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The representative of the present in the play is the cherry orchard. The past, present and future of Russia in Anton Chekhov's play The Cherry Orchard

Past, present and future in the play by A.P. Chekhov "The Cherry Orchard".

"The Cherry Orchard" by A.P. 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 the obsolete nobility is being replaced by merchants and entrepreneurship. Lyubov Andreevna Ranevskaya, Leonid Andreevich Gaev, the old lackey Firs are representatives of the past.

They often reminisce about the old days when there was no need to worry about anything, especially money. These people value something higher than the 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 Gaev, even such things as a hundred-year-old cupboard matter, to which he addresses with tears in his eyes: “Dear, respected cupboard!”. And what about old footman Firs? He did not need the abolition of serfdom, because he devoted his whole life and himself to the family of Ranevskaya and Gaev, whom he sincerely loved. “The peasants are with the masters, the gentlemen are with the peasants, and now everything is scattered, you won’t understand anything,” Firs spoke of the state of affairs after the liquidation of serfdom in Russia. He, like all representatives of the old time, was satisfied with the pre-existing orders.

To replace the nobility and antiquity, something new comes - the merchant class, the personification of the present. The representative of this generation is Ermolai 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. Yermolai's mind was enough to develop a whole project and help Ranevskaya in her deplorable situation. It was the ingenuity and craving for material goods that were inherent in the generation of the present.

But after all, sooner or later, the present must also be replaced by something. Any future is changeable and vague, and this is exactly how A.P. Chekhov shows it. The future generation is rather motley, it includes 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 ones are completely different. They are full of new ideas, strength and energy. However, among them there are those who are only capable of beautiful speeches, but do not really change anything. This is Petya Trofimov. “We are at least two hundred years behind, we have absolutely nothing, we have no definite attitude to the past, we only philosophize, complain about longing and drink vodka,” he says to Anya, while doing nothing to make life become better, and remaining a “eternal student“. Anya, though fascinated by Petya's ideas, goes her own way, intending to settle down in life. “We will plant a new garden, more luxurious than this,” she says, ready to change the future for the better. But there is another type of youth, to which the young footman Yasha belongs. A completely unprincipled, empty, capable of nothing but sneers and a person not attached to anything. What will happen if the future will be built by people like Yasha?

“The whole of Russia is our garden,” Trofimov notes. So it is, the cherry orchard personifies the whole of Russia, where there is a connection between times and generations. It was the garden that connected all the representatives of the past, present and future into one whole, just as Russia unites all generations.

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

The action of the play "The Cherry Orchard" is developed in the family estate of the former nobles Ranevskaya and Gaev. The plot of the comedy is connected with the sale of this estate for the debts of the owners. And with it, a blooming marvelous garden will go under the hammer, which is the personification of beauty and the desire for a better life. The play intertwines the lives of the past and the present generation. The main characters, the owners of the estate, belong to the old time. They could not get used to a new life after the abolition of serfdom. Ranevskaya and Gaev live one day. For them, time has stopped. They do not understand that if they do not act, they will lose everything.

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

The new time is represented by young characters. First of all, this is the businesslike merchant Lopakhin, who himself grew up under the tutelage of Ranevskaya. His ancestors wore "muzhiks" with the owners of the estate. And now he's got rich and bought the estate himself. In the person of Yermolai Lopakhin, the author portrayed the emerging bourgeoisie, which replaced the nobility. With his diligence, practicality, ingenuity and enterprise, he managed to firmly establish himself in modern society.

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

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

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

Thus, the past, present and future do not merge into one whole: they exist by piece and find out the relationship between them.

Bright representatives of the past are Gaev and Ranevskaya. 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 address the closet as if they were an old friend: “Dear, respected closet! I welcome your existence, which for more than a hundred years has been directed towards the bright ideals of goodness and justice ... ”Ranevskaya, once at home after a five-year 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 relationship to the garden - it seems to embody all the best and brightest that was in her life, is part of her soul. Looking at the garden through the window, she exclaims: “O my childhood, my purity! I slept in this nursery, looked at the garden from here, happiness woke up with me every morning, and then it was exactly like that, nothing has changed. Ranevskaya's life was not easy: she lost her husband early, and soon after that her seven-year-old son died. The person with whom she tried to connect her life turned out to be unworthy - he cheated on her and squandered her money. But returning home for her is like falling into a life-giving 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 a cold winter, you are young again, full of happiness, the angels have not left you ... ”The garden for Ranevskaya 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 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 infantility in this matter (the remark “Puts a lollipop in his mouth” seems to confirm this): “We will pay the interest, I am convinced ...” Where does he get such conviction from? Who is he counting on? Obviously not for myself. Having no reason to do so, he swears to Varya: “I swear on my honor, whatever you want, I swear that the estate will not be sold! ... I swear by my happiness! Here's my hand, then call me a lousy, dishonorable person if I let you go to the auction! I swear with all my being!” Beautiful but empty words. Lopakhin is another matter. This man does not mince words. He sincerely tries to explain to Ranevskaya and Gaev 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 dachas, do it now, as soon as possible - the auction is on the nose! Understand! Once you finally decide that there are dachas, they will give you as much money as you like, and then you will be saved.” With such a call, the "present" turns to the "past", but the "past" does not heed. “Final decision” is an impossible task for people of this warehouse. It is easier for them to stay in the world of illusions. But Lopakhin does not waste time. He simply buys this estate and rejoices in the presence of the unfortunate and destitute Ranevskaya. Buying an estate has a special meaning for him: “I bought an estate where my grandfather and father were slaves, where they were not even allowed into the kitchen.” This is the pride of 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 Ranevskaya's life, he literally dances on her bones: “Hey, musicians, play, I want to listen to you! Everyone come and watch how Yermolai Lopakhin will hit the cherry orchard with an ax, how the trees will fall to the ground!” And then he sympathizes with the sobbing Ranevskaya: “Oh, if only all this would pass, if only our awkward, unhappy life would somehow change.” But this is a momentary weakness, because he is going through his finest hour. Lopakhin is a man of the present, the master of life, but is the future behind him?

Maybe the man of the future is Petya Trofimov? He is a truth-seeker (“Do 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 above love”). Everything material does not attract him either. He is ready to destroy both the past and the present “to the ground, and then...” And then what? Is it possible to grow a garden without knowing how to appreciate beauty? Petya gives the impression of a frivolous and superficial person. Chekhov, apparently, is not at all happy 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, the old servant Firs is all from the past. All his ideals are connected with distant times. He considers the reform of 1861 to be the beginning of all troubles. He does not need “will”, since his whole life is dedicated to the 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 associate his hopes for a new life?” There is a feeling of some confusion and anxiety: who will decide the fate of Russia? Who can save beauty?

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

3). The estate of the landowner Lyubov Andreevna Ranevskaya. Spring, cherry trees bloom. But the beautiful garden is soon to be sold for debts. 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 affairs are bad, there are almost no funds left. Lyubov Andreevna always littered with money. Six years ago, her husband died of alcoholism. 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 her grief, fled abroad. The lover followed her. When he fell ill, Ranevskaya had to settle him in 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 abandoned 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 he says about himself that he remained "a man a man." The clerk Epikhodov arrives, a man with whom something constantly happens and who is called "thirty-three misfortunes."

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

Lopakhin reminds Ranevskaya that the estate should soon be sold at auction, the only way out is to break the land into plots and lease them to summer residents. Lopakhin's proposal surprises Ranevskaya: 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 delivers a welcoming speech to the hundred-year-old "respected" closet, but then, embarrassed, again begins to senselessly pronounce his favorite billiard words.

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

Gaev, left alone with Varya, tries to talk about business. There is a rich aunt in Yaroslavl, who, however, does not like them: after all, Lyubov Andreevna did not marry a nobleman, and she did not behave "very virtuously." Gaev loves his sister, but still calls her "vicious", which causes Ani's displeasure. 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. The grouchy Firs finally takes the master, like a child, to sleep. Anya is calm and happy: her uncle will arrange everything.

Lopakhin does not cease to persuade Ranevskaya and Gaev to accept his plan. The three of them had lunch 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 had already preferred the young cynical footman Yasha to him. Ranevskaya and Gaev do not seem to hear Lopakhin and talk about completely different things. So without convincing “frivolous, unbusinesslike, strange” people of anything, Lopakhin wants to leave. Ranevskaya asks him to stay: with him "it's still more fun."

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

Soon everyone disperses. 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 of Russia is our garden”, but in order to live in the present, one must first redeem the past with suffering and labor. Happiness is near: if not they, then others will definitely see it.

Comes the twenty-second of August, the day of trading. It is on this evening, quite inopportunely, that a ball is being held in the estate, a Jewish orchestra is invited. Once, generals and barons danced here, and now, as Firs complains, both the postal official and the head of the station "do not go willingly." Charlotte Ivanovna entertains guests with her tricks. Ranevskaya anxiously awaits the return of her brother. The Yaroslavl aunt nevertheless sent fifteen thousand, but they are not enough to buy the estate.

Petya Trofimov “reassures” Ranevskaya: it’s not about the garden, it’s been over for a long time, we need to face the truth. Lyubov Andreevna asks not to condemn her, to feel sorry for her: after all, without a cherry orchard, her life loses its meaning. Every day Ranevskaya receives telegrams from Paris. At first she tore them up right away, then - after reading them first, now she doesn't vomit anymore. "That wild man", whom she still loves, begs her to come. Petya condemns Ranevskaya for her love for "a petty scoundrel, a nonentity." Angry Ranevskaya, unable to restrain herself, takes revenge on Trofimov, calling him a “funny eccentric”, “freak”, “clean”: “You must love yourself ... you must fall in love!” Petya tries to leave in horror, but then stays, dancing with Ranevskaya, who asked for his forgiveness.

Finally, the embarrassed, joyful Lopakhin and the tired Gaev appear, who, without saying anything, immediately goes to his room. The Cherry Orchard was sold and Lopakhin bought it. The "new landowner" is happy: he managed to beat the rich 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 “suffices the cherry orchard with an ax”!

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

The house is empty. Its inhabitants, having said goodbye to each other, disperse. Lopakhin is going to Kharkov for the winter, Trofimov returns 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 tender, subtle soul." Lopakhin offers Trofimov money for the journey. He refuses: over the "free man", "in the forefront going" to the "higher happiness", no one should have power.

Ranevskaya and Gaev even cheered up after the sale of the cherry orchard. Previously, they were worried, suffering, but now they have calmed down. Ranevskaya is going to live in Paris for the time being on the money sent by her aunt. Anya is inspired: a new life begins - she will finish the gymnasium, she will work, read books, "a new wonderful world" will open before her. Simeonov-Pishchik suddenly appears out of breath and, instead of asking for money, on the contrary, distributes debts. It turned out that the British found white clay on his land.

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

Between Varya and Lopakhin, an explanation must finally occur. For a long time, Varya has been teased by "Madame Lopakhina." Varya likes Yermolai Alekseevich, but she herself cannot propose. Lopakhin, who also speaks well of Vara, agrees to "put an end immediately" to this matter. But when Ranevskaya arranges their meeting, Lopakhin, without deciding, leaves Varia, using the very first pretext.

“Time to go! On the road! - with these words, they leave the house, locking all the doors. All that remains is old Firs, whom everyone seemed to take care of, but whom they forgot to send to the hospital. Firs, sighing that Leonid Andreevich went in a coat, and not in a fur coat, lies down to rest and lies motionless. The same sound of a broken string is heard. "There is silence, and only one can hear how far in the garden they knock on wood with an ax."

The play "The Cherry Orchard", written by Chekhov in 1904, can rightfully be considered the creative testament of the writer. In it, the author raises a number of problems characteristic of Russian literature: the problem of the figure, fathers and children, love, suffering, and others. All these problems are united in the theme of the past, present and future of Russia.

In Chekhov's last play, there is one central image that determines the whole life of the characters. This is a cherry orchard. Ranevskaya has memories of his whole life associated with him: both bright and tragic. For her and her brother Gaev, this is a family nest. Or rather, even to say that she is not the owner of the garden, but he is its owner. “After all, I was born here,” she says, “my father and mother lived here, my grandfather, I love this house, I don’t understand my life without a cherry orchard, and if you really need to sell it, then sell me along with the garden ... "But for Ranevskaya and Gaev, the cherry orchard is a symbol of the past.

Another hero, Yermolai Lopakhin, looks at the garden from the point of view of the "circulation of business." He busily offers Ranevskaya and Gaev to break the estate into summer cottages, and cut down the garden. We can say that Ranevskaya is a garden in the past, Lopakhin is a garden in the present.

The garden in the future personifies the younger generation of the play: Petya Trofimov and Anya, Ranevskaya's daughter. Petya Trofimov is the son of a pharmacist. Now he is a raznochinets student, honestly working his way through life. He lives hard. He himself says that if it is winter, then he is hungry, anxious, poor. Varya calls Trofimov an eternal student, who has already been fired from the university twice. Like many progressive people of Russia, Petya is smart, proud, and honest. He knows the plight of the people. Trofimov thinks that this situation can be corrected only by continuous work. He lives by faith in the bright future of the Motherland. With delight, Trofimov exclaims: "Forward! We are moving irresistibly towards the bright star that burns there in the distance! Forward! Keep up, friends!" His speech is oratory, especially where he talks about the bright future of Russia. "All Russia is our garden!" he exclaims.

Anya is a seventeen-year-old girl, the daughter of Ranevskaya. Anya received the usual noble education. Trofimov had a great influence on the formation of Ani's worldview. Ani's spiritual appearance is characterized by spontaneity, sincerity and beauty of feelings and moods. There is a lot of semi-childish spontaneity in Anya's character, she says with childish joy: "And I flew in a balloon in Paris!" Trofimov arouses in Anya's soul a beautiful dream of a new beautiful life. The girl breaks ties with the past.

The girl breaks ties with the past. Anya decides to pass the exams for the gymnasium course and start living in a new way. Anya's speech is tender, sincere, filled with faith in the future.

The images of Anya and Trofimov evoke my sympathy. I really like spontaneity, sincerity, beauty of feelings and moods, faith in the bright future of my Motherland.

It is with their lives that Chekhov connects the future of Russia, it is in their mouths that he puts words of hope, his own thoughts. Therefore, these heroes can also be perceived as reasoners - spokesmen for the ideas and thoughts of the author himself.

So, Anya says goodbye to the garden, that is, to her past life, easily, joyfully. She is sure that, despite the fact that the ax is heard, that the estate will be sold for summer cottages, despite this, new people will come and plant new gardens that will be more beautiful than the previous ones. Together with her, Chekhov himself believes in this.

Past, present and future in A.P. Chekhov "The Cherry Orchard"

I. Introduction

The Cherry Orchard was written in 1903, in an era that was in many ways a turning point for Russia, when the crisis of the old order had already emerged, and the future had not yet been determined.

II. main part

1. The past is represented in the play by the characters of the older generation: Gaev, Ranevskaya, Firs, but other characters of the play also talk about the past. It is associated primarily with the nobility, which by the end of the 19th - beginning of the 20th century was experiencing a clear decline. The past is ambiguous. On the one hand, it was a time of serfdom, social injustice, etc., as, for example, Lopakhin and Petya Trofimov talk about. On the other hand, the past seems to be a happy time not only for Ranevskaya and Gaev, but also, in particular, for Firs, who perceives “freedom” as a misfortune. There were many good things in the past: goodness, order, and most importantly, beauty, personified in the image of a cherry orchard.

2. The present in Russia is vague, has a transitional, unstable character. It appears in the same way in Chekhov's play. The main spokesman of the present is Lopakhin, but one should not forget about other heroes (Epikhodov, footman Yasha, Varya). The image of Lopakhin is very controversial. On the one hand, he, a merchant who has broken out of the former serfs, is the master of the present; it is no coincidence that he gets the cherry orchard. This is his pride: “beaten, illiterate Yermolai /…/ bought an estate, more beautiful than which there is nothing in the world /…/ bought an estate where his father and grandfather were slaves.” But, on the other hand, Lopakhin is unhappy. He is a delicate person by nature, he understands that he is destroying beauty, but he does not know how to live otherwise. The feeling of his own inferiority is especially evident in his monologue at the end of the third act: "Oh, if only all this would pass, if only our awkward, unhappy life would somehow change."

3. The future in the play is completely vague and uncertain. It would seem that it belongs to the younger generation - Trofimov and Anya. It is they, especially Trofimov, who speak passionately about the future, which seems to them, of course, wonderful. But Anya is still just a girl, and how her life will turn out, what her future will be, is completely unclear. Serious doubts arise that Trofimov will be able to build the happy future he is talking about. First of all, because he does absolutely nothing, but only speaks. When it is necessary to show the ability to at least minimal practical action (to console Ranevskaya, take care of Firs), he turns out to be untenable. But the main thing is the attitude to the key image of the play, to the cherry orchard. Petya is indifferent to his beauty, he urges Anya not to spare the cherry orchard, to forget about the past altogether. “We will plant a new garden,” says Trofimov, and this one, then, let it die. Such an attitude to the past does not allow one to seriously hope for the future.

III. Conclusion

Chekhov himself believed that the future of his country would be better than its past and present. But in what ways this future will be achieved, who will build it and at what cost - the writer did not give specific answers to these questions.