The Cherry Orchard: Analysis of Major Characters
"The Cherry Orchard" is a play by Anton Chekhov that explores the lives of its main characters against the backdrop of societal change in Russia. Central to the narrative is Madame Lubov Andreyevna Ranevskaya, the owner of a once-prosperous estate, who embodies the fading Russian aristocracy. Her inability to adapt to the changing times leads her to cling to the remnants of her past, particularly the cherished cherry orchard. In contrast, her daughter Anya represents hope for the future; she embraces change and is influenced by her relationship with Peter Trofimov, a young idealist advocating for social progress.
The character of Varya, Madame Ranevskaya's adopted daughter, reflects the struggles of the working class and the pressures of managing the estate while caught between aristocratic ideals and emerging middle-class values. The wealthy merchant Lopakhin, who ultimately buys the estate, symbolizes the new social order, prioritizing profit over sentiment. Other characters, such as Leonid Gaev, Madame Ranevskaya's impractical brother, and Boris Simeonov-Pishchik, a landowner indifferent to heritage, illustrate the diverse responses to the shifting social landscape. The play also features Charlotta, the classless governess, and Yasha, a footman who epitomizes opportunism, highlighting the varying levels of adaptation and survival among the characters. Together, these figures create a rich tapestry that examines themes of loss, change, and the passage of time in early 20th-century Russia.
The Cherry Orchard: Analysis of Major Characters
Author: Anton Chekhov
First published: 1904 as Vishnyovy sad (English translation, 1908)
Genre: Play
Locale: An estate in Russia
Plot: Impressionistic realism
Time: Early twentieth century
Madame Lubov Andreyevna Ranevskaya (lew-BOHF ahn-DREH-ehv-nuh rah-NEHF-skah-yah), a middle-aged woman and the owner of a large estate that has become impossible to maintain because of debts. Madame Ranevskaya is a remnant of the old order of Russian feudal aristocracy being pushed aside by social change. Her estate, her mansion, and especially the cherry orchard exist for her as symbols of her past, her innocent youth, and her formerly carefree life. She cannot reconcile herself to giving them up, she cannot change with the times, and she cannot assume the financial and emotional responsibility demanded of her. the forces that molded her are disappearing from Russian life.
Anya (AHN-yah), Madame Ranevskaya's seventeen-year-old daughter. Although she loves the estate and the cherry orchard, her youth makes it possible for her to bend with the social tide. She reconciles herself to loss and change, to a new Russia of which she will be a part. Her love for Peter Trofimov, a student representative of the intellectual liberal in the new order, influences her toward confidence and hope for the future.
Varya (VAH-ryah), the adopted daughter of Madame Ranevskaya. Having managed the estate for years, she is exhausted by concern: about debts, for the servants, and about the future. Her efforts have come to nothing. She is in love with Lopakhin, a wealthy merchant who is so busy making money that he cannot bring himself to propose to her. Varya's illusions of happiness and peace tempt her to run away to enter a convent. Neither of the aristocracy nor of the rising middle class, but caught between both, she finds that only work can ease her frustration and unhappiness.
Leonid Andreyevitch Gaev (leh-oh-NIHD ahn-DREHyeh-vihch gah-EHF), Madame Ranevskaya's brother, a restless, garrulous, and impractical dreamer. Bound to the old ways, he tries in vain to save the estate by borrowing or begging the necessary money. Like his sister, he is unwilling to sell the cherry orchard and let it be used for a housing subdivision. Until the last, he cherishes his illusions that they will be saved by a stroke of good fortune.
Ermolai Alexeyevitch Lopakhin (ehr-moh-LIH ah-lehkSEH-yeh-vihch loh-PAH-khihn), a wealthy merchant whose father was a peasant. Without sentiment for the past, he lives in the present and for commercial opportunism. He redeems the past, literally, when he buys the Ranevsky estate, where his father and grandfather had been serfs. His feelings are calculated in terms of profit and loss, and his love for Varya cannot compete with his commercial zeal.
Peter Sergeyevitch Trofimov (PYOH-tr sehr-GEH-yehvihch troh-FIH-mof), an idealistic young student willing to work for the future betterment of humankind. He claims his mission is freedom and happiness, escape from the petty and deceptive elements of life. His love for Anya is confused with social zeal, and his understanding of people is slight.
Boris Borisovitch Simeonov-Pishchik (boh-RIHS bohRIHS-eh-vihch sih-MEH-ehn-of-PIH-shchihk), a landowner constantly in debt, always trying to borrow money. Unlike the Ranevskys, he has no feeling for the land or his heritage. He eventually leases his land to be torn up for its valuable deposits of clay.
Charlotta Ivanova (shahr-LOHT-teh ih-VAH-neh-vah), the governess to the Ranevskys, a young woman who does not know her parentage. She is classless, ready to be swept by any tide.
Simeon Panteleyevitch Epikhodov (seh-MYOHN pahnteh-LEH-yeh-vihch eh-pih-KHOHD-of), a clerk in the Ranevsky household. He is in love with Dunyasha, a maid, who does not return his love.
Dunyasha (doo-NYAH-shah), who is in love with the brash young footman, Yasha. She dresses well and pretends to be a lady.
Fiers (fihrs), an old footman, faithful to the Ranevsky family for generations. Concerned only with the well-being of his employers, he is inadvertently left to die in the abandoned house, a symbol of the dying past.
Yasha (YAH-shah), an insolent young footman, Fiers's grandson. Caring nothing for his family, Yasha thrives on cruelty and opportunism. He knowingly leaves his grandfather to die alone.