Social statuses of the heroes of the Piesel - as one of the characteristics
In the final play of A.P. Chekhov "Cherry Garden" No separation on the main and secondary actors. They are all the main, even apparent episodic roles are of great importance for disclosing the main idea of \u200b\u200bthe whole work. The characteristic of the heroes of the "Cherry Garden" begins with their social representation. After all, in human heads, the social status is already imposed as an imprint, not only on stage. So, Lopakhin is a merchant, already in advance associated with a screaming and non -actic trading, which is not capable of some subtle feelings and experiences, and after all, Chekhov warned that his merchant differs from a typical representative of this class. Ranevskaya and Simeon-Picker, designated as landlords, look very strange. After all, after the cancellation of serfdom, the social statuses of landowners remained in the past, since they no longer corresponded to the new public device. Gaev is also a landowner, but in the view of the heroes he "Brother Ranevskaya", which comes to the idea of \u200b\u200bsome kind of independence of this character. With daughters Ranevskaya more and less understandable. Ani and Breata denotes age showing that they are the most young characters of the Cherry Garden.
The same age is also specified at the oldest acting person - Firs. Trofimov Peter Sergeevich is a student, and in this some kind of contradiction, because if a student, then young and patronymic seems to be attributed early, and meanwhile it is indicated.
Throughout the action of the play "Cherry Garden", the heroes are fully disclosed, and their characters are described in a typical form for this type of literature - in the speech characteristics given by them or other participants.
Brief characteristics of the main actors
Although the main characters of the plays are not highlighted by a Czech separate line, they are easy to determine. This is Ranevskaya, Lopahin and Trofimov. It is their vision of their time to become the fundamental motive of the whole work. And this time is shown through the attitude towards the old Cherry Garden.
Ranevskaya love Andreevna - The main heroine of the "Cherry Garden" - in the past, a rich aristocrat, accustomed to living at the order of his heart. Her spouse died quite early, leaving a bunch of debt. While she indulged in new feelings, her little son tragically died. Considering yourself guilty of this tragedy, she runs from home, from the lover abroad, who in other times followed her and literally loose it there. But her hopes for peace acquisition did not justify. She loves his garden and his estate, but can not save him. It is not conceivable to accept the offer of a lopakhin for her, because the centuries-old order will be broken, in which the title of "landlord" is transmitted from generation to generation in itself a cultural and historical heritage, inviolability and confidence in the worldview.
Love Andreevna and her brother Gaevi are characterized by all the best features of the nobility: responsiveness, generosity, education, the feeling of beautiful, the ability to sympathize. However, in modern times, all their positive qualities are not needed and turning into the opposite direction. The generosity becomes irrelated transit, responsiveness and ability to sympathize goes into the salisuity, the formation turns into trim.
According to Chekhov, these two heroes do not deserve sympathy and their experiences are not so deep as it may seem.
In the play "Cherry Sad" the main characters say more than they do, and the only person is - action is Lopakhin Yermolai Alekseevich, Central character, according to the author. Chekhov was confident that if his image would not succeed, then the whole play fails. Lopakhin is marked by a merchant, but he would be more suitable for the modern word "businessman". The son and grandson of the fortress peasants became a millionaire thanks to his little, purposefulness and mind, because if he was stupid and was not educated, could it achieve such success in his business? And it's not by chance that Peter Trofimov speaks of his fine soul. After all, only Yermolai Alekseevich realizes the value of the old garden and its true beauty. But his commercial veil overduts, and he is forced to destroy the garden.
Trofimov Petya - Eternal student and "Slanting Barin". Apparently, he also belongs to the nobility, but he became, in fact, the homeless vagragi, dreaming of general good and happiness. He says a lot, but nothing does for the speedy attack of a bright future. He is also unusual for deep feelings to the people around him and attachment to the place. He lives only with dreams. However, he managed to captivate Any by his ideas.
Anya, daughter Ranevskaya. Mother left her in the care of her brother in 12 years. That is, in adolescence, so important for the formation of a person, Anya was granted to herself. She inherited the best qualities that are characteristic of aristocracy. She is naive, it is possible, so it is so easily fascinated by petty ideas.
Brief characteristics of secondary characters
The actors of the Piesel "Cherry Garden" are divided on the main and minor only in the time of their participation in the actions. So cooking, Simeon-Pranisha Picker, Charlotte Ivanovna and Lakely practically do not speak about the estate, and their worldview through the garden is not disclosed, they are from him as if torn off.
Varya - Reception daughter Ranevskaya. But in essence she is a housekeeper in the estate, in whose duties is taking care of owners and servants. She thinks on the household level, and her desire to devote himself to serving God is not seriously perceived. Instead, she is trying to marry the lopakhin, which she is indifferent.
Simeon-Pirchik - The same landowner as Ranevskaya. Constantly in debt. But his positive attitude helps to overcome his difficult situation. So, he did not attend a drop, when the proposal comes to pass their land for rent. Thus, deciding its financial difficulties. He is able to adapt to a new life, unlike the owners of the Cherry Garden.
Yasha - Young lacquer. Having beyond his homeland abroad, his homeland and even a mother trying to meet him no longer need him. Highly his main feature. He does not respect the owners, he has no attachment to anyone.
Dunysh - Young windy girl living alone and dreaming about love.
Epietov - Butter, he is a chronic loser, which knows what perfectly knows. In essence, his life is empty and aimless.
Firs - The oldest character for whom the abolition of serfdom has become the greatest tragedy. He is sincerely tied to his owners. And his death in an empty house under the sound of the gardens is very symbolic.
Charlotte Ivanovna - Governess and circisterial in one person. The main reflection of the declared genre of the play.
Images of the heroes of the "Cherry Garden" are combined into the system. They complement each other, thereby helping to reveal the main theme of the work.
Test on the work
A.P. Chekhov. "The Cherry Orchard". The overall feature of the play. Analysis of the third act.
Chekhov transfers everyday life to the stage - without effects, beautiful poses, unusual situations. He believed that in the theater should still be simple, and at the same time it is difficult, as it happens in life. In everyday life, he sees beauty, and significance. This explains the peculiar composition of his drama, simplicity of the plot, the calm development of action, the lack of stage effects, "underwater flow".
"Cherry Garden" is the only play of Chekhov, which can be seen, although not quite clearly, social conflict. A bourgeoisie comes to the dismissed to death. Is this good or bad? An incorrect question, considers Chekhov. It is a fact. "I didn't have a drama, but a comedy, even a farce," wrote Chekhov. According to Belinsky's thought, the comedy discovers how real life has evolved from the ideal. Was it was the task of Chekhov in the "Cherry Garden"? Life, beautiful in its capabilities, poetic, like a blooming cherry garden, and the impotence of "notepad" who are not able to keep this poetry, nor break through to her, see it.
The feature of the genre is a lyrical comedy. Heroes are drawn by the author with a light mockery, but without sarcasm, without hate. Chekhov's heroes are already looking for their place, but they still do not find it, they are going somewhere all stage time. But can never get together. The tragedy of Chekhov's heroes is from puzzling in the present, which they hate, whom they are afraid. Genuine life, real, seems to them someone else's wrong. Exit from long-life longing (and the reason for her still lies in themselves, so there is no way out) they see in the future, in the life that should be, but which does not come. Yes, they do nothing to come.
One of the main motifs of the play is time. It begins with a late train, ends with late for the train. And the characters do not feel that time has changed,. It went to the house, where (as it seems Ranevskaya) nothing changes, and devastated, destroyed it. Heroes behind time.
Garden image in the "Cherry Garden" play
The composition of the "Cherry Garden": 1 act - exposure, the arrival of Ranevskaya, the threat of the loss of estate, the exit offered to the blades. 2 Act-sense sensitive to the owners of the garden, 3 Act - Sale of the Garden, 4 Act - departure for the previous owners, entry into the possession of a new, cutting down the garden. That is, 3 acts are climing the play.
The garden should be sold. He is destined to die, the Chekhov insists on this, no matter how he treated it. Why this happens - quite clearly shown in 1 and 2 acts. Task 3 act - show how.
The action takes place in the house, the remark introduces the viewer to the party, which was spoken by 2 acts. Ranevskaya calls her ball and very accurately determines that "we started the ball." From the words of Petit, the audience will find out that it is at that time a bidding occurs, on which the destinies of the estate are being solved. Therefore, the mood of this scene is the contrast between external well-being (dancing, focuses, optional "ballroom" conversations) and an atmosphere of longing, a bad premonition and is about the finished hysteria.
How does Chekhov create this atmosphere? The idiotic speeches of Simeonov-gamble, for which no one reacts, as if it is necessary, then the case breaks through the owners of the house about their weightless, as if they were not up to guests.
When no one is exhaled by anyone, Gaev and Lopahin appear with a message about the sale of estates. The "speech" of the leopard in the new role leaves a difficult, rather a difficult impression, but the act on an optimistic note is ends - Ani's replica, addressed to Ranevskaya: "Mom, you have a life ..." There is a meaning in this optimism - the most unbearable for the heroes of the play (choice , the need to solve and take responsibility) behind.
What's new we learn about heroes in 3 act?
Ranevskaya.
It turns out that it is capable not only to inform with its impracticality, she is also a non-short. It seems that on this ball, she woke up - sound comments on the Yaroslavl grandmother, about what the cherry garden is for her. In a conversation with Petya, she even waders, very accurately determines the essence of this person, and without beautiful and the games with them says about himself and his life. Although, of course, it remains - truthful to the sharpness of the word, she speaks in order to make it painfully someone else, because she herself hurt. But in general, this peak of her reflection of life, already at the very beginning of 4 acts, she will continue to play, as an actress, which is important only its own role and is not an entirely available. And now she takes news about the sale of the estate not courageously, but worthy, without a game, her mountain is genuine and therefore ugly: "Squeezed all and bitter crying."
Gaev.
It is almost not in this act, and we will not know anything about him. All he can say: "How much did I draw!" - In general, again "I". To console it in the mountain is very simple - the bed of billiard balls.
Lopakhin.
This is a surprise. Until now, we knew him a good friend of this family, which did not deserve such a friend. He worried about the salvation of the Cherry Garden, than all these ballobs taken together. And thoughts did not arise that he himself wants to buy a garden that it is not just another transaction for him, but an act of justice's celebration. Therefore, now its honesty is more expensive. We did not know about him that he was able to get involved, forget, rejoice to madness, such he was even and calm so far. And which "genetic" hatred in it to the former owners is not personally to Gaevu and Ranevskaya, but to class: "... Grandfather and father were slaves, .. they were not allowed even in the kitchen ..." And he is weak, because he thinks about Life: "I would rather have changed somehow our awkward, unhappy life ...", and how to think - not enough: "Let everything I wish you!"
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There are many interesting works in classical literature, whose stories are relevant to this day.
The works written by Anton Pavlovich Chekhov are just suitable for this characteristic. This article can be found with his play "Cherry Garden" in summary.
The history of the creation of the play A.P. Chekhov "Cherry Garden"
The start date of the play was laid in 1901, the first performance was shown in 3 years. The work shows the unpleasant impressions of the author himself, which arose under the action of observing the declineal set of many estates of their friends, as well as their own.
Main characters
Below is a list of main characters:
- Ranev's love Andreevna - the owner of the estate;
- Anya is a native daughter;
- Gaev Leonid Andreevich - Brother;
- Trofimov Peter Sergeevich - "Eternal Student";
- Lopakhin Yermolai Alekseevich - Buyer.
Minor characters
List of secondary heroes:
- Varya is a summary sister of Ani;
- Simeon-Pisher - the owner of the estate;
- Charlotte - teacher;
- Dunyasha - maid;
- Epiphas Semen Panteleevich - Clerk;
- Firs - servants, old man;
- Yasha - servier, young guy.
"Cherry Garden" - a summary of actions
1 action
Events occur waiting for Ranenevskaya. Lopahin and Dunya talk, during which a dispute arises. The room comes the kettle. He drops a bouquet, complaining of the rest, which considers himself a loser, after which he leaves. The maid tells the merchant that the bias wants to marry it.
Ranevskaya and daughters, Gaev, Charlotte and the landowner come. Anya talks about a trip to France, expresses its discontent. She is also interested, whether Lopakhin is going to marry Vare. To which her sophisticated sister responds that nothing happens, and in the near future I will put the estate for sale. Parallel to the Dunya flirting with a young lacquer.
Lopakhin announces that their estate is sold for debt. He advocates the following solution to the problem: divide the territory into parts and take them for rent. But for this you need to cut the cherry garden. The landowner with his brother refuses, referring to the mention of the garden in the encyclopedia. The receptional daughter brings the mother of the telegrams from France, but that, without reading them, bursts.
Petya Trofimov appears - the mentor of the deceased son Ranevskaya. Gaev continues to look for options for profit, which would help to cover the debt. It comes to issue an Anya for a rich man. At that time, Varya tells her sister about his problems, but the younger sister falls asleep, tired of the road.
2 action
Events occur in the field near the old chapel. Charlotte gives a description of his life.
The ipaths sings the song, playing the guitar, trying to show himself a romantic in front of the Duna. She, in turn, wishes an impression on a young lackey.
A landowners and a merchant appear. He also continues to assure the owner of the land for rent. But Ranevskaya and brother are trying to reduce the topic on "no". The landowner with pity begins to argue about unnecessary costs.
Jacob ridicules the chanting of Gaeva. Ranevskaya recalls his men. The last one ruined her and exchanged another. After that, the landowner decided to return home to his daughter. By changing the topic of the blades, she spokes about Wedding Wedding.
There is an old jacket with an upper clothes of Gaeva. He talks about the fortress right, this is like misfortune. A trophim appears, which is going to deep philosophy and reasoning about the future of the country. The landowner informs the adopted daughter that he won it for the merchant.
At that time, Anya will retire with Trofimov. He, in turn, romantically describes the situation around. Anya translates the conversation on the theme of serfdom and says that people only speak and do nothing. After that, the "Eternal Student" says Anna to quit everything and become a free person.
3 Action
In the house of the landowner, the ball is arranged, which Ranevskaya considers excess. The Picker is trying to find someone who gives him a debt money. Radane's brother went to redeem the estate in the name of the aunt. Ranevskaya, seeing that Lopahin is increasingly riches, begins to criticize because it was not married for him. Daughter complains that he is just sad.
The landowner shares with a former teacher of the Son that the lover asks her to return to France. Now the hostess no longer thinks that he ruined her. Trofimov is trying to convince her, and she advises him also to make a woman on the side. A frustrated brother is returned and a monologue begins that the estate was bought with a blades.
The merchant brakesfully tells everyone that he bought the estate and ready to cut down the cherry garden so that his rod would continue to live in place, where his fortieth father and grandfather worked. Native daughter comforts a crying mother, convincing that all life is ahead.
4 Action
Former residents leave the house. Lopahin, tired of idleness, going to leave to Kharkov.
He offers trophimia money, but he does not accept them, arguing that soon people achieve the understanding of the truth. Gaev became a bank employee.
Ranevskaya is experiencing for the old lacquer, afraid that he will not be sent for treatment.
Lopahin and cooking stay together. The heroine says she became a housekeeper. The merchant did not suggest her to marry him. Anya says goodbye to her mother. Ranevskaya plans to return to France. Anya is going to get into the gymnasium, and in the future to help the mother. Gaev feels abandoned.
Suddenly the Picker comes and gives everyone busy money. He recently got rich: on his land, which he now leases, a white clay was found. The landowners say goodbye to the garden. Then they lock the doors. Firs appears. The sound of the ax is heard in silence.
Analysis of the work and conclusion
First of all, the style of this genre is observed in the bright contrast of the images of two heroes: Lopakhina and Ranevskaya. He is an enterprising, looking for benefits, she is a frivolous and windy. There are funny situations. For example, the representations of Charlotte, communication of Gaeva with a closet, etc.
Reading this book in the original, by chapters and actions, and not in the reduction, the question immediately arises: what does the cherry garden mean for the heroes of the play? For landowners, the garden is a whole history of the past, while for a shovel is a place where his future will be built.
Problems of contrasts of relationships at the junction of the two centuries raised in the work. There is also a question of the heritage of serfdom and attitudes towards the consequences of different layers of society. The question of how the future of the country will be built on the example of a local situation. Raise the question that many are ready to reason and advise, but only units are able to act.
Anton Pavlovich Chekhov not much noticed a lot from what was relevant for that period and remained important now, so this lyrical play should be read to everyone. This work has become the last in the work of the writer.
Love Andreevna - the main heroine of the play of Chekhov "Cherry Garden". This woman is the main representative of the female half of the nobility of that time with all their vices and positive features. It is in her house there is a play.
It is skillfully combined both positive and negative traits of its character.
Ranevskaya - Beautiful from nature Woman with good manners, true noble, good, but very trusting in life. After the death of her husband and the tragic death of his son, she goes abroad, where she lives five years with her lover, who eventually robs her. There, Andreevna's love leads a wasteful lifestyle: balls, techniques, all this is a bunch of money. And at this time, her daughters live in a shortset, but she has a cool attitude.
She is far from reality, lives in his world. Her sentimentality is manifested in longing in his homeland, according to the departed youth. Arriving, after a long lack of home, where it returns in the spring, Ranevskaya finds soothing. The nature itself helps her in this beauty.
At the same time, she does not think about the future, suits the ball, knowing that she has no money for further life. Just the love of Andreevna cannot refuse a beautiful life.
It is good, helps others, especially an old man. But on the other hand, leaving the estate, she forgets about him, leaving in an abandoned house.
Leading idle lifestyle can not be happy. It is her fault in the death of the garden. In his life, she did not do anything good, therefore it remained in the past, very unhappy. Having lost the cherry garden and estate, she also loses his homeland, returning to Paris.
Leonid Gaev.
A peculiar character is endowed with the "Cherry Garden" Player Leonid Gaev. In something he is similar to his sister Ranevskaya. He is also inherent romanticism, sentimentality. He loves the garden and is very worried about his sale, but absolutely nothing does to save the estate.
His idealism manifests itself in the fact that he is building unrealized plans, thinking that the aunt will give money, or Anya will marry successfully, or someone will leave them inheritance and the garden will be saved.
Leonid Andreevich is very talkative, loves to pronounce speeches, but at the same time can talk nonsense. Nieces are often asked to get silent.
Completely impractical, lazy, not adapted to change. He lives on all ready, leading a rampant lifestyle in its old world, without understanding new trends. A servant even helps him to undress, although in time he will not even remember his loyal fours.
He has no family, for he believes that it is necessary to live for himself. For myself and lives, visiting gambling establishments, playing billiards and having fun. At the same time, he spreads money, having many debts.
It is not possible to rely on it. He swear that the garden will not be sold, but does not fulfill its promise. Gaev is hardly experiencing the loss of the garden and estates, it is even arranged by serving to the bank, but few believe that he will stay there because of his laziness.
Ermolai Lopakhin
A merchant Ermolai Alekseevich Lopakhin is a representative of a new class - bourgeoisie, which came to change the nobility.
The leaving from the simpleness, he never forgets it and relates well to a simple people, because his grandfather and father were serfs in the estate of Ranevskaya. He since childhood knew that such ordinary people had always considered themselves a man.
Thanks to his mind, persistence, hardworking he was out of poverty and became a very rich man, although it is always afraid to lose their htched capital. Yermolai Alekseevich gets early, works a lot and achieved success.
Lopahin is sometimes gentle, kind and gentle, he notices beauty and, in his own way, he is a pity of the cherry garden. He offers the Ranevian Plan for the Saving Garden, not forgetting that at one time she did a lot to him. And when Ranenevskaya refuses to surrender the garden under the dacha, in his features there is a predator resident, a conqueror. He buys the estate and the garden in which his ancestors were slaves, and triumph, because his long-standing dream came true. Here seems clearly his merchant grip. "I can pay for everything": he says. Destroying the garden, he does not worry, but rejoices his benefit.
Anya
Anya is one of the heroes who seek the future.
From twelve years, she was brought up in the realm of uncle, left by the mother, who left abroad. Of course, she could not get proper education, because the governess in the past was just a circus. But Anya stubbornly, on the books fled the gaps in knowledge.
The beauty of the cherry garden, which she loved very much and the redundancy of time in the estate gave a push to form her fine nature.
Anya is sincerely, directly and childish naive. She believes people, and therefore, such a strong influence on her Petya Trofimov, a former teacher of her younger brother.
After four years of staying the girl abroad, the mother, Seventeen-year-old Anya returns home and meets there. Feeding in love with him, she sincerely trusted a young gymnasian and his ideas. Trofimov changed her attitude to the Cherry Garden and to the surrounding reality.
Anya wants to leave the parental home and start a new life, passing the exams for the course of the gymnasium and live by the work itself. The girl is ready to go for Petya anywhere. She is already completely sorry for a cherry garden or an old life. She believes in a bright future and seeks him.
Believing in a happy future, she sincerely tells mom for a farewell: "We will put a new garden, luxuriously ...".
Anya is a representative of young people who can change the future of Russia.
Peter Trofimov
The image of Petit Trofimova in the work is inextricably linked with the theme of the future of Russia.
Petya is a former teacher of the Son Ranevskaya. He is called an eternal student, for he will not finish their studies in the gymnasium. Moving from place to place, he wanders around the country, dreaming of a better life in which beauty and justice will enthusiame.
Trofimov really perceives the events taking place, realizing that the garden is beautiful, but his death is inevitable. He hates the nobility, I am convinced that their time has expired, condemns people who use the work of others and preach the ideas of a bright future, where everyone will be happy. But the essence is that he only preaches and does nothing for this future himself. For Trofimova, it does not matter whether he will reach this future, or will indicate the path to others. And he knows how to speak and convince.
Petya convinced Anyu that it is impossible to live with an old life that we need change that you need to get rid of poverty, vulgarity and dirt and become free.
He considers himself a free person and refuses the money of the blades, just as he refuses to love, denying it. He tells Anna that their relationship is above love and calls to believe him, his ideas.
At the same time, Petya is small. That's when he lost his old Kalosh, he was very upset, but was happy when Kalosh was found.
Here is such a, Petya Trofimov - an ordinary intellectual of advanced views having many drawbacks.
Varya
Cooking, unlike other characters, the work lives real, not the past and future.
In 24 years it is simple and rational. When the mother went abroad, all the affairs of the economy lay on her shoulders, and she coped with this until time. Cooking from morning to evening it works, saving each penny, but the waste of her relatives put to protect the estate from ruin.
She is very religious and dreams to go into the monastery, that's just money could not be able to go through saints. In her religiosity, others do not believe, but in fact she is as follows.
Cooking straight and strict, is not afraid to make comments, but makes them correctly. At the same time, it is inherent in the feeling of love and tenderness. She loves her sister Anyu, calls her shower, beautiful and very worried that she was in love with Petya Trofimov, because he was not a couple.
Vare likes Lopakhin, for whom she hopes to betray her mother, but she understands that he will not make her proposals, for he is busy accumulating his own wealth.
But for some reason, Trofimov considers it to be a limited, not understanding what is happening. But this is not the case, the girl understands that the estate has fallen into decay and is broken that it will be sold and will not save the cherry garden. Such is the reality in her understanding and in this reality you need to continue to live.
In the new life, Varya will be without money, for it has a practical nature and adapted to life difficulties.
Charlotte Ivanovna
Charlotte Ivanovna is a secondary character in the play. She is the governess of the Ranevsky family. She herself is from the family of circus, who earned themselves with ideas.
From early childhood and Charlotte helped parents to fulfill circus numbers, and when parents died, she was brought up by the German lady, which was educated. Having matured, Charlotte began to work with a governess, earning his life.
Charlotte can show tricks and tricks, says with different voices. All this remained from her parents, although she does not know anything more about them, even their age. Some heroes consider her an attractive woman, but nothing about the personal life of the heroine does not say anything.
Charlotte is very alone, as she says: "I have no one." But it is a free person and does not depend on the circumstances, only only observes from the side of what is happening and assesses what is happening in its own way. So, she with a light reproof talks about the wastefulness of his owners, but says it with such an ease, which is noticeable that she doesn't care.
The image of Charlotte is on the second plan, but some of its replicas are associated with the actions of the main characters of the play. And at the end of the work of Charlotte is experiencing that she has nowhere to live and need to leave the city. It emphasizes the fact that it is also homeless as its owners.
Heroes Working Cherry Garden
Main characters
Love Andreevna Ranevskaya - A woman who has no money, but wants to prove to himself and the public the fact that they are. Irresponsible and emotional. As a rule, it is not thinking about what will be "after," lives one day. It can be said that in the cocoon pompous fun, she hides from everyday difficulty, worries and duties. Its bankruptcy occurred during the lifetime abroad - to retain the estate, she returns to France.
Yermolai Alekseevich Lopakhin - Correspondent merchant from a simple class. Pretty cunning, enterprising. Rude, but incredibly found. Calculating. It is he who buys the estate of the main heroine.
Secondary heroes
Leonid Andreevich Gaev. - Sentimental brother Ranevskaya. To somewhat "sweeten" sternum sister after the sale of the estate, begins to develop plans to overcome difficulties. Quite often they are absurd and small.
Trofimov Petr Sergeevich - The person is incomprehensible enough, with oddities. The main passion is the reasoning. Trofimov has no family, it does not serve anywhere, he is a person without a certain place of residence. Despite the fact that he is a person in extraordinary views, sometimes Peter Sergeevich contradicts himself.
Anya - Young, fragile, romantic girl. Despite the fact that the heroine supports his parent, some innovative features and thirst for change are already beginning to manifest.
Varya- realistic. You can say, even a few landed, peasant girl. Leads a farm in the estate, is the receptional daughter Ranevskaya. He experiences feelings for the blades, but it is afraid to admit it.
Simeonov - Pisch - A ruined nobleman, staying "in debt as in silks." In vain trying to cover all your debt. Always in finding a means of existence. To help it materially, reptiles and humiliates, without experiencing remorse. Sometimes Fortuna really turns out to be on his side.
Charlotte Ivanovna - Governess. Age is unknown. Even among the crowd feels lonely. Conditions to show tricks, which indicates that it is possible, her childhood has passed in a circus family.
Epietov - If there are "Balovni Fate", then he is the complete opposite. With the hero always happens, he is clumsy, unbelieving and "offended by Fortune." Despite the decent education, it does not know how to express his thoughts properly.
Dunysh- This girl is a simple maid, but it has ambitions and requests. As a rule, the details of her wardrobe are not much different from the outfits of the secular lady. However, the essence of man remains the same. Therefore, even the medium of the sprayed gloss can be seen the fact that the Dunya is a peasant. Her attempts to look more respectfully cause pity.
Firs, servant - Refers to the gentlemen well, however, it takes care of them as if about babies, too much flowing. By the way, the hero even dies with the idea of \u200b\u200bthe owners.
Yasha- Once he was a lake. Now soulless and empty Frant, who visited Paris. The native people relate disrespectful. It condemns the fact that Russia is chasing the West, considers this manifestation of uneducation and ignorance.
Option 3.
Piez "Cherry Sad" in 1903 wrote Czechs. It shows the main problems of the dying nobility. The heroes of the play are impregnated by the vices of the society of that time. In this work there is a reasoning about the further fate of Russia.
The love of Andreevna is the hostess at home, in which all the plays events occur. She is a beautiful woman, educated, educated, kind and trusting in life. After severe losses in life, the death of a husband and son, leaves abroad, Gleie her lover robbed her. Living abroad, it leads a chic lifestyle, while her daughter is in their homeland. She is with them in the cold relationship.
And once in the spring she decided to return home. And only at home she found calmness, the beauty of his native nature helped her.
Not even having money, can not give up a beautiful life.
But being a bad mistress, she loses everything: the house, the garden and in the end of the homeland. She returns to Paris.
Leonid Gaev was a landowner, and was peculiar. He was a brother of the main heroine, he, like she was romantic and sentimental. He loved his home and garden, but nothing does for his salvation. He loves to talk, and, and he does not think about what he says. And nieces often ask him to silend.
He has no family, he decided to live for himself, and lives. Going through gambling institutions, plays billiards, having fun. He has many debts. It is impossible to rely on it. No one believes him.
In this hero, the writer has shown almost all the vices of young people of that period.
Yermolay Lopakhin was a merchant, a representative of a new class of bourgeoisie. He was an outcomes from the people. Remembers good, and does not leave the people. He knew that his ancestors from the fortress. He got his persistence and difficulty from poverty, earned a lot of money.
He offered a plan to save the garden and estates, but Ranevskaya refused. Then he buys all the estates at auction, and becomes the owner, where His ancestors were slaves.
Its image shows the superiority of the bourgeoisie over the nobility.
He will buy a garden, and when everyone left the estate, cut it off.
Anya daughter love Andreevna. I lived with my mother abroad, I returned to my homeland at the age of 17 and immediately fell in love with the former teacher of my brother. Peter Trofimova. She trusts his ideas. He completely reconfigured the girl. She became a bright representative of the new nobility.
Peter once taught the son of Ranenevskaya. He received an eternal student nickname, because he could not, finish her studies in the gymnasium. He convinced Any that life should be changed, it is necessary to get rid of poverty. He does not believe in Love Anna, tells her that their relationship is above love. Calls on her to leave him.
Varya Ranevskaya's adopted daughter, she early began to engage in the economy in the estate, really understands what is happening. In love with the leopard.
She lives a real, not past and future. Varya and in a new life will survive, because it is practical.
Charlotte Ivanovna, Dunyasha, Yasha, firms servants in the runevian estate, do not know where to go, after the sale of estates. Firs from - for his old age, did not know what to do, and when everyone left the estate, he dies in the house.
This work showed the decline of the noble class.
Several interesting writings
- Philosophical Lyrics Lermontova Writing
Many poets devoted their works to reasoning over eternal questions about the meaning of life and the universe, about the role of man and about their destination and place in this life.
Hans Christian Andersen is a brilliant writer, whose fairy tales taught, learn and learn not one generation of children. "Resistant Tin Soldier", "Mermaid", "Ugly Duckling", "Thumbelina"
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 preserved in the list of actors and the last play of Chekhov, and the same as in the previous plays, they are formal, not predetermining the character of the character, nor the logic of his behavior on the scene.
Thus, the social status of the landowner / landlord in Russia of the turn of the XIX-XX centuries actually ceased to exist, not corresponding to the new structure of social 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, tender fingers" of the blades, his "thin, gentle 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 Pieces 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 kvaas to get drunk, and there, you look, something is extremely 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 missing, died, en looking, - the railway in my land passed, 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 character appearances on the stage accompanies a detailed author's comment concerning both its appearance and its 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 the artistic world of Chekhov, the 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.
The remark, which precedes the second action of the play, even more complicates the image of Charlotte, because now, when describing its appearance, 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 the male 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 by a 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, a compliment to the penalty: "You, the ospidies, a very smart person 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." There is also nothing known about the origin and genealogical character of the character: "Who my parents may, they are not 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 yourself in any virtual, not a real chronotope (cherry garden, a new garden, 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 a certain behavior model - in free circulation, the game, with the usual and unchanged for all other characters a 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).