in the garden they are knocking on a tree with an ax."
Features of Chekhov's drama
Before Anton Chekhov, the Russian theater experienced a crisis, it was he who made an invaluable contribution to its development, breathing new life into it. The playwright snatched small sketches from everyday life their heroes, bringing drama closer to reality. His plays made the viewer ponder, although there were no intrigues or open conflicts in them, but they reflected the internal anxiety of a turning point in historical time, when society froze in anticipation of imminent changes, and all social strata became heroes. The apparent simplicity of the plot introduced the stories of the characters before the events described, making it possible to speculate about what would happen to them after. This is how the past, the present, and the future have been mixed in such an amazing way in the play "The Cherry Orchard", by connecting people not so much from different generations as from different eras. And one of the "undercurrents" characteristic of Chekhov's plays was the author's reflection on the fate of Russia, and the theme of the future took a central place in The Cherry Orchard.
Past, present and future on the pages of the play "The Cherry Orchard"
So how did the past, present and future meet in the pages of the play "The Cherry Orchard"? Chekhov, as it were, divided all the characters into these three categories, depicting them very vividly.
The past in the play "The Cherry Orchard" is presented by Ranevskaya, Gaev and Firs - the oldest character in the whole action. It is they who most of all talk about what happened, for them the past is a time in which everything was easy and beautiful. There were masters and servants, each had its own place and purpose. For Firs, the abolition of serfdom was the greatest grief, he did not want the will, remaining on the estate. He sincerely loved the family of Ranevskaya and Gaev, remaining faithful to them until the very end. For the aristocrats Lyubov Andreevna and her brother, the past is the time when they did not have to think about such base things as money. They enjoyed life, doing what brings pleasure, being able to appreciate the beauty of immaterial things - it is difficult for them to adapt to the new order, in which material values \u200b\u200breplace highly moral values. For them, it is humiliating to talk about money, about ways of earning it, and Lopakhin's real proposal to lease land occupied by an essentially useless garden is perceived as vulgarity. Unable to make decisions about the future of the cherry orchard, they succumb to the flow of life and simply float through it. Ranevskaya with her aunt's money sent for Anya leaves for Paris, and Gaev goes to serve in the bank. The death of Firs at the end of the play is very symbolic, as if to say that the aristocracy as a social class has outlived its usefulness, and there is no place for it, in the form in which it was before the abolition of serfdom.
Lopakhin became the representative of the present in the play "The Cherry Orchard". "A man is a man", as he says about himself, thinking anewwho knows how to make money using his mind and flair. Petya Trofimov even compares him with a predator, but with a predator with a subtle artistic nature. And this brings Lopakhin a lot of emotional experiences. He is well aware of the beauty of the old cherry orchard, which will be cut down at his will, but he cannot act otherwise. His ancestors were serfs, his father owned a shop, and he became a "white vest," having amassed a considerable fortune. Chekhov put special emphasis on the character of Lopakhin, because he was not a typical merchant, whom many treated with disdain. He made himself, paving the way with his work and desire to be better than his ancestors, not only in terms of financial independence, but also in education. In many respects, Chekhov related himself to Lopakhin, because their genealogies are similar.
Anya and Petya Trofimov represent the future. They are young, full of strength and energy. And most importantly, they have a desire to change their lives. But, that's just, Petya is a master of talking and reasoning about a wonderful and just future, but he doesn't know how to expose his speeches into action. This is what prevents him from graduating from university or at least somehow arranging his life. Petya denies all attachments - be it a place or another person. He captivates naive Anya with his ideas, but she already has a plan for how to arrange her life. She is inspired and ready to "plant a new garden, even more beautiful than the previous one." However, the future in Chekhov's play The Cherry Orchard is very uncertain and vague. In addition to educated Ani and Petit, there is also Yasha and Dunyasha, and they, too, are the future. Moreover, if Dunyasha is just a silly peasant girl, then Yasha is a completely different type. The Gayevs and Ranevsky are replaced by the Lopakhins, but the Lopakhins will also have to be replaced by someone. If you recall the history, then 13 years later, after the writing of this play, just such Yash came to power - unprincipled, empty and cruel, not attached to anyone or anything.
In the play "The Cherry Orchard" the heroes of the past, present and future were gathered in one place, but they are not united by an inner desire to be together and share their dreams, desires, and experiences. The old garden and house holds them, and as soon as they disappear, the connection between the characters and the time they reflect is severed.
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Only the greatest creations are capable of reflecting reality even many years after their creation. So it happened with the play "The Cherry Orchard". History is cyclical, society develops and changes, moral and ethical norms are also subject to rethinking. Human life is not possible without memory of the past, in inaction in the present, and without faith in the future. One generation is replaced by another, some build, others destroy. This was the case in the days of Chekhov, and it is happening now. The playwright was right when he said that “All Russia is our garden,” and it depends only on us whether it will bloom and bear fruit, or whether it will be cut down to the very roots.
The author's reasoning about the past, present and future in comedy, about people and generations, about Russia makes one think in our days. These thoughts will be useful for 10 grades when writing an essay on the topic "Past, present, future in the play" The Cherry Orchard ".
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